The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

Dong Ho is on the Duong River in Bắc Ninh Province, Vietnam. The woodcut painting (Tranh khắc gỗ dân gian Dong Ho is a line of Vietnamese folk painting originating in Dong Ho village. The traditional themes of Dong Ho painting are good luck signs, historical figures, folk allegories, popular stories, and social commentaries. Elements of everyday life are well integrated in Dong Ho paintings to express the thoughts and wishes of people. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Craftsmen in Dong Ho use a special type of paper named giấy điệp. The bark of dó tree, which normally is grown in Tuyên Quang Province, is soaked in water for months, then mixed with powders of seashells (sò điệp), which is the origin of the paper's name, and glutinous rice to make sheets of paper. The s seashell and glutinous rice results in paper with an exotic sparkling hard background which is able to conserve the durability of colours. The colours are refined from natural materials which are easily found in Vietnam. For instance, the red colour is taken from red gravel in Thiên Thai Mountain, while the black comes from charcoal of burned bamboo leaves. The hand carved woodblock is applied with paint and pressed on a sheet of paper like a stamp. The process is repeated with different colours until the craftsman is satisfied with the outcome. One woodcut is for outline and several others are for each colour printed. The finished picture is covered with a layer of rice paste (hồ nếp) to strengthen the durability of its illustration and colours and afterwards dried under the sun. From beginning to end the process takes six to seven months. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) The tradition of Đông Hồ painting dates back to the 11th century during the reign of the Lý Dynasty. Originally, Đông Hồ paintings were made with black-and-white prints of woodcuts, but from the 15th century, different colours were introduced by craftsmen in the village. As a village specialized in making woodcuts and paintings, almost all Đông Hồ villagers were involved in the manufacturing of paintings from carving the woodblocks, producing điệp papers, obtaining natural colours to creating new themes, and printing.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Before 1945 over 150 families in Đông Hồ village were making pictures, but the tradition has rapidly faded. Villagers can no longer make a living based on this production so only a few households in the village still make pictures, while many others have switched to producing joss paper and votive paper object.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.)Asian ArtA framed collection of work by children from Dong Ho Village, Vietnam.dong ho, vietnam, woodcut, printmaking, dong ho art, dong ho painting, dong ho village, vietnam.

Taken in Beechworth 1859, this photograph depicts the south side of Ford street looking towards the Methodist Church. The Methodist Church was built in 1857, and was the first permanent church building on the Ovens goldfields. It was one of the first permanent churches built on the Victorian goldfields, and the first on the Ovens goldfield. It demonstrates the rapid development which occurred in the goldfield towns following the discovery of gold in the early 1850s. It reflects the importance of Methodism in Victoria at this time, and the early activities of the Wesleyan Methodist Church in taking their religious message to the gold miners. [https://vhd.heritagecouncil.vic.gov.au/places/104] The buildings ceased being used as a church in 1966 when the Methodist and Congregational churches in Beechworth amalgamated.Black and white rectangular photograph. Image is printed on matte photographic paper. Obverse: NO INSCRIPTION Reverse: 7775 Ford St Looking Southwest 1859 Burke Museum Beechworth beechworth, ford street, methodist church, 1859

Standing L-R: Ernest Samuel Shillinglaw, John Thomas, Min Bergin, Leslie Ernest Shillinglaw, Alva Shillinglaw (Nee Thomas), Doug Way, Don Richards, Cecil Thomas Seated L-R: Frances Thomas, Melva Richards (nee Shillinglaw) ENGAGEMENTS The Engagement is announced of Alva Elizabeth, daughter of Mr. and Mrs. C. J. Thomas, Mt. Eliza, to Leslie Ernest, only son of Mr. and Mrs. E. S. Shillinglaw, Healesville. Family Notices (1948, November 13). Healesville Guardian (Lilydale, Vic. : 1942 - 1954), p. 2. Retrieved December 4, 2022, from http://nla.gov.au/nla.news-article60678669marg ball collection, 1949, alva elizabeth shillinglaw (nee thomas), cecil thomas, don richards, doug way, ernest samuel shillinglaw (1888-1958), frances thomas, john thomas, leslie ernest shillinglaw, melva lucy richards (nee shillinglaw), melva lucy shillinglaw, min bergin, wedding

