Greg DALY (1954- ) Born Melbourne, Victoria Greg Daly is internationally known and respected as a ceramic artist specialising in rich glaze effects, and also as the author of Glazes and Glazing Techniques (1995 Simon & Schuster). His work is represented in over 24 international book publications, in over 80 national and international art galleries and museums (including the National Gallery of Australia and the Victoria & Albert Museum, London), and he has won over 36 national and international awards. He has held over 70 solo exhibitions and was President of Craft Australia from 1992-1995. He has exhibited in over 200 international and national group exhibitions. In 1999 he received an ARC grant to research the effect of firing cycles in the development of copper red glazes. Source http://www.gregdaly.com.au/bio/ This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Stoneware form decorated with lustre glaze. This ceramic form is a sculptural representation of rock forms Daly created during the 1970s and 1980s. His magnificent lustre glaze is a signature of Daly's master work with glaze production. Greg Daly is regarded as Australia's most pre-eminent ceramicist and teacher. His ceramic production is technically outstanding, his original forms float in an ethereal space far superior in conceptual design than those ceramic works which remain rooted to the table tops. This piece is a magnificent example of the work of this ceramic genius. Description by Dr Susan Patersonart, artwork, ceramics, greg daly, lustre, glaze

The ceramic insulators were used by the PMG to insulate telephone lines connecting to the lightstation accommodation. The installation of a single galvanised wire telegraph line in 1873 provided the lightstation with a vital link to the outside world via Morse code. In 1875, the Australasian Sketcher reported on the new facility, writing that ‘the lighthouse on the extreme point of the promontory is connected with Melbourne by a line of telegraph, and as a large number of vessels pass in sight of the lighthouse, useful information is gained respecting their movements’.The system was immobilised in 1885 when a thunderstorm caused some of the poles to explode and connection wires to fuse and turn into molten metal. During WWII the lighthouse line was upgraded to four copper wires, and in 1971 a radio link replaced the line. The lines required constant maintenance. Some poles remain along the length of the promontory’s Telegraph Track as reminders of this former communication link. Insulators can also be found in the collections at Cape Schanck; Cape Otway and Gabo Island. Comprises a white ceramic insulator attached to a rectangular metal plate.

1. Jacket - khaki colour wool/polyester fabric Service dress style with belt. Buttons - dull gold coloured metal with shank with raised emblem and lettering. Crown, map of Australia and "AUSTRALIAN MILITARY FORCES". Collar, shoulder epaulettes with three metal rank insignia pips. Gold and red crown, officer pip, Letter "R" = Lieutenant Colonel Retired. Four front pockets - top patch pockets with button closure flap. Lower - inset pockets with button closure flap. Khaki colour cotton sateen fabric lining body of jacket, brown strip lining to sleeves. White cotton manufacturers label on lining inside below collar. 2. Belt - khaki colour wool/polyester fabric service dress style. Copper colour metal buckle with two pins. Leather belt keepers and brown plastic buttons.Manufacturers information on label - dark brown ink print. 1. "M.TX".uniform, army, service dress

Two copies of a Carbon typed copy of a technical procedure - 6 pages - "Extract from the 'Proceedings of the Electrical Association of New South Wales' session 1910 - 11" - giving advice on the location of Trolley Wire" giving the guide on how to locate trolley wire on curves and junctions, gives formulas, positioning at frogs, notes regarding various cars and trolley wire height includes notes on cross falls of track, a table of aluminium copper alloys - bending strength and failure modes. Consists of five pages with two blue print drawing. Each page has been scanned the blue print drawings reversed imaged as well. 4768.2 - blue print drawing showing references in the various formulas etc used. 4768.3 - ditto showing tracking for four wheeled and bogie cars and other diagrams for turnouts, frog locations and frog angles. BTPS Number "219". "226" in ink on left hand bottom of first pagetrams, tramways, overhead, trolley wire, points

Handwritten extracts, with typed copies, from the Bendigo Advertiser Monday July 24th, 1933. First erected for 20 years. Mr. Cook performs Opening. Approx. 400 people attended the opening on Sat 22nd. Expected that when run in, the ore will be crushed for 2/6 per ton. Consists of 10 heads, 1000 lbs each. Boxes are of Homestake pattern with wooden horses of special timber and iron guides. Copper plate tables of ample area provided. Floors are of concrete and so graded that all washings - -. Expected later to expand to 30 head. A 114 H P Ruston-Hornsby crude oil engine is provided with a friction clutch to facilitate easy starting and will be capable of driving the battery when it is extended. Those who attended the opening were subsequently the guests of the Company at light refreshments. Copied 1/7/1970. Albert Richardson Collection gold mining, miners' safety cage, little 180 battery, mr cook, bendigo advertiser, 114 h p ruston-hornsby crude oil engine

