Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns

This is a ticket for one adult to cruise on the P.S.Curlip 11 which operated from the Brodribb Jetty in Marlo.from 2007 - 2015. "Paddle Steamer Curlip, a 62 feet long, traditional, plank on frame carved timber vessel, that was built by the people of East Gippsland at Orbost, in far Eastern Victoria. The undertaking to design and build this vessel, as a community project commenced in 2002. The community, based around Orbost was largely dependant on the Timber industry in the surrounding Victorian High Country. With the closure of Alpine logging and the creation of vast National Parks, the people of the region needed to create a major undertaking to bond the community and engender… a sense of belonging, this was critical for many of the men, who were dispossessed with the loss of their historical timber and forestry industry." (Information from website: https://www.curlip.com.au/) The Paddle Steamer Curlip 11 is a reproduction of the historic Curlip a small paddle steamer built by Samuel Richardson and his sons at his Tabbara sawmill near Orbost. It helped open up the region in the 1880’s before road or rail, serviced East Gippsland. Much work is being done to restore the Curlip 11 so that it can begin again as a tourist cruise boat.The P.S.Curlip 11 is Victoria's only Paddle Steamer. It was a community project involving many Orbost peolpe.A rectangular, white paper ticket with black print. In red is No. 1297 and the date and cruise time are hand-written in blue pen. ttached to the back of the ticket is a printed receipt.paddle-steamer-curlip 11 tourism-orbost

http://en.wikipedia.org/wiki/File:Tilley-storm-lantern-X246-May- Tilley storm lantern, this model has been in production since 1964 The Tilley Lamp derives from John Tilley’s invention of the hydro-pneumatic blowpipe in 1813 in England. http://en.wikipedia.org/wiki/Kerosene_lamp#Pressure_lamp Pressure lamps are far more sophisticated than wick lamps and produce a much brighter light, although they can be quite complicated and fiddly to use. This type of lamp is commonly known in the UK as a "Tilley lamp", after a manufacturer of the same name, and in North America as a "Coleman lantern" for similar reasons. A kerosene blowtorch displaying the various aspects of the kerosene burnerA pressure lamp has a fuel tank at the bottom with a small pump to pressurise the kerosene. There is a narrow gap up to the top of the lamp, called a flue, and at the top of the lamp there is a burner (gas outlet). Directly underneath the burner is the mantle, a fabric bag coated with chemicals that incandesce when heated by the gas flame. The burner lamp is known for its brightness. It is so bright because of the amount of pressure that is placed onto the wick. This pressure allows a steady flow of the gasoline and a constant light Tilley Storm Pressure Lantern, model no x246 has a stainless steel base which is filled with kerosene, with a pump used to pressurize the kerosene vapor. Under the base is a sticker.On top is a black hood with vents which sits on the glass heat resistant shade. The glass shade has an etched label. It has a white and pink mantle on the central rod with a long shaped stainless steel handle, this folds down when not in use.Base - Sticker Tilley Lamp Model X246 Etched on glass shade Tilley, Durosil, ITI, Heat Resistant. Made in Englandlantern tilley pump pressure mantle kerosene methylated spirits stainless steel lamp kerosene lamp round glass cylinder

View looking northeast across the wading pool set into the Plenty River towards the original bluestone Greensborough Bridge (since demolished). A timber pedestrian footbridge added after construction is visible on the far side of the bridge through the arch and beyond to the hillside which is now present day Pioneer Reserve. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9.1 x 14 cmThe Wading Pool, Greensborough, Published by W. M. Butterworh No. 8postcard, travel, rose stereograph company, glass plate negative, greensborough, footbridge, greensborough bridge, main road, plenty river, w. m. butterworth, pioneer reserve, wading pool, peter and elizabeth pidgeon collection