This building at 21 Brougham Street, Eltham, known previously as The Light Factory, now Second Home restaurant, was designed by Alistair Knox and is one of the few commercial buildings he designed. It was a combined residential (rear) and factory (front) development. The Light Factory Gallery; OnlyMelbourne "The Light Factory Gallery was built in 1973 and is a classic example of his design. Exposed soaring six metre Oregon beams, handmade bricks, clerestory windows flood the building with natural daylight giving treetop views of the eucalypts that he designed the building around." The Light Factory Gallery. (2024, March 31). Retrieved from https://www.onlymelbourne.com.au/the-light-factory-galleryjim connor collection, brougham steet, eltham, alistair knox design, industries, restaurants, second home, the light factory gallery

[Five views of Thursday Island, including] Thursday Island from Military Barracks, The T.S. Hospital, Darnley Island Torres Straits, Main Street, Native Feast, [ca. 1917-1920] See https://catalogue.nla.gov.au/catalog/3117659 Dear Mum A few lines to let you know I've arrived at the top end of Aussie safely & now on my way down the coast towards Sydney. I'll be over on leave about the eighth Sept cheer up dont forget to send the suitcase about the second of Seot it will give me time to pack it then remember me to all & best love to yourself and Dad, your son Bill.This item, a souvenir from Thursday Island from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). According to Bill's neice Valerie Waller (nee Feldbauer, daughter of Violet and Theodore 'Curly' Feldbauer), her Uncle Bill would always bring some sort of souvenir home from his travels for family members. The item ( along with a series of postcards from Japan of the Great Kanto Earthquake of 1 September 1923) was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial through 'Curly' Feldbauer and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, postcard, thursday island

The white disc at the front of the train is folded in half covering trhe white circle indicating this is the front of the train. When the full white disc is visible, this signifies the end of the train. See similar image taken just moments prior - https://www.victorianrailways.net/motive%20power/e/e.html "V.R. Cavalcade" Centenary 1854-1954 Exhibition (11-25 Sep 1954) presented a model railway occupying about 1,400 square feet in the Lower Town Hall featuring a number of model railway working scale models. The exhibition also included a display of rolling stock, track, electrical and other railway equipment held at Spencer Street Railway Station.Digital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, display, spencer street railway station, v.r. cavalcade, victorian railways centenary 1854-1954 exhibition, e-1101, e-class electric locomotive

HMAS Quickmatch (G92/D21/D292/F04), named for the quick-match, a fast burning match used for lighting cannon, was a Q class destroyer operated by the Royal Australian Navy (RAN). Although commissioned into the RAN in 1942, the ship was initially the property of the Royal Navy. Quickmatch served with both the British Eastern Fleet and British Pacific Fleet during World War II. In the 1950s, the destroyer was converted into an anti-submarine frigate. In 1957, Quickmatch operated in support of Malaya during the Malayan Emergency. The ship remained in service until 1963, and after use as an accommodation ship, was sold for scrap in 1972. http://en.wikipedia.org/wiki/HMAS_Quickmatch_(G92)Print of Photograph of H.M.A.S. Quickmatchhmas quickmatch, h.m.a.s. quickmatch, quickmatch

Collected by Lisa Gervasoni when she visited the ship as part of the City of Ballarat's delegation to the ship on the 9th December 2006. HMAS Ballarat (FFH 155) is an Anzac-class frigate of the Royal Australian Navy (RAN). The frigate was laid down in 2000 and commissioned into the RAN in mid-2004. Since entering service, Ballarat has been involved in border protection as part of Operation Relex II, was deployed to the Gulf for Operation Catalyst, and was one of the two ships involved in the Operation Northern Trident 2009 round-the-world voyage. Ballarat has undergone the Anti-Ship Missile Defence (ASMD) upgrade, completing in 2015. (https://en.wikipedia.org/wiki/HMAS_Ballarat_(FFH_155)Navy blue cap of heavy brushed cotton with the Navy Ceremonial badge on the left side which refers to the events of the Eureka Stockade (Ballarat, 1854) and is embroidered in white.. Hook-and-loop adjustment at the back. On the front of the cap the words HMAS Ballarat & FFH-155 are embroidered in gold and an embroidered representation of the ship is in white. Stamped into the brim is the word Navy and the Royal Australian Navy Emblem. On the outside of the cap - HMAS Ballarat FFH-155, Navy, Defend the Flag Inside label - Oakwood (03) 97986278hmas ballarat, ffh-155, royal australian navy, lisa gervasoni, navy cap