This washboard is relatively "young" in that the timber has not "aged," however it could have been used by a rural family to wash "delicate" clothing which could not be placed within a large family washing machine or "copper". This type of washboard i.e. glass washboard, was used extensively during the war periods, 1914 to 1918 and 1939 to 1945 when corrugated metal was in scarce supply. Rural areas were the last sectors in Australia where washboards where, through necessity( droughts and lack of domestic water), used up until the late 1900s. This lingering usage was due to the fact that rural properties, on the whole, had water supplies sourced from farm dams and be the ones whose priority feed was targeting crops and farm animals before clothes and other domestic requirements. In the two millennium however, most rural areas are well stocked with water supplies and the very strict edict of conserving water, especially during droughts, of earlier times is not so critical.The Kiewa Valley although well supplied by rivers, streams and artesian water does occasionally through severe drought lack of water for farm domestic washing requirements.This washboard is made of a wooden frame and glass insert (corrugated on one side and smooth on the other). The washboard glass panel is contained within the wooden frame by routered grooves. The frame extends beyond the glass to form two legs below the glass insert and a hand grip above it. This hand grip allows for one hand to hold the washboard firmly upright and one hand to rub clothes vigorously (up and down) against the glass ridges.This action combined with a soap and water based freeing agent loosen any dirt particles which can be rinsed off. The appearance of this washboard is basic but does not detract from its effectiveness. The lack of "wear and tear" on the wooden frame suggest limited use. The construction suggests good workmanship even though there is no manufacturer's logo to be found on it.hand washing, household washing, domestic clothes washing, laundry

The wooden crate contains a set of patterns or moulds that were once used at Briggs’ Brass Foundry for making sand moulds. The traditional method of sand casting is over 2000 years old. It is part of a crafted process used to make brass and copper alloy goods suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-corrosive and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry display was one of the early ‘working craft’ shops at Flagstaff Hill. It included a historic Cornish chimney that was set up as a working model, telling the story of heat from furnaces to smelt metal, which would then be poured into the sand moulds. This chimney is made from specially curved bricks and is about two-thirds of its full height when originally located at the Grassmere Cheese factory. HISTORY of BRIGGS BRASS FOUNDRY: - The family business was founded in 1912 by Herbert Harrison Briggs (1963-1931) with his son George Edward Briggs, trading as Briggs & Son Foundry at 70 Wellington Street, Collingwood. Younger son Cyril Falkiner McKinnon Briggs joined the foundry in 1922, and it was renamed H H Briggs & Sons Foundry. Both sons ran the firm after Herbert’s death in 1931, making products mainly for marine purposes. They became Bell Founders in 1936 and were known for their specialty of high-quality ship bells. They produced miniature varieties of these and other decorative items such as small propellers. The firm became known as Briggs Marine Foundry. The great-granddaughter of Herbert Briggs inherited the Briggs Brass Bell, similar to the one at Flagstaff Hill. Cyril became the sole family member of the firm in 1965. The Briggs Marine was an exhibitor at the 1965 Boat Show, where he advertised as “non-ferrous founders” and “Bell Specialists”. The foundry relocated to Chesterville Rd, Moorabbin. Cyril passed away in 1967. It is thought that either Cyril or his business partner Frank Lee donated the objects from the Briggs’ Foundry around the time when the business moved to Moorabbin. However, Flagstaff Hill hadn’t been thought about until 1972. The donated items were registered in the Collection in 1986 but they could have been in storage from an earlier date. In October of that same year, Briggs Marine restored Schomberg Bell, a shipwreck artefact from the collection at Flagstaff Hill. Peter Oram, who had worked for the previous owners of Briggs Marine as a fitter and turner, took over the firm in 2014, reviving some of the old casts for current use. The business is now located at Seaford in Victoria and is part of Alliance Casting & Engineering Solutions (Alliance Casting Pty Ltd). In 2016 the original Collingwood Foundry building was repurposed as a thriving business hub named The Foundry. The crate and its patterns are significant for their association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. The patterns are associated with the long-running firm, Briggs Brass Foundry, that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine is also associated with the Schomberg Bell in Flagstaff Hill, restoring the bell to is former state to show an example of the bell from a luxury mid-19th century vessel. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. Wooden rectangular crate with removable wooden lid. Inside is a set of wooden patterns of various shapes and sizes for making sand moulds in a metal foundry. The crate is made from thick wooden planks nailed together. The extended wooden struts on the long sides form a frame to hold the wooden lid. A pair of metal handles are at each short end of the crate, fixed with strong metal bolds. Between each pair of handles is an inscription stamped into the wood. The underside of the crate has red paint splashes. There are insect holes in the wood but no sign of current infestation. Stamped: "H.33 / II" (H may be N or a square B)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pattern, mould, foundry, brass foundry, metal foundry, crate, box, wooden container, briggs, traditional method, trade, sand cast, cast, brass alloy, copper alloy, marine equipment, marine tools, marine fittings, briggs' bronze, copper tin zinc lead, non-corrosive, briggs family, brassware, metalware, foundering, metalwork, maritime, casting, cornish chimney, curved bricks, grassmere cheese factory, 1912, herbert harrison briggs, h h briggs, george edward briggs, briggs & son foundry, collingwood, cyril falkiner mckinnon briggs, cyril briggs, h h briggs & sons foundry, bell founders, schomberg bell, alliance casting & engineering solutions, collingwood foundry, ship chandlers, marine products, flagstaff hill, warrnambool, maritime museum, maritime village, briggs & son brass foundry, briggs marine, moorabbin

