This item is a useful reference tool on the history of Indigenous People in East Gippsland and the Orbost district. A manilla folder with typed pages. On the cover is a label, "History of Aboriginal People of East Gippsland". On the inside cover is a letter addressed to the librarian at the Shire of Orbost Library. The letter is clipped to the inside of the folder.on front cover - a stamp -"Orbost Historical Society"aboriginal australians, gippsland aboriginal history, kurnai, brabawooloong peoples, tatungooloong peoples, krowathunkooloong peoples

These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg

Emu eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and its aesthetic appeal.An emu egg which has been painted white and decorated with glued on cord/thread to make a pattern of flowers and leaves.emu-egg ornament handcraft

Born in Richmond, Victoria, in 1947 Bruce Pascoe is a school teacher, deck hand, barman, farmer, Director of Commonwealth Australian Studies project, editor, publisher, and works in Indigenous language retrieval. He published and edited Australian Short Storiesquarterly magazine for 16 years, and was joint winner (with David Foster) of Australian Literature Award (1999) and winner of the Radio National Short Story Competition (1998).( ref macquariepenanthology.com.au/BrucePascoe.html) He is married to Lyn Harwood, has two children and lives at Gipsy Point, Far East Gippsland in Victoria. A paperback book with tree sketch on the front cover . This is in black ink. The title is "A Corner Full of Characters" , the history, yarns and stories from the corner of a continent. The book wass compiled by Bruce Passcoe who was a secondary school teacher in Orbost in the 1980's.pascoe-bruce gippsland

The white woman of Gippsland, or the captive woman of Gippsland, was supposedly a European woman rumoured to have been held against her will by Aboriginal people in the Gippsland region of Australia in the 1840s. Liam Patrick Davison (29 July 1957 – 17 July 2014) was an Australian novelist and reviewer. He was born in Melbourne, where, until 2007, he taught creative writing at the Chisholm Institute in Frankston. Davison and his wife Frankie, a teacher at Toorak College, were both killed on 17 July 2014 aboard Malaysia Airlines Flight 17 This, his third novel, was shortlisted for both The Age Book of the Year and the Victorian Premier’s Awards.This is a useful research tool on the history of indigenous and settler relationships in early Gippsland.A book titled "The White Woman" by Liam Davison. It is the story of the search for the lost white woman in Gippsland, Victoria, 1846. The cover has a black and white picture of forest with the title in white print.Bottom left corner - orange sticker Orbost Secondary Collegedavison-liam aboriginal-history

Parrying shields have long been used within Aboriginal communities not only for protection, but as a symbolic implement used in rituals. Aboriginal men using very basic tools made them. They were designed to be mainly used in battle but were also used in ceremonies. Many shields have traditional designs or fluting on them whilst others are just smooth. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This is a good example of a wooden Indigenous artefact from Eastern Australia.An Aboriginal shield of roughly carved wood. Has a square shaped hollowed out hand grip.

The lil-lil is a type of club which was made and used only in eastern Australia. It was a dangerous weapon when used in battle.The necessary tools and equipment for hunting, fishing and warfare were some of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This lil lil club is an example of a wooden weapon used by the Indigenous people of Eastern Australia.A handmade wooden lil-lil club with a long handle and axehead shaped club at one end. Intricately carved with a turtle on one side of the club head and a wild dog on the other.hunting fishing challenge-stick aboriginal

A woomera is a wooden Australian Aboriginal spear-throwing device . It is an extension of the human arm that enables a spear to travel at a greater speed and force than possible with the unaided arm.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This woomera is an example of an implement used by early Indigenous people.A flat hand-made dish like wooden spear thrower with curved edges. It has a small spike tied at one end and hardened black gum at the other.woomera aboriginal hunting spear-thrower

A waddy, nulla nulla or hunting stick is an Australian Aboriginal war club.It was used in hunting, fighting and as a ceremonial tool.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a wooden weapon used by the early Indigenous people of eastern australia.A hand-made wooden pointed stick, a nulla nulla. One end is thicker that the other. Designs have been burnt into the wood.nulla-nulla waddy aboriginal weapon

A returning Boomerang is one that comes back to you when you throw it. These were used for hunting smaller creatures such as birds, but more so for sport. This type of boomerang has a simple curved shape and is much lighter than a non-returning boomerang. returning Boomerangs were only developed in the last 200 years.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This returning boomerang is an example of a wooden tool used by the Indigenous people of Eastern Australia.A very old hand-made wooden returning boomerang that is black in colour. Very dinted.boomerang aboriginal hunting