This Victorian cottage was probably once used as a guest house during the tourist boom to the mineral water resort at Hepburn Springs or Daylesford. "This elegant double-fronted Victorian residence c1900 will be a Mecca for lovers of Victorian heritage and ornate styling. Period features, pressed ceilings, fret displays, high ceilings and magnificent original timber walls. With 3 bedrooms, 2 living areas, the home offers any keen Renovator or Investor many opportunities, renovate or lease it out immediately (the property has been a permanent rental for many years) " (http://www.stockdaleleggo.com.au/daylesford/details.asp?internetid=271641&OFFICE_ID=57, accessed 24/12/2013)A weatherboard cottage at 21 Duke Street, Daylesford. It is thought this house was once a boarding house for visitors to Daylesford.daylesford, duke street, guest house, weatherboard, cottage

Methodist societies and churches issued quarterly tickets (or class tickets or love feast tickets) as a way to identify members of good standing in the society or church. Tickets also became a way of offering admission to the love feast, or Agape, which was a service around a shared meal, but distinct from the Lord’s Supper. Quarterly tickets typically included the member’s name, the minister’s name, the date, as well as a Scriptural text. The practice of issuing quarterly tickets began in the mid-eighteenth century with John Wesley and continued in many Methodist organizations throughout the nineteenth century. Issuing tickets fell out of practice in the early twentieth century. https://findingaids.library.emory.edu/documents/P-MSS441/printable/Printed envelope containing a Quarterly Ticket for March 1930. The card has the donor's name written on it together with the month and year."Doris Wise" "March 1930"northcote methodist circuit, methodist quarterly tickets

"Brown's self interpreting Bible with numerous notes by the Rev Henry Cooke, DD, LLD. Reedited with additions by the Rev J L Porter DD" Editors preface dated 1873. Mary Hannah William Thomas married John Thomas at Sebastopol Congregation Church. John Brown (1722-1787) was a Scottish weaver who became a Presbyterian minister. Although self-educated, he prepared an annotated Bible, Bible dictionary and concordance, and a metrical version of the Psalms. His self-interpreting Bible appeared first in 1778 in Edinburgh and was reprinted many times. [Source: https://hbu.edu/wp-content/uploads/sites/27/2018/06/Byrd-Collection-.pdf]Heavy dark brown dimpled leather covered bible with marbled endpapers, gilt page edges and many monochrome plates. The bible has a dedication plate inside the front cover.On spine "BROWN'S BIBLE" Plate: "A GIFT TO MISS MARY HANNAH WILLIAMS ON HER WEDDING DAY JANUARY 14TH, 1891, BY HER OLD SUNDAY SCHOOL TEACHER TIMOTHY THOMAS. "May the Lord protect her path"mary hannah williams, brown's bible, sebastopol congregational church

From 'ANNUAL REPORT OF THE NORTHERN PROTECTOR OF ABORIGINALS FOR 1903, Queensland' With regard to the instruction and general education given to the children and adults, I have, as usual, to speak in terms of the highest praise. I do not recognise anything that could be improved upon. For the first time in my life, I have heard little aboriginal children, boys and girls, doing part-singing. The band consists of a drum, four cornets, a tenor horn, and bass; lack of funds alone prevents more instruments being added. A most successful concert was lately given in Cairns in aid of the mission expenses. (https://aiatsis.gov.au/sites/default/files/catalogue_resources/63482.pdf)A black and white image of a musical band made up of Aborigines of Queensland. aborigines, band, music