This tablespoon was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early 1930s, and this particular spoon dates from about 1866 to 1932. It is part of the John Chance Collection. This spoon has the embossed names of Pompton and Silver and appears to have other marks that have worn off. The Pompton brand was used on silver flatware made by Cooper Brothers & Sons. Ltd of Sheffield. In Australia the Pompton Silver cutlery was advertised for sale in Sydney in the mid-1920s. The spoon is likely to be plated silver or silver plate, which is a base metal such as nickel or nickel alloy with copper and/or zinc that has been plated or coated with a thin layer of silver. Wear on the metal will cause the base metals to appear through the silver plating. Some manufacturers gave a warranty that the cutlery was ‘white throughout’ but didn’t necessarily say it was solid silver. Cooper Brothers was established in 1866 by brothers Thomas and John William Cooper in High Street, Sheffield. They bought Don Plate Works in 1872. By 1876 they were at Bridge Street and in 1885 they purchased the works at 44 Arundel St Sheffield. In 1895 the firm became Cooper Brothers & Sons Ltd. By 1914 they had branches in London, Sydney, Melbourne and Montreal, advertising as silversmiths, silver cutlers, electroplaters, Britannia Metal smiths and cutlers, particularly spoons and forks. The firm also used the trademarks of DON SILVER, POMPTON SILVER and a logo of a Cooper (barrel maker) in different formats. Cooper Brothers & Sons had a reputation for producing good quality silver and silver plate. In 1900 they registered their Maker’s Mark of the letters ‘CB&s’ within a shield. They also used the Sheffield Assay Hallmark of a Crown. A diagram on a Copper Brothers & Sons, Don Plate Works, advertisement showed three styles of cutlery; No. 393, Old English, and Fiddle. They announced that they were the ‘sole makers of the celebrated “Don” brand of nickel silver spoons and forks’. A burglary in NSW in 1929 listed a stolen flatware set as ‘all Sheffield Silver plate and branded Pompton Silver Works A.1.’. It was ‘guaranteed to wear white throughout’ and was a ‘good, medium quality, nickel silver line’. Cooper Brothers & Sons Ltd. was acquired in 1983 by Frank Cobb & Co. Ltd. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery either as part of the ship’s flatware service or imported for use in Colonial Victoria in the 19th to early 20th century. The spoon is significant for its association with renowned makers Cooper Brothers of Sheffield, makers of silverware from the 1860s to the 1980s and exporters into the Colonies. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon; plated silver tablespoon with brown base metal. Handle is Old English design and is embossed - some marks are worn and unidentifiable. Branded Pompton Silver.Embossed within two rectangular shapes “POMPTON” and “SILVER” (other marks have worn off)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, cutlery, flatware silver, silver plate, antique flatware, old english flatware pattern, eating utensils, spoon, tablespoon, silverware, dining utensil, cooper brothers, don plate works, pompton silver, sheffield silver

This item was bought by George Henry Douglas Russell when he married Hilda Raymond, a parson's daughter, in 1920. This galvanised metal wash tub was manufactured for domestic use prior to household plumbing, running water or waste removal in Australian homes. On farms in the late 19th / early 20th centuries there were no built-in coppers and concrete troughs with reticulated water. Thus the washing for the family of five daughters was done with this tub. .Tubs of this type vary in size and were used for washing dishes (It was the “ kitchen sink”) or for washing smaller items of clothing “the delicates”. This tub could also have been used to bathe the children. The water was heated on a wood fired stove, then carried to the tub. This could be a lengthy and physically demanding exercise. Much more labor intensive than loading the dishwasher. After use the water may have been “recycled”by being poured onto vegetable gardens and fruit trees. Later at harvesting this tub held maize and beans to top up the three bushel bags of the threshing machines. This was before the hand sewing of the top of the bags with needle and twine.This tub is an indication that items for domestic use in the early 20th century were “made to last” and not manufactured for planned obsolescence.A large galvanized iron was tub, circular with the sides tapering slightly to the flat base. It is seamed on both sides, made from two shets of iron. The base has been soldered on. and the top rim is folded. On either side handles are rivetted on.domestic laundry was-tub galvanized-iron