Inspected by Joanna Freslov, archaeologist 2.6.2008. Ground-edged axes first appeared in south-eastern Australia about 4,000 years ago and were used either with handles or hand-held. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt. This is able to withstand repeated impact making it suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item is an example of a stone tool used by the early Indigenous people of Eastern australia.A handmade stone Aboriginal axe head.axe-head aboriginal tool stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008. -unusual axe head. Ground-edge tools are made from fracture-resistant stone, such as basalt. This axe would able to withstand repeated impact. The stone would have been dug or found and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock. Ground-edge tools could be held in the hand, or fashioned to be fixed onto a haft or handle.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This stone axe head is an example of a ground-edge tool used by the early Indigenous people in Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool aboriginal stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.22008. Grinding stones are slabs of stone that Aboriginal people used to grind and crush different materials. Bulbs, berries, seeds, insects and many other things were ground between a large lower stone and a smaller upper stone. This is the lower stone.Large grinding stones such as this one were designed to be left at a camp site for use the next time the group moved there. Smaller grinding stones were carried between sites. Grinding stones were not abandoned when they became worn and smooth through use. The stone would simply be roughened again so it was once again suitable for its function. This is an example of a food preparation utensil used by the Early Indigenous people of Eastern Australia.A large flat rock with grind hole in top. Rock has split. gridstone aboriginal stone-artefact

Inspected by Joanna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basaltwhich is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rockThe necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head.aboriginal tool stone-artefact axe-head

Inspected by Joonna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head. Finger grips are clear.axehead aboriginal tool stone-artefact

The subject leather leggings are associated with mounted troops known as the Australian Light Horse that served in the South African War from 1899 to 1902. After the war, Britain wanted to use fewer mounted troops and restructured its force around a style of combat that needed more infantry. But the defence of Australia still relied upon mounted military units as these were more mobile than infantry and could travel faster over long distances. Light Horse brigades in the Australian Imperial Force (AIF) mostly contained recruits who served in the Light Horse regiments of the Citizen Forces. Many young men from rural areas of Australia volunteered for the Light Horse regiments. They had to pass a riding test to join, this test was easier for men from the bush because horses were still the main method of transport on farms and in country towns. The army did not officially accept First Australians into the AIF until May 1917 when enlistment standards were relaxed to include 'half-castes' with a parent of European origin. Indigenous soldiers served as valuable members of the Light Horse and many possessed excellent horse handling skills and specialist tracking knowledge.The subject items are part of the uniform for the Light Horse Units that served in the Australian army from 1899 until 1918. These leggings were worn by soldiers on horseback and are significant as they represent a noteworthy time in Australia's early military history. It was a time when many young men gave their lives during the South African and First World Wars in the defence of the then British Empire as part of the Imperial Forces that were gathered from many British-controlled Colonial countries.A pair of two Leather Leggings used by Mounted Australian soldiers during the first world war. The leggings are dark tan in colour with stitching to attach buckles and fastener straps. The strap buckles are made of brass and the leather legging straps are of same leather as leggings. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, leggings, leather leggings, protective leggings, protective clothing, australian mounted light horse units, military equipment

The photograph shows sailing ships and a wreck in Lady Bay, Warrnambool. Lady Bay was once a very busy port of trade in Warrnambool and was also called the Port of Warrnambool or Warrnambool Harbour. THE “ENTERPRISE” 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous man, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) This photograph is significant for its association with the screw steamer SS Edina, heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their own history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest serving screw steamer in the world. After spending her first nine years overseas she arrived in Melbourne and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The photograph is also significant for its association wreck of the schooner Enterprise, also listed on the Victorian Heritage Listed VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck was also significant for its association with indigenous hero Buckawall who saved the lives of the five crew on board. Photograph titled "Lady Bay" depicts Lady Bay, Warrnambool, with vessels including SS Edina, the Peveril and the Tommy, with remains of the 1850 wreck of the schooner Enterprise in foreground. Titled, in hand written script, “”Lady Bay”, “S.S. ‘Edina’, the ‘Perevil’ & the ‘Tommy’ & the wrecked "Enterprise” Written in pencil on back “Council”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, enterprize, enterprise, port of warrnambool, warrnambool harbour, peveril, tommy, ss edina, pleasure steamer edina, warrnambool steam packet company, david hay, james gardiner caught, tramway jetty, buckawall, lady bay, steam ship, travel, trade, coastal trader, edina, dinah, cargo run, shipping, victoria, port phillip bay, john watson, edward byam, indigenous hero, indigenous rescue

