A postcard showing an original bluestone cottage from Greensborough’s early days. The house was once owned by Richard Marsh and family. Original artwork by Maria Barbaro.This card is part of a series of well known Greensborough homes.A small greeting card featuring a painting of a bluestone house, corner of Church Lane and Hailes Street Greensborough. There is also an envelope included.Ink stamp on rear cover states "Original Artwork by Maria Barbaro" www.mariabarbaro.com greensborough houses, greeting cards, maria barbaro, hailes street, richard marsh, marsh family

Painting of a barn at Willis Vale. 'Willis Vale' was owned and farmed by the Partington family from the 1870s. The derelict Willis Vale house was destroyed in 1964 when a fire originating from North Plenty Gorge - Kurrak Road - was lit by two teenage boys and made its way several kilometres down to Partington's Flat Greensborough. Gary Partington thought the barn was probably associated with the bull yard. (Note: Only some abandoned stumps existed when Gary was very young in the mid to late 1940s) Digital copy of painting.willis vale, partington family

GHS member June Hall is photographed with 2 paintings by her late husband Doug Hall. June donated these paintings to the Greensborough Historical Society. One of the paintings if of Oldstead Farm house that was sited at Oldstead Road Greensborough..Paintings are of the local area.Digital copy of colour photographsgreensborough historical society, june hall nee evans, doug hall

Oldstead Farmhouse, painted by Greensborough artist, the late Doug Hall. Oldstead Farm was in the area around the present Oldstead Road Greensborough.Oil painting of a house, in timber frame.On back of painting "Oldstead Farm, Doug Hall"doug hall, oldstead farm, oldstead road greensborough

Displayed in History House (Cabinet, South wall) Owned by Mrs. . Keiller?Tea cup and saucer with paintings of flowers and vignettes of a couple.Front: Base, 4198.2: Worchester/Gift/1884 (blue pen, hand-written)

Coloured photo of painting. Joshua Black - Head and shoulders. Black Jacket and tie. White shirt.Back: Holland's Picture Framing and Art Supplies. Hilary. 16 Henty St, Portland. Phone 03 55233582

CEMA Art Collection Winner of Portland Artist's Society Prize 1961The painting depicts a small building set amongst tall trees and grasses. The building is situated in the centre of the work and is cream with a red roof and red awnings. In the foreground is a large area of long grass which leads into the shorter maintained grass that surrounds the building. Behind the building are numerous tall dark green trees. The work has a wide gilded frame and exposed canvas.Front: (No inscriptions) Back: Jack Freeman 1961 Landscape Dandenong (top right, black handwriting) 18 (white sticker)

Section of painting of Willis Vale a pioneer's house in GreensboroughHouse built by Edward Maygar and later sold to Partington family. It was located at Partington's Flat.Colour photocopy of section of a painting featuring Willis Vale on the top half of an A4 sheet.A number of pencil calculations on lower part of the page.partington, greensborough, edward maygar, willis vale

Ashmead House was the home and surgery of the Cordner family during the 20th century. Original artwork by Maria Barbaro.The Cordners were the Greensborough doctors for several generations. This card is part of a series of well known Greensborough homes.A small greeting card featuring a painting of Ashmead, the home of Dr Cordner on the corner of Grimshaw and Eldale Streets Greensborough. There is also an envelope included.Ink stamp on rear cover states "Original Artwork by Maria Barbaro" www.mariabarbaro.com ashmead house, cordner family, greensborough houses, greeting cards, maria barbaro