Pies with top crusts need to be vented, to allow steam to escape. Funnel-style steam vents have been placed in the centre of fruit and meat pies during cooking since Victorian times. Pie funnels were used to prevent pie filling from boiling up and leaking through the crust by allowing steam to escape from inside the pie. They also supported the pastry crust in the centre of the pie, so that it did not sag in the middle, and are occasionally known as 'crust holders'. Older ovens had more problems with uniform heating, and the pie funnel prevented boil-over in pie cooking. The traditional inverted funnels, with arches on the bottom for steam to enter, were followed by ceramic birds; and from the 1940s they have been produced in a multitude of designs. Creigiau Pottery of South Wales produced a 'Welsh Pie Dragon' in copper lustreware. This trend has been particularly noticeable in recent times, due to their increasing popularity as gifts and collectors' items rather than simply utilitarian kitchen tools. Adapted from Wikipedia: https://en.wikipedia.org/wiki/Pie_birdThis item shows how a simple object can provide a significant improvement of the final product.Pie Funnel, ceramic white glaze with scalloped edges.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pie funnel, ceramics, cooking

Alnis Ansons (1928-2015) was introduced to architect Kevin Knight in the lead-up to the opening of the Brighton Municipal Offices in 1961. The architect, on seeing some relief work in the artist’s home, asked Ansons if he would attempt an ambitious 70 square metre work within the council building which would wrap around the lift shaft of the three storey building. The tight deadlines and budgetary constraints imposed on the project impacted on the artist’s process but, in adapting to these limitations, Ansons developed a bold and original technique for producing commercial ceramic works. The mural, which symbolises the people of Brighton at work, worship and play, is constructed from hundreds of individual ceramic casts that have been treated with an engobe, similar to an underglaze, to produce a myriad of colours. The pieces were then fired only once, and grouted with copper grouting from top to bottom, creating a three-dimensional effect on the central column in the council chambers. Ansons was assisted during the installation by his future wife, Ralda, who was tasked with holding the pieces in position as they dried, to prevent them from sliding or shifting.Alnis Ansons, Brighton Council Chambers Mural 1961, ceramic. 750 x 595 cm. Bayside City Council Art and Heritage Collection. Commissioned c. 1960Circular ceramic relief mural around lift well in Brighton Council Chambers. The work begins on the ground floor of the Brighton Library, through to the mezzanine level up to the Chambers. mural, public art, alnis ansons, brighton council chambers, brighton library, ceramic, kevin knight, bayside chambers, bayside city council

Twenty assorted hat pins stuck into a small cushion. 1. Bears head 25cm L 2.White seashell 21cm L 3 and 4.Copper 16cm L 5. Silver coloured 15cm L 6. Pearl 10cm L 7. Two green balls, 11cm L .White glass 10.5 cm L 9 and 10 Tear drop pearl 11cm L 11. Metal end 11 cm L 12. 2 black balls and bullet shaped black object 10 cm L 13.White glass bead end 10 cm L 14 and 15. Black glass bead 10cm L 16. Gold 10cm 17. Cream ball with metal top 9cm 18.Black glass ball 8cm L 19. Silver end 7.5cm L 20. Pink 6cm L 21. Pin cushion

The Australian Service Medal and Pacific Star Medal that were awarded to Private Arthur Norman Comben VX26251 for his war service in World War Two. From the AWM website Private Arthur N Comden of the 2/21st Australian Infantry Battalion, who died on Hainan Island, China, on 27 June 1945. The DVA records show he was born 6 April 1907 in Yarraville and enlisted on 17 June 1940 whilst residing in Coopers Creek Victoria. His next of kin was shown as H Dilks. Also that he had been a prisoner of war. His connection with Legacy is not known, he may have been a junior legatee though there's no record of his father Arthur John Louis Comben serving for Australia in WW1. More research is needed to check, it is possible the medals were donated to Legacy as no family members wanted them. Additional information provided by a distant relative - Arthur's mother (Mary Eleanor Norman) remarried twice after his fathers death in 1911. His stepfather Horace Dilks served in World War 1 with the 2nd Pioneer Battalion.These are examples of World War 2 medals awarded to a serviceman who participated in the conflict in the Pacific region. Many returned servicemen joined Legacy after World War 2 and would have had similar medals.Silver circular medal and bronze star shaped medal from World War 2 mounted on ribbons initially together by a safety pin. 01700.1 The medal is nickel silver with the crowned effigy of King George VI on the obverse. The reverse has the Australian coat of arms, placed centrally, surrounded by the words ‘THE AUSTRALIA SERVICE MEDAL 1939-1945’. The normal ribbon is missing and it is on the ribbon meant for the UK War Medal which is of red, white and blue to represent the colours of the Union Flag. 01700.2 The six–pointed star is yellow copper zinc alloy. The obverse has a central design of the Royal and Imperial cypher, surmounted by a crown. The cypher is surrounded by a circlet containing the words ‘The Pacific Star’. The ribbon has central yellow and green stripes that represent the forests and the beaches of the Pacific, flanked dark blue, light blue and red stripes that represent the service of the Naval Forces and Merchant Navy, the Air Forces and the Armies.Both engraved with 'VX26251 A. N. Comben'.medals, world war two, arthur comden

Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p181 The rare Eltham Copper Butterfly, Paralucia pyro-discus, was saved from near extinction by a community campaign in the late 1980s. Thanks to that effort, the butterfly, a form of the Fiery Copper Butterfly, with a wing span of only 2.5cm, can be seen in parts of Eltham and Greensborough from late November to April. As late as 1987 the butterfly was thought to be near extinction. But that year, entomologist, Michael Braby, found several colonies, including two major ones in natural bushland on Diosma Road, Eltham. However these were threatened with destruction, as their habitat was to be destroyed by a development of 71 houses. The colonies were on a 14 hectare subdivision owned by Esanda Finance, an ANZ Bank subsidiary. It would cost around $5 million, to reimburse the bank for the land. The butterfly, which depends on woodland, a stunted form of the Sweet Bursaria bush, and the Notoncus ant, was considered too fragile to relocate. Braby’s discovery led to a sometimes fiery two-year campaign, which even became an election issue. It involved the local community, local and state governments and the developer, before a compromise was reached. The larvae have an intricate relationship with the small black ant, Notoncus. During the day, the larvae shelter in nests made by the ants around the base of the trunk and roots of the Sweet Bursaria (Bursaria spinosa). The ants are thought to protect the larvae from predators and parasites, as they attend them from the nests to feed on the Bursaria leaves at night. In return, the larvae excrete a sugar solution, which the ants love to eat. The butterfly was first recorded in Victoria in 1893, and first collected scientifically from Eltham in 1931. But it was only officially named in 1951, by Victoria’s then top butterfly expert, David Crosby.2 However, from 1970, rapid housing development in Eltham destroyed much of the butterfly’s habitat. The discovery of several major colonies in 1987 met with great excitement, and 250 people attended the first local public meeting. The State Government commissioned Crosby to investigate how to protect the butterfly, and the council froze development for three weeks. Then Esanda agreed to suspend development for several months, until a compromise was reached. Crosby recommended that 62 of the 71 lots be kept to ensure the butterflys’ survival. However this would cost $1 million to $1.5million in compensation to Esanda. Greensborough MP Pauline Toner, launched a $1million fundraising campaign and many artists donated their works to the appeal. Toner offered Clifton Pugh’s painting Eltham Copper Country to millionaire Alan Bond for $1 million, after having heard that he had offered $6 million for the Van Gough painting Sunflowers. However Bond did not accept. The butterfly was considered a ‘hot’ election issue during the by-election, following Pauline Toner’s resignation. Liberal party candidate, Margaret Brown, was accused of falsely saying she had been involved in the butterfly campaign so as to win votes. Sadly, the $1million appeal fell short at $426,000, so a compromise was reached. The State Government donated the Education Department site on Eucalyptus Road, but only nine lots of the Diosma site were bought, and the rest of the development went ahead. On March 3, 1989, Ms Toner died, and the Eucalyptus Road site was named in her honour. Around 2000 the butterfly was further threatened by proposed developments on Pitt Street, facing the Pauline Toner Reserve and between Diosma and Nyora Roads. Fortunately the Friends of the ECB, with the Shire of Nillumbik, ensured that more habitat was made available. The butterfly now survives in seven sites in Eltham and Greensborough, including the main sites at the Pauline Toner Reserve on Eucalyptus Road, the Western and Eastern colonies on Diosma Road, and the Yandell Reserve in Greensborough.The butterfly survives also in Castlemaine and in the Kiata and Salisbury areas. However, it remains endangered.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham copper butterfly, sweet bursaria

