PHOTOGRAPH TAKEN IN CLUNES BOWLING CLUB CLUBROOM AT CELEBRATION CLUNES BOWLING CLUB CENTENARY ON JUNE 1ST, 1978BLACK AND WHITE PHOTOGRAPH OF CLUNES BOWLING CLUB 1978 REAR - K. KINNERSLY, J. HILL, B. KINNERSLY, K. DELMENICO, C. HENDER, R. DOLAN, B. DOLAN, T. HARDEN SEATED - B. DELMINICO, K. FRASER, D. HILL (PRES) I. HILL, F. BOURKE, N. HILLlocal history, photography, photographs, sport, bowling club clunes

BLACK AND WHITE PHOTOGRAPH OF CAPTAIN AND MEMBERS OF CLUNES FIRE BRIGADECAPTAIN A. LEAN L. CARTER, D. WRATHALL, B. WINGATE, E. BROWN.local history, photography, photographs, fire brigade

THE CLUNES FOOTBALL CLUB WERE RUNNERS UP IN CLUNES LEAGUE IN 1967. PHOTOGRAPH TAKEN IN CLUNES FOOTBALL GROUND.BLACK AND WHITE PHOTOGRAPH OF CLUNES FOOTBALL CLUB. 1967 - PASTED ON TO YELLOW CARDBOARD ORIGINAL PHOTOGRAPH OF 1967 FOOTBALL TEAM. .1 - 3 MOUNTED ON CARD WITH NAMES UNDERNEATH .4 - .6 COPIES OF MOUNTED PHOTOGRAPH .7 SMALL PHOTOGRAPH OF MOUNTED PHOTOGRAPHCLUNES FOOTBALL CLUB. RUNNERS UP CLUNES LEAGUE 1967- PLAYERS NAMES UNDERNEATH PHOTOGRAPH. MISSING FROM MEDIA BOTTOM LINE WHICH READS : ABSENT: G EPPINGSTALL, D JAMES, G TOOSE.local history, football, football club 1967

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square. This is the second of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Square floor mosaic. Black and white chequered border. Multicoloured coiled snake intercepted with six multicoloured peaks. Made up of small mosaic tiles and hand painted. Hand painted artist signature bottom right hand side. 'Deborah D. Halpern '01'eltham, halpern, mosaic, snake, square, laurence, painted, tiles, spirit, nillumbik

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

Sue Ford (1943-2009) was an important practitioner in the wave of 1970's Australian feminist photographers. Ford regularly took intimate and candid pictures of artist friends, such as 'Neil Douglas Research 1964', documenting a time in Eltham when Montsalvat and Dunmoochin played an important part in the early attraction of artists to the Nillumbik area. Artist, conservationist and activist Neil Douglas (1911-2003) is best known for his garden at the Bend of Islands, Kangaroo Ground where he formed a co-operative for like-minded people who wished to live in harmony with the bush and wildlife. His love of nature and the beauty and fragility of the bush are constant themes that often run parallel in his ceramic works and paintings.Sue Ford and Neil Douglas were artists of national significance who both lived in the local Nillumbik area in the mid to late twentieth century. They were part of a community of artists integral in forging a dynamic artistic spirit, heavily inspired by the region's landscape and its people. Black and white silver gelatin photographic print of Neil Douglas plein-air painting in his rose garden at Research. Ed.1/3N/Aford, douglas, silver gelatin photograph, bend of isles, research, kangaroo ground, garden, environment

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Members at the General Managers Conference, London, around 1946.Black and white photo of 7 men seated around a table in suits. Photo is framed in wooden frame painted silver. Back of the frame has the names of the men written in pen.Back: [handwritten] LEFT TO RIGHT / Mr Wollan Manager Dalgetys East Africa / K. R. ELDER GM Australia / LT. COL. HON. I. LESLIE MELVILLE DIRECTOR / DESMOND ABEL-SMITH CHAIRMAN DALGETYS / G.S. HUNTER GENERAL MANAGER / LONDON / M. STOOKS Secretary / D. COOPER G. MANAGER NZ / General Managers / Conference London / About 1946managers, coference, london, dalgety and company limited