Historic summary of Croydon comprised largely of early and contemporary photographs - Geoff Arnott, John Hutchinson, Les Hutchinson, Marjorie Meeuwsen, Croydon Historical Society Inc.Foreword by Cr. Les Willmott, J.P. - last mayor of the former City of Croydon. Acknowledgments: In the production of any book, many people play a part, be it financially or the giving of time with their knowledge and expertise in specialised areas, which concludes with a quality production - a book that is attractive, informative and accurate. We believe this book fits the description handsomely, and should bring joy and pleasant memories to many former and current residents of Croydon. To people who don't know very much about Croydon, this book will most certainly enlighten them. This has been a team effort, with many people playing important roles. With all this in mind, we would like to thank the following: The Maroondah City Council The Australian National Library Department of Families, Housing, Community Services and Indigenous Affairs Hutchinson Legal of Ringwood Sue Pitt, Alan Bennett and staff of the Croydon Library David and Ron Jewell Andrew Potts Adrian Arnott Elsie Bolwell Lyn Lynch Nick Anchen Cr Les Wilmott JP The Neville Family Bounty Print Dawn Gubb Photo courtesy of Leader Newspaper Press on pages 87, 90 and 113

This hanging knee was from the 1850 wreck of the schooner Enterprise. The 'hanging knee' or a 'ship's knee' is used for bracing a frame or supporting a beam. It is either a naturally bent piece of wood or wood cut into a bend like an elbow. The knee can be used in the frame of a boat or ship to spread load. THE “ENTERPRISE” 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous man, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) The hanging knee is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck was also significant for its association with indigenous hero Buckawall who saved the lives of the five crew on board.Portion of a ship's rib; a hanging knee, wooden, from the schooner Enterprise, 1847-1850. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hanging knee, ship's knee, knee bracing timber, wooden ship building, carpentry, shipwright trade, buckawall, lady bay, enterprise, coastal steamer, ship's rib, indigenous hero, indigenous rescue

Poster - paper, with white print, foreground full length black and white portrait photograph of an indigenous soldier. Background muted red to brown colours. Frame - top and bottom, timber slats adhered to the poster paper with top hanging string.Lettering on Poster. "Commemorating Indigenous Service in the First World War".framed accessories, poster, anzac day

This is a book of 266 pages. It It has a buff-coloured cover with 3 photographs and black printing. The pages contain printed text, maps, illustrations and photographs. non-fiction This book tells the biography of Pompey Austin an indigenous framlingham aboriginal mission, pompey austin

Manna Gum is a species of a small to a very tall tree that is endemic to south-eastern Australia. These particular trees are part of the Gawa Wurundjeri Resource Trail at Watsons Creek. Signs share information about how the Wurundjeri people lived near the creek and used the land to obtain bush foods, medicines, tools, shelter and clothes. The trail introduces visitors to the indigenous flora and fauna, including manna gums, Lomandra (used to weave baskets) and wombat burrows. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p3This 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, gawa wurundjeri aboriginal resource trail, manna gums, watsons creek

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This 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, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford Landscape Designer 30. 8 .1918 - 16. 6. 1999 Eltham Cemetery Trustee fom 1987 - 1999 Gordon settled in Eltham in 1948 He was a conservationist and a pioneer of natural style landscaping, continuing design and construction until his death. His local work and influence can be seen in many private gardens, the Eltham Cemetery and the Alistair Knox Park.Born Digitaleltham cemetery, gravestones, gordon craig ford