As a young man, Collins joined the Fenian movement (founded to overthrow British rule in Ireland). This work led him into politics. He was quickly elected a state representative and then a state senator. As a legislator, Collins worked to ease restrictions on the practice of religion for Catholics in state institutions and to earn public money for Catholic charitable institutions. With the rapidly increasing number of Irish voters in Boston in the 1870s, their vocal assertion of their rights, and strong political organization, the Irish were beginning to be recognized as a power to be reckoned with. Collins was central to these developments.(http://www.questia.com/library/journal/1P3-2036414231/young-patrick-a-collins-and-boston-politics-after, accessed 21 January 2014)Image of Patrick A. Collins, United States Congressmanballarat irish, patick collins, collins,

Theodolites are a highly accurate instrument that measures angles between designated visible points in the horizontal and vertical planes. The theodolite has a long history, with the term first found in 1571 in a surveying textbook 'A geometric practice named Pantometria' by Leonard Digges. (source https://en.wikipedia.org/wiki/Theodolite). Theodolites are used by surveyors as part of their everyday work and although there is no specific information regarding the provenance of this particular one it is assumed it was used locally by the Shire of Marong and / or the Lands Department. Edwin Watts started the company in 1856, trading up to 1920s as E.R. Watts & Son with E. R. Watts & Son Ltd amalgamating with Adam Hilger Ltd to form Hilger & Watts in 1948.0442.1 A black and grey theodolite no 39161 made by Watts & Sons. Various moving parts showing signs of extensive use particularly on the uprights on the main body and around knobs and dials where the paint is worn back to brass. Is housed in original box with key, oil container and pin. 0442.2 handwritten instructions for making adjustments to the Theodolite written on the back of Road Users' Association of Victoria letterhead note paper.Watts & Sons / London / 5974 For N H Seward / Melbournelands and survey department bendigo, shire of marong

Devils' Bank was situated some two miles from Eltham. It is probably the section along the Yarra River where there are a series of rapids stretching past Petty's Orchard to Griffiths Park and the confluence with the Diamond Creek. Only three properties existed in this area in 1945 aerial maps, Worlingworth and the adjoining property on the bank of the Diamond Creek in Banoon Road and No. 2 Kent Hughes Road. Devils' Bank. The death of Ann Edwards, 77 years, an old resident of the district was reported who lived in an old hut at Devil's Bank who had been found dead in her bed on 13 May 1897 FOUND DEAD IN BED. (1897, May 28). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved September 3, 2022, from http://nla.gov.au/nla.news-article60696388 A very similar view was published in the Leader paper in January 1908 - Devil's Bank Falls, Eltham VIEWS ON THE UPPER YARRA. (1908, January 11). Leader (Melbourne, Vic. : 1862 - 1918, 1935), p. 28. Retrieved September 3, 2022, from http://nla.gov.au/nla.news-article198106006 On the reverse of the postcard it appears to be postmarked Eltham, Dec 27, 1907 addressed to Mrs Christie Millmoss of Bull Street, Bendigo "Arrived here 10.45 am - ? ? raining cause of ? - ? till evenings it is lovely - but quite fresh after the (rain - crossed out) great ? - I may assume it all go well"Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 2 Sep. 2022michael aitken collection, devils bank, eltham, postcards, rapids, yarra river

Anecdotal evidence holds that most men returned from Vietnam in the dead of night, hidden from the public. In fact, large numbers actually returned on HMAS Sydney, to a welcome by dignitaries and a parade. The manner of their homecoming affected the way in which veterans recovered from the war, those who did arrive late at night to no fanfare and the seeming indifference of the military had more trouble adjusting to life at home than did those whose return was more public and who had had the benefit of a couple of weeks unwinding on board Sydney before reaching Australia. But the return home was only the beginning of a long period of readjustment. For a long time after the war large numbers of Vietnam veterans felt that many in Australia blamed them, rather than politicians, for the war and the way it had been conducted. Images of the war, many still familiar, of children burned by napalm, of the dead of My Lai, of a South Vietnamese general summarily executing a member of the Viet Cong in the streets of Saigon, had an effect on public opinion and public understanding. The fact that these images related more to the American/Vietnamese experience in Vietnam was less remarked upon. People associated the role of Australians in the war with that of the Americans in a way that failed to recognise the two countries’ different approaches to fighting in Vietnam. see https://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&ved=0CDwQtwIwAg&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DYL06ddRmiJE&ei=O9OJUYnxC5GaiQeey4HQCA&usg=AFQjCNEjq876qAoYu0WnWslDSNRUJlmuBw&bvm=bv.46226182,d.aGc Wooden Plaque 15cm x 13cmVietnam Vererans Parade Sydney 1987