Various colour photos of Wimmera Flour Mill at time it was being demolished. Note roof being dismantled. Rail line in foreground. Willaim Frayne founded the Wimmera Flour Mill on a site in Taylor Street (beside the railway line) Stawell 1876. When Willian Frayne dies 1899 his son George took over the mill. The mill continued to be a propriety company until early 1966, when it was sold to the Victorian Mill Owners. The sale was forced because of the lack of export markets. A factor which affected most country mills. The Victorian Oat Growers Pool took over on July 1st, 1967. Trading under the name of Wimmera Flower Mill as a subsidiary company. Later years it sold clipped and graded seed, oats, stockfeed for poultry, pigs and dairy cattle and all types of crushed grain. The original Frayne homestead still stands behind where the Mill stood facing Frayne Street. In 2007 during our "Collection Review" the four smaller colour photos, which were donated by Mr. Mick Walsh, 52 Patrick St Stawell were very similar to the bigger photo in the file 139.6e.139-6 a-d & e Coloured photographs showing various views of the Wimmera Flour Mill or Grain Handling Corporation building in progress of being demolished. There is a red brick building with a tiled roof in these coloured photos. The rail line is shown in foreground of 139-6 e. Our records on the data base show 139-6e to be a black & white photo but the same photo in the office folder is an enlarged colour photograph. Grain Handing Corporation stawell industry

Two Newspaper Cuttings Stawell Times News, September 30, 1988. The newspaper cutting show the demolition of old flour mill with views of the building from the front and back. The four colour photographs 139 c, d, e, f, show detail of the internal rooms being demolished.Black & white demolition photos 139 a and b from Stawell Times News. Four colour photographs 139 c - f of internal rooms being demolished. The Grain Handling Corporation PTY LTD Crown Beef Co. Page 2 Stawell Time-News Friday September 30, 1988.stawell industry

This photograph is of a former Oriental Bank & previously Bank of Australasia, built by Terry & Oaken c 1884. Its address is 171 Main Street Stawell and now occupied by O’Driscoll W. D. Solicitor. Black & white photograph of a two story building, brick and concrete rendered with parapet. Security bars on window on the ground floor. Top floor at the base of each window there are decorative wrought iron screens. On the path out the front is a concrete & timber seat. stawell business

Methodist Tennis Club Premiers C. Grade S.D.T.A. 1931 photograph presented to Mr. H. Oliver. Back row Mrs. Bert Newton, Mrs. Belle Homes, Miss M. Newton, Miss A. Pope. Front Row H. Oliver, I. Newton, D. Lindsay, K. McMullen.Black & white photo of group of 4 females (standing) and 4 males (seated) with 2 tennis racquets and 2 tennis balls.Presented to Mr. H. Oliver From The Methodist Tennis Club. Premiers C. Grade S.D.T.A. 1931 stamp on back of card, W.J. Chapman Photo Artist Stawellstawell sport

Group of Salvation Army Songsters 1966, photograph taken pre-Perth & Adelaide trip. In October 1966 the group travelled to Perth and Adelaide many miles were covered by the Songsters in the course of their mission of bring blessing and enjoyment per medium of music. Since 1960 when a visit was made to Hawthorn and Melbourne Spring Festival, over 5,500 miles have been travelled by this group. After the Perth trip a further 4,000 miles covered. Personnel of the Stawell Citadel Songster Brigade. Songster leader: L.G. Brown. Men: left to right - J. White, G. Watson, C. Jocob. C. Bailey (Capt.), A. Perry, D. Reeve, P. Tyler (Absent), L. Brown (S.L.). Women: 2nd row - Mrs. J. White, Mrs. D. Reeve, Miss B. Reeve, Miss D. Tyler, Miss H. Bastick, Mrs. L. Brown, Mrs. Capt. Bailey, Miss M. Reeve (Absent). Mrs. D. Symes (Absent). Women: Front row - Mrs. A. Perry, Miss A. Brown, Mrs. G. Watson, Miss B. Crute, Mrs. A. Folkes, Miss E. Crute, Mrs. A. Collins, Mrs. T. Collins. Black and white photograph of a group of people, male & females in uniform. They are standing on steps in front of a tree with a building in background.Songsters 1966. Ern McLean Studios Horsham (from notes in folder)stawell religion

Group of males in football clothing. Stawell Football Club Premiers 1938 – 1939 23.09.1939 Stawell Team Backs: L. Maddocks, L. Reeves, A. Neal Half Back: K. Robson, W. Gilchrist, A. Grainger, Centre: O. Friend, W. Earle, H. Oliver Half Forward: W. Roberts, D. Brilliant, D. McKey Forward: T. Tiddy, R. McKey, W. Pickering Ruck: L. Hughson and C. Faulkner Roving: G. Gilchrist Emergencies: E. Maddocks, P. Jamieson and R. Mason.Black and white Team photo of football players in jumpers and shorts. Older man possibly coach at center front seated.W.J. Chapman Photo Arist Stawell In handwriting Wimmera Football League Stawell Football Club Premiers 1938 and 1939stawell sport