The pins in this collection vary in the timber used and the design. They were found in a warehouse beside Crown Casino in Melbourne, located along the Yarra River, close to the sailing ship "Polly Woodside" and not far from the docks of Port Melbourne. Some of the pins have the mark of a 'Broad Arrow' with 'D ↑ D, which signifies that they were the property of the Australian Government's Department of Defence. Belaying pins are essential equipment on a traditional sailing ship of the 19th and early 20th centuries. They are usually made of wood but some are metal. A belaying pin is used to secure the running ropes of the rigging to the ship's rails using holes drilled onto the rails for that purpose. The belaying pins are inserted into holes in the ship’s rail, drilled for that purpose. When the sail has been raised, the ropes are wrapped around the upper and lower sections of the pins in a figure-eight pattern. The shapes of these belaying pins taper from the rounded end of the handle inwards towards the bottom, which allows them to have a firm fit into the holes in the rails. The rigging rope is wound around the pins in such a way that a tug on the pin's handle pulls it out of the hole and quickly frees the rope and the sail.These belaying pins are significant for their association with sailing vessels, particularly vessels of the late 19th and early 20th centuries. They are also significant for their association with the Port of Melbourne where sailing ships docked to and from the Port of Melbourne. Some of the pins have additional significance for being connected with the Australian Government's Department of Defence.Belaying pin, wooden, simple design, wooden shaft with a wider rounded end on top third, tapering to the centre third, which is wider than a lower third. The bottom has a blunt base. Some of the pins have the three sections divided by a line around their circumferences. This collection of fifty-seven pins of varying shapes, colours and timber. Some of the pins are stained with colour, and some have been left natural Stored in a wooden crate. Some have inscriptions.Marks: (Government Defence Department Broad Arrow) "D ↑ D"sailiing equipment, nautical equipment, rigging, yards, flagstaff hill, maritime museum, maritime village, belaying pin, broad arrow, australian government, australian department of defence, sailing ship, sail

Access to the cottages at the lighthouse was difficult and the horse-drawn sled was in use until the 1940s. It was used to haul personal goods as wel as those needing medical attention at far-off Orbost. This photograph could be connected with the Gledhills in the 1930s when a medical emergency necessitated a removal to Orbost. Dr Nettleton was the doctor at Orbost at that time. (there could be a link through donor) Point Hicks is claimed to be Captain James Cook’s first sighting of mainland Australia. The lighthouse was built on the point during 1887 and 1888 and commenced operation in 1890, built from concrete and with timber keepers quarters. It was connected to mains electricity in 1965, and then to solar power recently. Originally access to Point Hicks was by sea. In 1920 a return trip, by land to Cann River, 47 kilometres away from the light station, took two days. By 1946 the journey had been reduced to 36 hours by a combination of horse and jeep. During the early 1950s it was still a 12-hour ordeal. The light no longer works, it was turned off 21 years ago and the Point Hicks lighthouse is now powered by a much smaller, more modern light. the lightkeepers' cottages are used for tourist accommodation.This photograph is associated with Point Hicks, a historically important lightstation in East Gippsland.A small black / white photograph of a horse dragging a sled with suitcases on it. There are seven people walking behind, one holding the reins. They are waalking through a sand dune.on label on back - "Bring Out to Light House keeper from Point Hicks"point-hicks-lighthouse

Replica of a Victorian Railways replacement number board that 6A carried in the later 40's and 50's. This plate was created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Loco: 6A In service Thursday, 18th July 1901 Livery Green Owner Puffing Billy Gauge 762 Status Preserved - Operational 6A Built in 1901 and painted two-tone green, this locomotive was issued to the Colac to Beech Forest line and was used in that line’s construction. Over the years, it saw service on all four lines, but mostly on the Colac to Crowes and Upper Fern Tree Gully to Gembrook lines. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it saw almost continuous service until being withdrawn in 1983. It has been restored, as far as possible, to its original condition with original design side tanks, low bunker, original size windows, etc., but a steel cow-catcher in place of the original style wooden one. It also has its original colour scheme of two-tone green with white lining.Historic - Replica Victorian Railways Locomotive Number Plate of the type used on Steam Locomotive 6A in the later 40's and 50's created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Number Plate 6A Cast aluminum replica number board.6Apuffing billy, menzies creek, 6a, number plate