Sir Oliver's Song, Eltham Christian School, 18 August 1983. Children performed songs from "Sir Oliver's Song" - a Christian children's album by the Dove Award winning and Grammy Award nominated group Candle, rleased in 1979. It teaches the 10 Commandments through songs that are based on musical styles from around the world. (Source: Wikipedia) The Stokes family settled in this area of Eltham in the 1940s and were associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1920s subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises were owned by the Nillumbik Community Church who were in operation till November 2010 when the Eltham Baptist Church commenced a lease arrangement until the site was purchased by them in April 2012. The building is constructed of brick and timber with a balcony on two sides that looks over an expanse of grass. Sources: STOKES ORCHARD – AN INCOMPLETE HISTORY February 28, 2015 http://www.elthamhistory.org.au/ Australian Christian Church Histories - Eltham Baptist Church http://www.churchhistories.net.au/church-catalog/eltham-vic-baptist/ From a magnetic spiral bound photo album featuring a series of photographs (some cropped) with captions relating to the staff, students and activities of the Eltham Christian School which operated as part of the Eltham Christian Church at Nyora Road, Eltham. See also entries for each photograph.Colour photographeltham christian school, nyora road, concert

ROW 2 L -R: David Prentice, Jessica Doedens, Jackie Levering, Darren Watts, Fiona Berry, Karen Whalley, ROW 1 L - R: Rachel Berry, Andrew Mitton, Natasha Watts, Peter Whalley, Marissa Vail, Aaron Mitchell, Teacher: Mrs. Humphreys Class: PRIMARY The Stokes family settled in this area of Eltham in the 1940s and were associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1920s subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises were owned by the Nillumbik Community Church who were in operation till November 2010 when the Eltham Baptist Church commenced a lease arrangement until the site was purchased by them in April 2012. The building is constructed of brick and timber with a balcony on two sides that looks over an expanse of grass. Sources: STOKES ORCHARD – AN INCOMPLETE HISTORY February 28, 2015 http://www.elthamhistory.org.au/ Australian Christian Church Histories - Eltham Baptist Church http://www.churchhistories.net.au/church-catalog/eltham-vic-baptist/ From a magnetic spiral bound photo album featuring a series of photographs (some cropped) with captions relating to the staff, students and activities of the Eltham Christian School which operated as part of the Eltham Christian Church at Nyora Road, Eltham. See also entries for each photograph.Colour Photographeltham christian school, nyora road, david prentice, jessica doedens, jackie levering, darren watts, fiona berry, karen whalley, rachel berry, andrew mitton, natasha watts, peter whalley, marissa vail, aaron mitchell, mrs humphreys