Artist Lindsay Edward and wife Jan built a house designed by Alistair Knox at 151 Old Eltham Road, Lower Plenty. See article on home designed by Alistair Knox for Lindsay Edward, teacher, at 151 Old Eltham Road, Lower Plenty. The home was originally featured on the cover of the January 1953 issue of Home Beautiful magazine and was revisited in the March 1969 issue. See registration record No. 01649. Lindsay Edward Biography: 1919: 26 August Lindsay Maurice Edward was born in Melbourne. 1937: 4 – 9 May Exhibition - Heidelberg art exhibition (SLV collection) 1939: Art student at the National Gallery of Victoria 1940: 7-14 October Exhibition Heidelberg art exhibition. (SLV collection) 1941: November - Exhibition Heidelberg Art Exhibition 1942: Lindsay was an art student living at this 14 Park Cres. Fairfield. Occupation Art student. He most likely painted this painting around this time. c.1942 – 1944: Enlistment for military service in World War 2 in Casino, NSW. 1944: Rank of Sergeant. 1944: Exhibition Seddon Galleries (Melbourne) 1945: Exhibition Seddon Galleries 1946: Exhibition Exhibition of Past Students of the National Gallery of Victoria 1947: Submitted “Self- portrait in the Archibald Prize, Art Gallery of NSW 1948: Lived in London for a year and married a fellow artist ? Knox. 1949: Returned from London 1949: Electoral Roll Residence– 16 Mount Street, Ivanhoe 1950: October Exhibition Stanley Coe Galleries, 435 Bourke Street, Melbourne 1951: 19 Nov. - 9 Dec. Exhibition An exhibition of present day art of Victoria Victorian 1951 Commemoration Committee in conjunction with the Victorian Artists' Society, 1951: (SLV Collection) 1953: October Exhibition Melbourne Contemporary Artists Exhibiton 1954: Exhibition Melbourne Contemporary Artists Exhibition 1958: Victorian artist and educator Lindsay Edward won the £500 prize for the wall decoration of the Queensland Library - . Edward was born in 1919 and had studied at the National Gallery of Victoria. In 1958 he was head of the painting section of the Royal Melbourne Technical College (now RMIT) and had only recently begun experimenting with mosaic. The Centennial mosaic covers a wall 68 feet (20.72 metres) in length and 14 feet (4.26 metres) high. In a Melbourne Age article in July 1958 Edward described the mural as ‘not a literal subject’ rather as ‘a basic formation of organic forms indicating growth and development’. 1960: Exhibition Eltham Art Show (SLV collection) 1963: Exhibition October 28-November 17 - Argus Gallery, 290 Latrobe Street, Melbourne and at Hassall's Roadside Gallery, Eltham and at Gallery A and at Russell Davis Art Gallery. (SLV Collection) 1963, 1967, 1977 and 1980: Electoral Rolls – Residence Old Eltham Road, Lower Plenty. Occupation Teacher 1966: Exhibition Art Show -Austin Hospital Appeal (Heidelberg) (SLV collection) 1970s: Head of Art Department RMIT where he established a fine art collection. 1982: Exhibition Bolitho Gallery Canberra http://nla.gov.au/nla.news-article116467780 1988: 28 July – Exhibition Recent Paintings Darwin Performing Arts Centre (SLV Collection) 1993: Exhibition Solander Gallery, Canberra 2007: January Died and is buried in Eltham Cemetery 2007: Obituary in Age Jun 2, 2007 - LINDSAY Edward's retirement as head of the fine art department at RMIT in August 1979 signalled the end of an important chapter in the art Sources: ART CONTEST. (1939, March 2). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article12103185 ART EXHIBITION AT HEIDELBERG (1941, November 25). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article8218682 ART EXHIBITIONS (1945, October 3). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article205639922 EX-GALLERY STUDENTS' SHOW (1946, October 15). The Argus (Melbourne, Vic. : 1848 - 1957), p. 3. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22386440 https://www.artgallery.nsw.gov.au/prizes/archibald/1947/ Art World Busy (1949, February 26). The Argus (Melbourne, Vic. : 1848 - 1957), p. 12. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22706197 http://nla.gov.au/nla.news-article22781141 ART NOTES (1953, October 13). The Age (Melbourne, Vic. : 1854 - 1954), p. 2. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article206462733 Design, color in art show (1954, October 5). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article23453359 https://artcollection.its.rmit.edu.au/?p=rmit-gallery-about Cinema (1993, October 7). The Canberra Times (ACT : 1926 - 1995), p. 7 (Good Times). Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article127509819 Queensland Centenary Artwork (includes image) http://queenswharf.org/places/former-queensland-state-library-wall-decoration-and-sculpture/ Eltham Cemetery http://www.elthamcemetery.com/index.php/search oil on paper board 31.5 x 37.5 cm signed "Edward" lower rightInscribed on back "The Malt House Lindsay Edward 15 Park Cres Fairfield"fairfield, malt house, lindsay edward, home beautiful, home beautiful magazine, alistair knox