Replica of a Victorian Railways replacement number board that 7A carried in the later 40's and 50's. This plate was created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek. Loco: 7A In service Saturday, 6th May 1905 Livery Maroon Owner Puffing Billy Gauge 762 Status Preserved - Operational 7A Built in 1905 and painted Canadian red & dark brown, this locomotive was issued to the Wangaratta to Whitfield line and saw service on all four lines with most of its service on the Upper Fern Tree Gully to Gembrook line. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it has seen almost continuous service since. 1979 saw the early two-tone green colour scheme applied to this loco as a trial even though it never historically carried it, but its physical configuration was not altered accordingly. It is now painted its original livery of Canadian red & dark brown and will eventually be returned, as far a possible, to its original condition with a low bunker, narrow ash-chute, etc.Historic - Replica Victorian Railways Locomotive Number Plate of the type used on Steam Locomotive 7A in the later 40's and 50's created for the preservation society's reenactment trains in 2012 for the 50 year celebration of reopening to Menzies Creek Number Plate 7A Rectangular black and white number plate. Cast aluminum replica number board.7Apuffing billy, 7a, number plate

(From back cover): "The Weintraubs Syncopators, international musical celebrities of the 1930s, embarked on a four-year journey across Europe, Russia and the Far East in exile from the antisemitic ideologies of the German Third Reich. This band of mainly Jewish musicians arrived in Sydney, Australia, in 1937. The decision of some of them to stay brought them into conflict with the aggressively protectionist Musicians’ Union of Australia. They gained employment at a high-end Sydney nightclub but when war came, were forced to come to terms with a change in their status – from celebrities to enemy aliens. Denounced for alleged espionage activities in Russia, three were interned and the band broke up. In this major recounting of the experience of the Weintraubs Syncopators, Kay Dreyfus pieces together the complex personal, social and political forces at work in this story of migration at a time of insecurity, fear and dramatic conflict." The Tatura group of camps were built after the beginning of World War 2, and held prisoners of war (enemy military) and civilian internees (enemy nationals, regardless of political affiliation, either living in Australia or in Allied territories overseas). The Weintraubs Syncopators' members were just some of the civilians caught up in the conflict. Paperback book. Glossy black front cover, black & white photo of group of musicians. Blue & white text. Back cover glossy white, black & white photo group of men standing over bass drum labelled "Weintraubs Syncopators". 305 pages. Dewey no. 781.65092weintraub, camp 1, tatura, internment camps, civilian internees, jazz, jewish community, world war ii, musicians, stefan weintraub, horst graff

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This projector stand was the actual projector stand used in their trips around Australia.Historic and rarity (only one left that was used by "Cosmopolitan Motion Pictures") Primary significanceMetal construction Projector tripod with a cloth on top to stop damaging the projectors. It has an adjustable height depending that extends to about 1.5 metres.T.J.N. Macey - Toolmaker and Manufacturing Engineerstand, tripod, projector, film, culture, language, greek, entertainment, yiannoudes, γιαννούδης, τρίποδο

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using. This winder was part of the equipment they carried around Australia Historical significance Primarily as it is the actual unit used to manually rewind all films.A film rewinding gadget, perhaps home made, with a wooden base, two reels, and an metal winder used for transferring the film from one reel to the next."Premier - Made in England"winder, film, entertainment, language, greek, yiannoudes, γιαννούδης, plutarch

HMAS Huon berthed at the wharf in Port Fairy Nov 1921. HMAS Huon (D50), named after the Huon River, was a River-class torpedo-boat destroyer of the Royal Australian Navy (RAN). Originally to be named after the River Derwent, the ship was renamed before her 1914 launch because of a naming conflict with a Royal Navy vessel. Huon was commissioned into the RAN in late 1915, and after completion was deployed to the Far East. In mid-1917, Huon and her five sister ships were transferred to the Mediterranean. Huon served as a convoy escort and anti-submarine patrol ship until a collision with sister ship HMAS Yarra in August 1918 saw Huon drydocked for the rest of World War I. After a refit in England, Huon returned to Australia in 1919. The destroyer spent several periods alternating between commissioned and reserve status over the next nine years, with the last three spent as a reservist training ship. Huon was decommissioned for the final time in 1928, and was scuttled in 1931 after being used as a target ship. She visited Port Fairy on a goodwill trip in November .Black and white photograph of naval ship berthedship, boat, sea, river, h.m.a.s.huon, moyne, naval ship