The biscuit locker came from the vessel the "City of Rayville", an American motor-driven freighter constructed in 1920. The ship was the second victim within 24 hours of an extensive minefield laid by German raiders in October 1940, during World War Two and the first American ship to be sunk in world war II. She was under the command of Captain Cronin and bound from Adelaide via Melbourne to New York, carrying a cargo of 1500 tons of lead from Port Pirie along with a cargo of wool and copper from Adelaide, when she struck a mine in the Bass Strait, six miles south of Cape Otway at 7:45 pm on 8th November 1940. The explosion was heard on shore at Apollo Bay; the force of it tore out the foremast and the ship sank within 25 minutes. There was a crew of 38 and all but one survived. A rescue crew of fishermen from Apollo Bay left shore in the dark and picked up the survivors from the dangerous sea taking them back to safety. The US Secretary of State Cordell Hull at the time wrote individual letters of thanks to all the rescuers involved. The biscuit locker is of historical and marine archaeological significance because of its association with the wreck of the City of Rayville. The vessel is listed on the Victorian Heritage Register No VHR S126. Additional significance is that the ship was the first American vessel sunk in the second world war and is still socially significant to the descendants of the City of Rayville crew and the Apollo bay fishermen who took part in the rescue.The external surfaces of the cupboard and the inside of the door are painted brown. The interior is painted blue the door has 2 metal hinges attached on the outside, each with 6 single-slotted screws and a wooden rotating door latch attached to the side of the door. There is a round eyelet on the door near the latch, the cupboard sides are each made from wood joined vertically and sit within a slightly wider, flat base and top. The frame of the cupboard is split with the paint on the outside of the cupboard scratched and chipped revealing a darker paint underneath. There is also a rough slash of white paint from the side of the cupboard going to about the Centre of the door. “PI/298” is hand written in black pen, paint or ink on the inside panel of the door in neat letters. "MS CITY OF RAYVILLE" stamped on back of cupboard in black paintcity of rayville, cupboard, locker, biscuit locker, 1940, world war ii, wwii, cape otway, german mines, american ship, flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rayvill

During a visit to England, Society members Russell Yeoman (Secretary and founding member) and his wife Marion reached out to the Eltham Society in Kent, England, just out of London seeking to establish a friendly relationship between two historical societies which share a common interest in their respective home towns of Eltham. They were invited to meet various members at the home of one of their members on 3 July 1996 where various items of relevance to Eltham, Victoria and Eltham, Kent were exchanged. In addition, the Yeomans were also invited to attend an Eltham Society meeting the following evening. Subsequent to the Yeoman's visit, Eltham Society members Margaret Taylor and Clifford Crate visited Eltham, Victoria during Christmas 1997 and were hosted by various EDHS members with further exchanges of items of interest. The relationship has been maintained over several years and was reinforced in May 2018 when Eltham Society member Margaret Taylor, proudly wearing her Eltham Copper Butterfly t-shirt, again acted as host to visiting EDHS members Peter and Liz Pidgeon. video recording, russell yeoman, marion yeoman, margaret taylor, eltham kent england, eltham society (london), presentation

Pearlite Phenyle was manufactured by Renown Pearlite Company Pty Ltd, which was formerly known as Pearlite Manufacturing Company. The factory was in 171-177 Stawell Street, Richmond and they manufactured kitchen products essence, Sunflakes - breakfast cereal.4 sided, diamond-shaped amber glass Phenyle bottle with cork stopper and paper label printed in blue, red, and yellow.Disinfectant – Poison – Pearlite Phenyle Poisonous not to be taken Contents 20 Fluid ozs Renown & Pearlite Pty Ltd DIRECTIONS FOR USE 2 teaspoonfuls to 1 pint of water 1 pint to 6 Gallons of water Does not contain more than 3 per cent or less than 2 pre cent or Carbolic or its homologue. Guaranteed to destroy Typhoid Fever Bacillus, 1 part fluid 30 parts water, in 10 minutes. NOTE – Placing the disinfectant in copper vessels or in contact with Alkaline Substances renders it imperative. ANTIDOTE: Epsom or Glauber salts in water. Lime water and olive oil or castor oil (Perlite for Preference) EMBOSED ON BOTTLE: Phenyle with XX’s – poisonous – this bottle is the property of – 2140 STICKER: Sold by Crofts Stores Pty Ltd Branch Store: Hawthorn Road Caulfield. phenyle, bottle, cleaning, disenfectant

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

Most were used in various capacities at Ballarat School of Mines or University of Ballarat.Assorted lamps including Edison Carbon filament light bulbs and other special purpose lamps, .1-3) Robertson, pear shaped 220 V 16, carbon filament? bayonet light bulb with 'nipple'. .4) Ediswan, standard shaped, 928, carbon filament? bayonet light bulb with 'nipple'. .5) (B in a circle) 280 V 32 oo1A, pear shaped, carbon filament? bayonet light bulb with 'nipple'. .6-7) Crompton? standard shaped, carbon filament? bayonet light bulb. Clear glass with an amber tint. .8) 230-240 V 40 W, pear shaped, wire filament bayonet light bulb. .9-10) Osram standard shaped, heavy spiral and disc electrodes, bayonet light bulb. (The disc is loose in 10) .11 a&b) Osram black glass, large standard shaped, 230-240 V 125 W, bayonet light bulb. .12) Philips tubular shaped projector lamp with instruction leaflet. .13) Philips tubular shaped projector lamp with instruction leaflet in original box. .14) EH JA 12 V 55 W small projector lamp. .15) Large special purpose, standard shaped, frosted bayonet light bulb. .16) Siemens, standard shaped, modern Edison screw light bulb. .17) Philips, standard shaped, modern Edison screw, frosted light bulb. .18) Crompton, gas filled 240 V 75 W, standard shaped, bayonet frosted light bulb in original box. .19) Crompton, gas filled 230 V 300 W. standard shaped, large modern Edison screw light bulb. .20) Probably an extension cord with a bayonet fitting at one end connected by a twisted cord of two fabric covered wires to a large socket. This socket has a copper Edison screw inner, surrounded by a ceramic tube and covered with a copper housing. The housing is cracked in two places.Some have makers brand and voltage and wattage stamped onto the glass.scientific instrument, ballarat school of mines, globes, edison, lamps, light bulbs, bayonet