This antenna was used between 1989 and 1990 to help receive the daily news service in the Greek language directly from Athens, Greece. At the time, news from Greece for the Greek people in Australia were arriving in Melbourne a week late, on newspapers from Athens sent through air-mail. These newspapers were displayed at Salapatas and Carras newsagents at Lonsdale street in Melbourne. One thing that was a problem for this service was that the news came at least 7 days late. Using the Shortwave Antenna we could get the latest news from Athens on shortwave radio directly and within an hour these news were recorded on a cassette tape and taken to the Tricom Group P.L. offices in Melbourne (1155 Malvern Road, Malvern 3144). The tape was loaded onto a system which allowed people to call a local phone number and listen to the latest news with a cost of a local call, or a little bit more. As this was prior to the Internet being established around the globe, it was the fastest news service directly from Greece, in the Greek language. It was used for a span of about 12 months, until Tricom closed down their dial-in services, sometime in 1990. The service was captured and loaded onto the system by Iakovos Garivaldis, then an employee of the Tricom Group which was a subsidiary of Southern Cross TV.The Primary significance of this object is of its historical value, social and informative value for the first generation of Greeks in Victoria"World Tuner AT4 SW" antenna with a 920mm fully extended aerial, a tuned circuit and two transistors to prevent loading of the antenna and boost signal output. It is made of plastic, black in colour with the aerial being made of steel. The signals picked up by the antenna are fed via a 15pF ceramic capacitor to a tuned circuit consisting of either VC1a or VC1b and either L1, L2, L3 or L4. The slider switch S1 selects the band to be tuned. The band range is normally from 3 to 30MHz. When S1 is in position A, L1 and VC1a are selected and the antenna can be tuned from 3-9MHz. Similarly positions B, C, and D select higher frequencies up to 30MHz. It was purchased by Iakovos Garivaldis for this use for $119.WORLD TUNER AT4 SW "Amplituned" Shortwave Antennaantenna, radio, short-wave, language, greek

2 Coloured photos of D Class Steam Rail Locomotive and one Black & White of same engine at Cato Park. c 1974. The engine was subject to vandalism and removed in 1988. The black & white photo of D3 608 was copies from a railway magazine. Two coloured photos & one black & white photo of "D" class 608 Steam rail Locomotive taken at Cato Park. "D" 608. Inscription on the back of both colour photos, "Vec 74. D Class Loco at Cato Park". On the black & white photo " D3 608 one of the numerous and popular D3 class, preserved in a park in Stawell, 2nd April 1978".railways.

To the Cadets of the " Worcester & Conway". These sketches of the lives of the great Seamen who preceded them, are dedicated by their sincere friend & well wisher - The Author. Presented as a school Prize.Blue Cover with title "Famous Sailors"in Gold Print "of Former Times" in black print. Below which is a drawing of a sailing ship.State School 502 Stawell. Latin Third Prize Arthur D. Crothers, Thomas Webster ? Teachers July 1888stawell education

A group of Slovenian friends on a sightseeing trip from refugee camp Latina to the eternal city of ROMERefugees to Italy, Slovenian riends exploring RomeBlack and white photo of a group of Slovenian refugees from Latina on a visit to Rome. Miro Krsevan, Alojz Markic, Franc Savle, Rudi Koloini, Karlo Strancar, Florijan Vidmar , Darjo Ziberna and Ivo Miheljslovenians visiting rome, slovenian association melbourne

Friends gatheringBuilding friendshipBlack and white photo outside Baraga house of Drago Lagonder, Milan Kregar, Karlo Bizjak , Rudi Koloini and Karlo Strancar

Bill Waters (b. Traralgon 1897, d. Fitzroy 1968) served as Commissioner of the Victorian Rovers, a section of Scouts Victoria, 1930-65. An award is named in his honour. He became a prominent ski-touring explorer and held several offices in the Melbourne Walking Club.A rare signed photograph of Bill Waters, leader of the Victorian Rovers.Framed black and white photograph of William Frances "Bill" Waters, Victorian Rover Scouting notable in Australia and prominent bush walker in Victoria, standing in the snow holding skis.Written in pen on front bottom right hand corner of photograph. "W.F. Waters / Rover Commissioner / September 1940"william waters, bill waters, rovers, scouts, scouting, scouts victoria, kingston, victoria, melbourne walking club

LithographSigned 'Dunlop 85' in lower right corner under printed image. 'Black State' in lower left corner, 'White Light' centred under printed image.

See ref. No. NA4362Two black and orange triangular banners. Deakin Netball Association. Premiers Junior Pennants.|1. C 1974|2. D 1974Screencraft Maynard Melbournetrophies & awards, sports, education

Donated by the box Hill Historical SocietySmall green tin 'The Three caftles cigarettes' printed in black, below is 'W D & H O Wills, Bristol and Sydney' with a crest with three castles'. 'There's no sweeter tobacco comes from Virginia no better brand than the three caftles is written on a scroll and signed 'The Virginian'. Below are three signs saying Prize medal. Inside lid there is a scroll with There is no sweeter tobacco comes from Virginia and no better brand than the 'three Caftles' 'The virginian'. W M Thackerayas abovecontainers, domestic