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair knox

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair samuel knox

Neil Douglas (1911 - 2003) was an artist and conservationist. In 1964 he founded a co-operative consisting of families who wished to live in harmony with the bush and indigenous wildlife at Bend of Islands, Kangaroo Ground. Contents: 1. Photocopy from unknown community newspaper October 1978: "The Balancing of Nature" an interview with Neil Douglas. Page also includes an article" Ecology" about plans being drafted for the construction of a completely biodegradable 100% organic school which refers to the unnamed Eltham College. 2. Folio depicting six artworks by Neil Douglass produced by Toorak Art Gallery, South Yarra. The paintings are: “Summer Creek”, “Eighteen Emus", "The Strange Australian Presence" (Black and white), "Ways before the Whiteman - Kangaroo Pad" (Wyperfeld National Park), (back and white) with caption, "Swipers Gully" and “Bush in Drought” (date unknown).neil douglas, paintings, etham college

Comprises twenty-three extracts from the Minutes of Evidence of the Coranderrk Inquiry, accompanied by an analysis of the historical text and context. The book relies strongly on primary-source materials and accurately references historical analysis from scholarly and Aboriginal perspectives. This book is derived from a verbatim-theatre performance in which professional actors portrayed the witnesses who gave evidence before the 1881 Coranderrk Inquiry.; Inscriptions and Markings: illustrations, photographs, facsimiles, maps, portraits About the book One of the first sustained campaigns for justice, land rights and self-determination in colonial Australia was undertaken by the Aboriginal people of Coranderrk reserve in central Victoria. Despite having created an award-winning farm they were targeted for removal to make way for white settlement. As skilled communicators and negotiators, they lobbied the government, in alliance with their white supporters, and succeeded in triggering a Parliamentary Inquiry in 1881. Coranderrk – We Will Show The Country derives from a unique verbatim-theatre performance where professional actors brought to life the witnesses who gave evidence before the 1881 Parliamentary Coranderrk Inquiry. Rescued from dusty archives, and including renowned Wurundjeri leader, William Barak, those witnesses continue to speak to contemporary audiences. Here, their powerful petitioning can be read alongside that of their non-Aboriginal allies, and those who would move them off their land. The book features a concise and accessible history of the Coranderrk Aboriginal Station and of the events that led to the appointment of the 1881 Parliamentary Coranderrk Inquiry. The book also contains a special edition of the verbatim script which has been annotated and referenced so as to provide a blueprint of how the original minutes of evidence from the 1881 Parliamentary Coranderrk Inquiry were adapted into a theatre script. Each scene of the play has also been introduced with a short biography of each character and a discussion of the key themes raised in their testimony. Supplementing the verbatim script of the performance, the book includes a range of historical images and stills from the ILBIJERRI Theatre Company’s production. Coranderrk – We Will Show The Country celebrates the spirit of collaboration between black and white in pursuit of justice, and offers an engaging way to learn about our past – and to think about our future. Coranderrk - We Will Show The Country. (2023, October 19). Retrieved from http://www.minutesofevidence.com.au/education/coranderrk-we-will-show-the-country-book/Ex Yarra Plenty Regional Library copyaboriginal australians, coranderrk, first nations people, healesville, indigenous history, performance, play

Vol. 5, No. 5 (4), Sep-Oct 2000 CONTENTS From Beach to Battleground 3 Talking art with Rick Amor The Poetry of Catharsis 7 New Work by Sandy Jeffs Saltwater 8 Paintings of Sea Country Snake Circle 10 Reviewed by Anna Barden Short Story 12 The Rainbow Shell Theatre Reviews 16 By Kathy Oliver Interview 18 David Moore and why he paints Art Now 21 City of Darebin Biennial Exhibition Australian Classical Music 22 Betty Scarlett William Barak Writing Competition 24 Stories by Emily Borg & Rhiannon Foster New Arts Contributors 26 Were Street Cafe & Studio19 Artin About 27 Wining & Dining 30 Poetry 32 By Shelton Lea Artist's Services 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, rick amor, willy wonka's ice cream gourmet food, bulleen art & garden centre, sandy jeffs, museum of modern art at heide, sea country, indigenous paintings, roberta sykes, kinglake gallery, sue yardley, alan marshall short story award, plenty ranges arts & convention centre, eltham little theartre, warrandyte theartre company, eltham wiregrass gallery, david moore, montsalvat, art now, at winter's end festival, artstreams publications, amberley, anthology of australian music on disc, plenty views golf park, wayne viney, william barak short story competition, emily borg, rhiannon foster, dynamic vegies, maria pellicano, steve pellicano, were street cafe, gemma lynch-memory, adriane strampp, nina christesen, stephanie holt, st andrews market, thompsons pharmacy