In 1880, the Melbourne Benevolent Asylum launched an appeal to raise funds to relocate away from the inner city. The location in North Melbourne was considered a great risk for the residents, particularly the 'old and feeble', in the event of an epidemic. In 1887, the secretary to the Premier of Victoria wrote to the Asylum, suggesting Frankston as a possible alternative to North Melbourne. The Asylum committee considered Frankston to be too far away. The Royal Commission into Charitable Organisations (1890) strongly recommended Cheltenham as the preferred location but the government failed to act on that recommendation. Former Asylum committee member, Mr James Hingston, bequeathed £25,000 to the Asylum on his death in 1902. After many more years of toing and froing, the foundation stone for the new asylum at Cheltenham was laid in 1909. It was almost two years later that the transfer of residents from North Melbourne to Cheltenham began. The move happened in stages over three days, with the first group of residents to move to Cheltenham being 125 women from the invalid wards. The Asylum continued to operate throughout the 20th Century and, in 1970, was renamed the Kingston Centre. The focus of services also changed. This photograph captures the laying of the foundation stone in 1909.Black and white image depicting a large group of citizens gathered to watch the laying of the foundation stone for the Benevolent Asylum in Cheltenham. There is a raised platform with a group of men dressed in suits standing on it. These appear to be the dignitaries for the day. There are flags flying in the background, others standing on poles at the corners of the raised platform. Handwritten in red ink on reverse: 50%cheltenham, charity, north melbourne, welfare

Sometimes called a sweetheart postcard, it was a way of sending thoughts to the troops overseas. The poem on the front, with the image of a woman writing to her loved ones, says: "In distance we are far apart . . . / Yet loving thoughts can span the ocean blue / And warm good wishes sent in fond remembrance / Speed swiftly o'er the sea from me to you.' The British, Australian and French flags and Australia wattle provide more symbolism, the horseshoes for luck, and a hand shake. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920.A record of correspondence with the troops in World War 1 and sending good wishes with a hamper. This type of experience would have been familiar to the first Legatees as they had served in World War 1.Postcard with a lady writing and men fighting, horseshoes and wattle.world war one, souvenir

Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction, alistair knox collection

Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction, alistair knox collection

No image number Possibly Deborah Halpen / Macgregor Knox House The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcdeborah halpen, houses, macgregor knox house, mud brick construction, alistair knox collection

Image 18 Alistair and Margot Knox House Designed and built by the owners The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair and margot knox house, alistair knox, alistair knox design, houses, margot knox, mud brick construction, alistair knox collection

Image 17 Bateman House 1961 Designed and built by John and Pattie Bateman and family The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcbateman house, houses, john bateman, mud brick construction, pattie bateman, alistair knox collection

Image 28 Tools of the trade The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcmud brick construction, tools, alistair knox collection

Comments by Mr. Jeff Walker, Sunday Sept %th 1983. Mr. E.E. Walker JP Managing Director, ATT Co Ltd on Right corner of photo. Mr. A.M. Donald Walker left hand side. Mr. J.S. Stan Walker with cap, 4th to left of EE his father. Mr. E.F. Walker - front row at the right with flag. Mr. Mark Smith to right of E.F. Billie White to right of E.E. (white hat) Mick McDonald top left of E.E (boxer hat). Abe Kay the boxer to left of EEW and Billie White. Jack Crew to left in front (hand on knee). (FG) Fred Allen, Captain with ball in hand (1903). Bob Halliday to left of my father, Lionel Walker (face not showing) far left. Bill Kennedy, brother-in-law of Pat McDonald (of hotel) at the back of my father and Bob Halliday. I think the young chap between Mr. ee amd Mick McDonald is my eldest brother Bill, he and JS were pals. Bill Bewley and the Makim Brothers are there I'm not sure of the others.Black and white photo of Mitcham Football Club 1903 (see history).makin, bewley, kennedy, walker, smith, white, mcdonnell, kay, crew, allen, halliday, mitcham football club