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. https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. https://vhd.heritagecouncil.vic.gov.au/places/35413 - re 16 Kambrook Road A small late Victorian Italianate villa distinguished by its parapeted window bays either side of a small verandah with encaustic tiled floor. The parapets are balustraded with console enrichment and glazed tiles, the stuccoed surfaces being unpainted. Ornamentation is in other respects undistinguished. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road ... they demonstrate most of the commonly employed aesthetic devices characteristic of the Italianate Style including patterned brickwork, patterned slate roofs, cast iron lace verandahs, ornamental stucco work and ashlar boards...https://vhd.heritagecouncil.vic.gov.au/places/43737 - 345 Balaclava and 26 Kambrook Roads HO91 in City of Glen Eira "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. https://vhd.heritagecouncil.vic.gov.au/places/35413 - 16 Kambrook Road HO121 in City of Glen Eira ''Hollywood'' at 16 Kambrook Road is of architectural interest for its pavilions which retain their unpainted parapets and ornamental tiles in the manner of other less imposing examples in the immediate locality possibly linked with the builder George Wybar and his son, who undertook substantial projects nearby. Its association with James Yorston, presumably is Yorston of Dickson and Yorston, important builders and estate developers at Caulfield during the Inter war period is of interest. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road HO152 Normanby Road/Kambrook Road, Caulfield North Statement of Significance: The Precinct is historically significant for its capacity to demonstrate standards of design and building construction in this part of the municipality during the late Land Boom years and especially just prior to the bank collapse of 1891. The housing stock is representative of the standards of amenity excepted by the middle classes of Melbourne society at the time, including artists, (horse) trainers, jockeys, managers, travellers, journalists and the like, also having a functional link with the activities of the Caulfield Racecourse which forms an important element in the history of the Municipality. The row of attached pairs at 5-11 Kambrook Road and 53-67 Kambrook Road is especially significant in this respect in that the narrow allotments are indicative of the owner/developer’s determination to maximise profits at the height of the Land Boom in 1891...Page 104 of Photograph Album with four photographs (landscape) of three different properties on Kambrook Road.Handwritten: Kambrook Road [top right] / WYBAR'S BUILDING 1887/ INC CAULFIELD BAKERY / [under top right photo] / 16 KAMBROOK ROAD / 1970 HIRST MRS J.N.[under bottom left photo] / 11-9 KAMBROOK ROAD / 1970 9-BUCKLAND MRS L.A / 11- ATKINS MRS N.E. [under bottom right photo] / 104 [bottom right]trevor hart, kambrook road, victorian, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, victorian italianate style, houses, bay windows, verandahs, glazed tiles, shops, george wybar, builders, james yorston, dickson and yorston, j n hirst, l a buckland, n e atkins, patterned slate roofs, patterned bricks, cast iron work, attached houses

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A large painting on canvas. art, artwork, david noonan, noonan, alumni, oil on canvas, available

Possibly the Yellow Box, Eucalyptus melliodora, Laughing Waters Road, Eltham 80 m from Reynolds Road http://vhd.heritagecouncil.vic.gov.au/places/71057 Outstanding size Outstanding specimen Located 80m from Reynolds Road, this tree is one of the few remaining forest trees that covered the area before settlement. Measurements: 11/1981 Spread (m): 23 Girth (m): 4.3 Height (m): 42 Estimated Age (yrs): 250+ Condition: Good Measurements: 20/09/2010 Spread (m): EW 20 NS 23 Girth (m): 4..5 Height (m): 40 Estimated Age (yrs): 250+ Condition: Access: Unrestricted Classified: 17/02/198335mm colour positive transparency (1 of 3) Mount - Kodak Ektachromeunidentified, significant tree

An English actress in her younger days, Camille Treherne was active between 1909 and 1913. She played the role of Empress Marie Louise in "Madame Sans-Gêne" as shown in this postcard image. In her later years, Camille Treherne (Mrs Hill) lived as a recluse in a shack in Ingrams Road, Research, Victoria, Australia. Madame Sans-Gêne is a historical comedy-drama by Victorien Sardou and Émile Moreau, concerning incidents in the life of Catherine Hübscher, an outspoken 18th-century laundress who became the Duchess of Danzig. The play is described by its authors as "three acts with a prologue". "Madame Sans-Gêne (play)." Wikipedia https://en.wikipedia.org/wiki/Madame_Sans-Gêne_(play). Accessed 19 Oct. 2023.On reverse: Mrs Hill a recluse living in Ingrams Rd Research She was an actress (shown here) in younger days then lived in a "shack" in Research.actress, camille treherne, madame sans-gêne (play), postcard

Visible behind T-94 is an AEC Railmotor (with tiger stripes on front) and trailer used on branch lines to haul a 4-wheel trailer. Steam locomotive T-94 has been preserved and is currently on display at the Australian Railway Historical Society Museum at North Williamstown http://www.australiansteam.com/T%2094.htm "V.R. Cavalcade" Centenary 1854-1954 Exhibition (11-25 Sep 1954) presented a model railway occupying about 1,400 square feet in the Lower Town Hall featuring a number of model railway working scale models. The exhibition also included a display of rolling stock, track, electrical and other railway equipment held at Spencer Street Railway Station.Digital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, display, spencer street railway station, v.r. cavalcade, victorian railways centenary 1854-1954 exhibition, aec railmotor, railmotor, t-94, t-class steam locomotive