The King family lived in Tawonga South where my older brother and sister went to school. We lived over the road from Wally Madison's farm. Later when a house became available, we moved into Valley Avenue, Mt Beauty. This is when I turned 5 and started my schooling. It was a long walk for a 5 year old as I remember. Then later we moved to 50 Lakeside Ave. I remember we loved living there as it was close to the school, footy ground and kindergarten. My father, Ted King, wad a carpenter and was involved in the building of many houses in Mt Beauty which was the home for the workers on the Kiewa Electric Scheme. So as they are part of the history of Mt Beauty I thought they may be useful to you as part of the history. The tennis photos, I vaguely remember Lou Hoad and Ken Rosewell giving exhibition matches in Mt Beauty. I may stand corrected on this, but I do remember my parents who were keen tennis players themselves were most excited at seeing these famous tennis players. As I was only 9 when we left Mt Beauty to live in Dimboola I still remember the shock of leaving a beautiful mountainous county side and arriving in a flat farming land next to a desert and seeing windmills One thing I do remember from school is, once a week (or fortnight) the teacher used to come around with a jar of little white pills, of which we were all to take. I really don't know what they were?? or for?? I also remember being taught to swim in the freezing cold river by a Mrs Smith who wore black bathers and wore her hair in a bun...... ...I am now in my 70s My father used to also carve intricate trays and jewellery boxes in his spare time. I think they were used for tennis trophies. by Diane Werner.x33 photos of small black and white photos of the Tawonga, Tawonga South and Mt Beauty - Photos not labelled but described as follows. See each photo for a possible label. A. Tawonga? B. Mt Beauty taken on the road to Bogong ? C. SEC Works D. Industrial buildings with mountains in the background E. Building site with wooden frame and 3 men F. Buildings with power poles G. Building site with lots of huts H. Buildings under construction I. Group of houses in the distance J. Group of houses in the distance K. Group of people in front of a building L. Group of 8 men sitting on timber planks, corrugated iron at back. M.& N. Building site with floor and upright timbers O. Mountain view with camp site in foreground P.& Q. Buiding site, several houses R.5 men at a building site S. portable building on trailer T & U. Mountain view V. Building site W. Group of men, car and mountains in background X. Cows Y. Pigs Z. 2 men standing next to cars. AA. Football players BB. Man painting a corrugated iron building CC. Football DD. Men in front of a building EE Buildings with mountains in background FF & GG Tennis payersHH & II. Electricity infrastructure

Situated at the north corner of Main Road and John Street, Eltham; 'The Hawthorns' was the home of T.N. Jewell and his wife, 'Polly' Margaret Jewell (nee White). Painted by R.H. Luxmoore a boarder at the house. Polly Jewell was the aunt of current painting owner (Keith Johnson). Doug Orford's mother would visit her at the home every week.Located on the north corner of Main Road and John Street, Eltham; 'The Hawthorns' was the home of T.N. Jewell and his wife, 'Polly' Margaret White. Most likely viewed from location of where Methodist Church Hall was situated.eltham, the hawthorns, main road, john street, t.n jewell, polly margaret white, r.h luxmoore

Mostly black surface with an area of white on the right side and a brown band near the top, lined with white dots. Work show the 'black soil country'. Ochres on Canvas.

This plate was painted for Ray and Joyce Uebergang by Helen McNaughton in 1985. The McNaughton family were sharefarmers on Tooram Park during this period. It was given to Cheese World Museum as part of the collection belonging to the Ray and Joyce Uebergang Foundation.This plate provides an image of Tooram Park at a given period.Bone china plate with a hand painting of "Tooram Park" homestead and cheese factory, Allansford. The roof of the house is red, the walls are green and there is a picket fence in front of the house. The cheese factory is cream. H.McNaughton, 1985 - on the back of the plate 'TOORAM PARK'/ALLANSFORDtooram, tooram park, h mcnaughton, uebergang, allansford, china plates, china painting