The National Bicycle Game is an Australian-made and designed board game for 2, 3 or 4 players made by The National Game Company of Ballarat and Melbourne between 1930 and 1950. The earliest board games date from the mid-18th century and were printed on copper or steel plates and coloured by hand. By 1839 lithography was first used, making it possible for publishers to produce larger quantities of all types of toys. By the 1890s the games were mounted on to a folded board. Popular subjects were of an historical or geographical nature, as well as transport including motoring, aviation and railways and various sports. The board game 'A Motor Ride' ,made by The National Game Company, was possibly the first large-scale manufacturer of locally-designed board games in Australia. The firm was established in Ballarat, Victoria, at the beginning of the twentieth century by W. Owen. Other board games made by National include the 'Victory-United Nations" game, 'Fairyland', 'Yacht Race', 'Golf Game', 'Bicycle Game', Steeple Chase', 'Our Great Game' about football, 'Courtship and Marriage', 'Around the Commonwealth by Aeroplane', and 'Dugouts and Trenches' as well as the more traditional games such as Ludo, Snakes and Ladders, and Noughts and Crosses. This game board has been well-used. The game is significant because it uses scenarios familiar to Australian children in the first half of the twentieth century. This game board reflects the experience of being a child in the twentieth century. Toys were how children were socialised and taught. Most toys mimic the adult world, and looking at them can tell us something about how the world has changed. A folding game board for The national Bicycle Game for 2,3 or 4 players. It has a yellow spiral track on which the player progresses at the throw of the die, starting at the clubhouse until reaching home. In the background are pictures of rural scenes.board-games recreation cycling national-game-company

An induction coil consists of two coils of insulated copper wire wound around a common iron core. One coil, called the primary winding, is made from relatively few (tens or hundreds) turns of coarse wire. The other coil, the secondary winding, typically consists of many (thousands) turns of fine wire. An electric current is passed through the primary, creating a magnetic field. Because of the common core, most of the primary's magnetic field couples with the secondary winding. The primary behaves as an inductor, storing energy in the associated magnetic field. When the primary current is suddenly interrupted, the magnetic field rapidly collapses. This causes a high voltage pulse to be developed across the secondary terminals through electromagnetic induction. Because of the large number of turns in the secondary coil, the secondary voltage pulse is typically many thousands of volts. This voltage is often sufficient to cause an electric spark, to jump across an air gap separating the secondary's output terminals. For this reason, induction coils were called spark coils. The size of induction coils was usually specified by the length of spark it could produce; an '8 inch' (20 cm) induction coil was one that could produce an 8 inch arc. (http://en.wikipedia.org/wiki/Induction_coil)A metal and plastic object on a timber stand. In an induction coil the distance between the plates is often used to measure the voltage of the spark since the air breaks down at 30 000 volts per centimetreballarat college of advanced education, scientific instrument, induction coil, scientific instruments, electricity

This sheet of copper sheathing or muntz metal has been recovered from the sea. It has been damaged by reaction of the metals to the sea, it has encrustations from the sea such as sand, and other damage has caused the edges to break away or fold over. ABOUT MUNTZ Early timber sailing ships had a problem of the timber hulls being eaten through by the marine animals called Teredo Worms, sometimes called ‘sea worms’ or ‘termites of the sea’. The worms bore holes into wood that is immersed in sea water and the bacteria inside the worms digest the wood. Shipbuilders tried to prevent this problem by applying coatings of tar, wax, lead or pitch onto the timber. In the 18th and 19th centuries the outside of their ships were sheathed in copper sheathing or a combination of 60 percent copper and 40 percent zinc (called Muntz metal). The ships would be re-metalled periodically to ensure the sheathing would remain effective. In more recent times the ships are protected with a toxic coating. ABOUT THE SCHOMBERG When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery. Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Piece of rectangular Muntz metal from the wreck of the Schomberg. Metal has been bent back on itself at one end. Evidence of nail holes. Metal has verdigris and marine encrustation. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, muntz, muntz metal, copper sheating,, copper sheathing, teredo worms, sea worms, sea termites, ship building