The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin base and external tin lid, with round internal lid .Colour printed. Used for cocoa. Caption of a woman drinking cocoa, red Australian flag and British flag on other faces. Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," (Display side) "Manufactured by Hoadley's Chocolates Ltd, Australia.Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," "Manufactured by Hoadley's Chocolates Ltd, Australia.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, tin, tin plating, food containers

James Bickett, the author of the letter, moved the motion to establish a School of Mines at Ballarat in 1869. Further information on James Bickett at http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_Bickett,%20James.shtml The text of the letter is as follows: "98/152 Mining Board Office Ballaarat 28th April 1899 Sir I have the honor by direction to inform you that the Ballarat Mining Board has resolved to pay an official visit to the School of Mines on Monday next at 2nd [pro??] at 11.30 a.m. and to request that you will be pleased to receive the members at the date and hour named. I have the honor to be Sir Your most obedient Servant J.M. Bickett Clerk to the Board. The President School of Mines BallaratHandwritten letter on lined foolscap paper. James Bickett, Clerk of the Ballarat Mining Board, requests to visit the Ballarat School of Mines.1) Written and circled in red ink "248" .2) Written and circled in red ink "319" "Mining Board Office Ballarat 31st May 1898 Dear Sir, I am directed to convey to you and to Mr Martell the best thanks of the Board for the very great kindness shown on the occasion of the officials visit of its members to the School of Mines on the 2nd instant and to assure you how highly gratified they were to observe the facilities provided for the students to acquire scientific and practical knowledge under the admirable administration of the School. I am dear sir yours very obediently J.M. Bickett Clear to the Board A. Anderson Esqre President School of Mines Ballaaratballarat school of mines, ballarat mining board, james bickett, jm bickett, bickett, anderson, andrew anderson

The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin container painted yellow with printed crosses and circles,. The lid is labelled "Robur Cross Stitch Company" and "R" imprinted in the centre although the lid is badly corroded. ‘Cross – Stitch’ (printed green in small crosses and circles) followed by ‘Nett Weight ¾ lb. (printed beige in crosses and circles). Pure Blended Tea. Robur Tea Co Ltd’ flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, robur tea co ltd, tea, tea caddy, tin, tin plating, food containers

The “Saf-T-Coil” (Julius Schmid Laboratories, Little Falls, New Jersey, USA) IUD was a first generation IUD that entered manufacturing in 1965 and was one of the first inert type plastic IUDs to be commonly used. It was also one of the first to adopt the familiar T-shape of IUDs still used today. It was accepted during its time as being generally safe, effective and easy to insert, with low expulsion rates due to its bulky frame. Production was halted in 1982 for economic reasons as newer contraceptive methods gained popularity. (Madden et al. 'A Case of Migrating “Saf-T-Coil” Presenting With a Vesicovaginal Fistula and Vesicovaginal Calculus', https://www.sciencedirect.com/science/article/pii/S2214442016300286)Saf.T. Coil 33.s intrauterine device, with inserter. Sealed in original sealed plastic packaging, unopened. Shape resembles a double coil with ends that spiral inwards. The inserter has an adjustable blue 'stop' pre-set at 1 3/4" for insertion into a 'normal' uterus. There is also an instruciton leaflet enclosed.intrauterine device, contraception

The town of Vire is on a rocky promontory above the Vire River, situated in the south-west of the Calvados department of Lower Normandy, about half way between Caen (north-east of Vire) and Mont-Saint-Michel (to the south-west). Since 2016 the town has been part of the commune called Vire-Normandie. The town suffered quite heavily during bombardments at the end of the Second World War, and much reconstruction and renovation took place in the decade that followed the end of the war. (https://www.francethisway.com/places/vire.php) Julien Hardy, a stonemason and first discoverer of gold at Happy Valley, near Ballarat, Victoria Australia, was born near Vire, France. This photograph was taken by a descendant of Julian Hardy.Two colour photographs of buildings in the town of Vire, Normandie, France.julien hardy, vire, normandy