This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

The City of Ballarat unanimously resolved to erect a Civic Hall in Mair Street in 1951. The architects, Gordon Murphy, of Melbourne, and H.L. and L.J. Coburn, of Ballarat, were commissioned in 1952. The Council constructed the foundations and footings for the building under the supervision of the former City engineer, Mr L.H. Finch, in 1953. These footings are of massed concrete. The design for the building took advantage of the cross fall of the land, providing for the Small Hall to be entered from the Doveton Street frontage through a foyer under the Main Stage, the structure is steel with brick panels, with accommodation for 1,592 persons in the Main Hall and 440 persons in the Lower Hall. The front facade faces Mair Street, set back from the building line to provide for the entrance drive-ways and kerbed gardens. Tenders were invited on a firm price basis. A young Ballarat master Builter, Walter Benbow Trahar was the successful tenderer, the contract price being 139,841 pounds. the work was commenced in 1953 and has proceeded in spite of material and labour difficulties until its completion. The following statistics are of interest:- * The foundations contained 200 cubic yards of concrete. * The constructional steel work weighs approximately 270 tons. * The reinforcing steel 47 tons. * Reinforced concrete in the structure, 1,100 cubic yards. * The approximate number of bricks in the building, 580,000. * The flooring is of selected kiln-dried hard wood and totals 40,000 lineal feet. * The dimensions of the Main Auditorium, 100ft by 86 ft, including the side promenades each 82ft by 13ft. *The Main stage, of reinforced concret with parquette finish measures 62 ft by 40ft. *The floor area of the Lower Hall is 74 ft by 38 ft, and has a stage dimensions of 40ft by 20 ft. * Each hall has independent heating and ventillating systems. Where possible the material in the building was furnished from local business houses. The public address installation, which provided for additional microphones, is on the main Stage. There is inter-communication throughout the building connecting the front office, with the bioscope box, the stages in both the large and lower halls, and the Hallkeeper's residence. Local craftsmen have completed the painting, plaster work, and the electrical installation; local produced materials being used in the construction of the buildings with the exception of the timber for the Main Floor, the roofing and the structural steel. The City of Ballarat Councillors in 1956 were Councillors N. T. Callow, F.J. Cutts, K.C. Webb, W.E. Roff, O.W. Curnow, F.T. Woodward, Allan C. Pittard, A.W. Nicholson, J.A. Chisholm, G.L. Scott, F.W. Oliver, A.D. Mason. The Town clerk was H.R. Maddern and the City Engineer was G. Murrowood. A City of Ballarat Council meeting of 25 September 2013 voted to demolish the Ballarat Civic Hall. The Council heard from nearly 50 members of the public during a marathon six-hour meeting. Councilors John Birt, Des Hudson, Amy Johnson, Josh Morris, Peter Innes, John Philips supported the motion to demolish Civic Hall. Councillors Samantha McIntosh, Vicki Coltman and Belinda Coates voted against the motion.Six page souvenir Program of citizens' entertainment on the occasion of the Opening of Ballarat Civic Hall on in August 1956. The front cover features the City of Ballarat Coat of Arms. The programme starts with a message from the Mayor, Cr Neil T. Carrow. It includes the Concert Programme directed by James H. Davey, an asrtist's impression of the Civic Hall from Mair Street, and information relative to the New Civic Hall. The programme features images of the City of Ballarat Coat of Arms, Cr N.T. Callow, , James H, Davey, and an artist's impression of the Ballarat Civic Hall. Mayor Neil Callow's Message: "To-day, our citizens witness the fulfilment of the most extensive Municipal undertaking in the City's period of recent prosperity and development. Their Hall now fills a requirement of which they have been deprived since the Coliseum building was destroyed by fire over 20 years ago. The building has been designed as an all purpose structure and I am hopeful the citizens will use it and enjoy it to its fullest extent. Your Council and its Architects have planned as broadly as possible for the benefit of all to-day and for years to come. We are proud of the work executed by a Ballaarat Master Builder whose work is a monument to the City's craftsmen. I feel I should also remind this assembly that the women of Ballaarat, back in 1951, provided funds which have been applied in the purchase of a Grand Piano and two Upright Pianos which are now installed in this building. The sincere hope of myself and your Councillors is that this Hall and its amenities will prove of immense value to the development of the cultural and artistic tastes of this community and that it will be freely used for these and many other purposes. From now on this magnificent building and its furnishings and equipment will be available to all. I strongly exhort you to use and protect it. My hope is that the citizens will, for many years to come, enjoy the amenities which it has to offer. ballarat civic hall, civic hall, architecture, finch, art deco, city of ballarat, coat of arms, city of ballarat coat of arms, callow, shugg, lemke, oates, gullan, tuuri, john, robertson, sorrell, antonio, gordon murphy, walter benbow trahar, trahar, coburn, h.l. coburn, l.j. coburn, n.t. callow