This sheet of copper sheathing or Muntz metal has been recovered from the sea. It has been damaged by the reaction of the metals to the sea, it has encrustations from the sea such as sand, and has other damage that has caused the edges to break away or fold over. Early timber sailing ships had a problem of the timber hulls being eaten through by the marine animals called Teredo Worms, sometimes called ‘sea worms’ or ‘termites of the sea’. The worms bore holes into wood that is immersed in seawater and the bacteria inside the worms digest the wood. Shipbuilders tried to prevent this problem by applying coatings of tar, wax, lead or pitch onto the timber. In the 18th and 19th centuries, the outsides of their ships were sheathed in copper sheathing or a combination of 60 per cent copper and 40 per cent zinc (called Muntz metal). The ships would be re-metalled periodically to ensure the sheathing would remain effective. In more recent times the ships are protected with a toxic coating. ABOUT THE SCHOMBERG- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned.32 In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery.33 Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill.The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day This Muntz sheet was recovered from the wreck of the Schomberg. It has been folded, bent and wrinkled. It has nail holes, Verdigris, marine growth and slight encrustation. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, muntz, muntz metal, copper sheating,, copper sheathing, teredo worms, sea worms, sea termites, ship building

One of seven sites in Eltham and Greensborough where the butterfly survives. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p181 The rare Eltham Copper Butterfly, Paralucia pyro-discus, was saved from near extinction by a community campaign in the late 1980s. Thanks to that effort, the butterfly, a form of the Fiery Copper Butterfly, with a wing span of only 2.5cm, can be seen in parts of Eltham and Greensborough from late November to April. As late as 1987 the butterfly was thought to be near extinction. But that year, entomologist, Michael Braby, found several colonies, including two major ones in natural bushland on Diosma Road, Eltham. However these were threatened with destruction, as their habitat was to be destroyed by a development of 71 houses. The colonies were on a 14 hectare subdivision owned by Esanda Finance, an ANZ Bank subsidiary. It would cost around $5 million, to reimburse the bank for the land. The butterfly, which depends on woodland, a stunted form of the Sweet Bursaria bush, and the Notoncus ant, was considered too fragile to relocate. Braby’s discovery led to a sometimes fiery two-year campaign, which even became an election issue. It involved the local community, local and state governments and the developer, before a compromise was reached. The larvae have an intricate relationship with the small black ant, Notoncus. During the day, the larvae shelter in nests made by the ants around the base of the trunk and roots of the Sweet Bursaria (Bursaria spinosa). The ants are thought to protect the larvae from predators and parasites, as they attend them from the nests to feed on the Bursaria leaves at night. In return, the larvae excrete a sugar solution, which the ants love to eat. The butterfly was first recorded in Victoria in 1893, and first collected scientifically from Eltham in 1931. But it was only officially named in 1951, by Victoria’s then top butterfly expert, David Crosby.2 However, from 1970, rapid housing development in Eltham destroyed much of the butterfly’s habitat. The discovery of several major colonies in 1987 met with great excitement, and 250 people attended the first local public meeting. The State Government commissioned Crosby to investigate how to protect the butterfly, and the council froze development for three weeks. Then Esanda agreed to suspend development for several months, until a compromise was reached. Crosby recommended that 62 of the 71 lots be kept to ensure the butterflys’ survival. However this would cost $1 million to $1.5million in compensation to Esanda. Greensborough MP Pauline Toner, launched a $1million fundraising campaign and many artists donated their works to the appeal. Toner offered Clifton Pugh’s painting Eltham Copper Country to millionaire Alan Bond for $1 million, after having heard that he had offered $6 million for the Van Gough painting Sunflowers. However Bond did not accept. The butterfly was considered a ‘hot’ election issue during the by-election, following Pauline Toner’s resignation. Liberal party candidate, Margaret Brown, was accused of falsely saying she had been involved in the butterfly campaign so as to win votes. Sadly, the $1million appeal fell short at $426,000, so a compromise was reached. The State Government donated the Education Department site on Eucalyptus Road, but only nine lots of the Diosma site were bought, and the rest of the development went ahead. On March 3, 1989, Ms Toner died. Thee Eucalyptus Road site was named in her honour. Around 2000 the butterfly was further threatened by proposed developments on Pitt Street, facing the Pauline Toner Reserve and between Diosma and Nyora Roads. Fortunately the Friends of the ECB, with the Shire of Nillumbik, ensured that more habitat was made available. The butterfly now survives in seven sites in Eltham and Greensborough, including the main sites at the Pauline Toner Reserve on Eucalyptus Road, the Western and Eastern colonies on Diosma Road, and the Yandell Reserve in Greensborough.5 The butterfly survives also in Castlemaine and in the Kiata and Salisbury areas. However, it remains endangered.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham copper butterfly, pauline toner butterfly reserve