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph taken along Lady Talbot Drive, Marysville, Victoria, of the Taggerty River. Lady Talbot Drive a 24 kilometer scenic rainforest car journey which passes a number of walks and waterfalls in the Yarra Ranges National Park. Lady Talbot Drive is named after Lady Sarah Elizabeth, the wife of Sir Reginald Talbot, who was the Governor of Victoria from 25th April, 1904 to 6th July 1908.POST CARD Correspondence Address "Kooringa"/ Marysville/ Monday Dear Gwen, Kids/ I do hope your missing me especially/ around morning & afternoon tea time./ Its a hard place here with tons to eat so/ I'll probably stagger back to 31 King St-/ awful thought. The weather has been beaut/ so far - it rained the first Sunday, last/ Wednesday, but otherwise has been O.K. Its/ just as well I didn't get my togs, Lorna, the/ pool is empty. I'd sure like a swim today/ though. Ive got to write a letter to my/ Honeybunch so I'd better finish. Goodbye Kids,/ Love/ Gwen.marysville, victoria, taggerty river, postcard, souvenir, lady talbot drive, sir reginald talbot, sarah elizabeth talbot, southern cross series, 2317

Burnt Gully - possibly near Woodvale. a. Black and white photo: men standing behind, alongside bagged grain. Steam farm engine on RH side. Written on rear of photo: threshing team at lunch engine Ruston Procter steam. 8 horse power, single cylinder, working pressure 75 lbs per square inch. 80 revs per minte. Fly wheel 6 feet in diameter. b. Pilcher's thresher on Robert Riley's farm, Burnt Gully. Bullock drivers Bill Pilcher, Paddy Mulcair. Bullock drawn threshing machine, large group of men standing alongside and to rear of machine. Two men standing on top of thresher. Steam traction engine on far left of photo. c. Pioneer log cabin Burnt Gully, the home of the Grafton family, demolished about 1930. Hut of slab construction, with corruated iron roof over timber slats. Chimney of logs and slabs topped with bricks on LH side of house. Steam farm machine in background on LH side.unknownagriculture, farm, grafton familyh, robert riley, bill pilcher, paddy mulcair, burnt gully.

Ms. J. Caeli is the RDNS Medical Records Librarian and is visiting Ms.Val Douglas, the RDNS Social Worker, in her Office at RDNS Headquarters, 452 St. Kilda Road,Melbourne. Ms. Caeli is giving instruction to Ms. Douglas regarding statistics for Social Work. The Melbourne District Nursing Society (MDNS) were the first in Melbourne, in early 1928, to recognize some patients leaving the MDNS After-Care Home, and many at home, needed further social care. They set up ‘Almoners’ from their Committee to visit these patients and be intermediaries in getting them social assistance. It was late the following year before the first training of Almoners took place in Melbourne. In 1930 the Society employed a full time kindergarten teacher to visit poor children in their homes. In December 1934 the first full-time trained district Almoner, Miss Una Riall, was employed and carried out a great deal of work with the Society’s Midwifery patients. In 1935 she resigned as she felt the amount of work required needed more than one person. The Society were unable to obtain a replacement due to the shortage of trained Almoners so a Social Service Department was set up and a Social Service Officer, Sister Tupper, was employed at the After-Care Home; she successfully gained better housing from the Housing Commission for families living under unsuitable conditions. By 1941 conditions had improved with full employment of breadwinners and Sr. Tupper was appointed the Matron of the District Nursing Division of MDNS. In 1974, now as Royal District Nursing Service (RDNS), it was recognized the Service needed allied health workers and Ms. Val Douglas was employed as the RDNS first Social Worker.On the left of this black and white photograph is Royal District Nursing Service (RDNS), Ms. J. Caeli, who has collar length dark curled hair and is wearing a light and dark patterned and striped shirt style frock. She is standing with her left hand resting on a desk, and looking down at a pen in her right hand which is poised over a sheet of white paper held by Ms Val Douglas who is sitting to her right behind her desk. Ms Douglas is wearing dark rimmed glasses; has short wavy dark hair and is wearing a white with small grey oblong patterned dress. She is looking up at Ms. Caeli and is holding the piece of paper with her left hand. There is a large blotter, sheets of folded papers, a stapler and a small bottle of glue on the desk. In the left background is a low white cupboard with a vase of flowers and books, standing upright, on it. Behind this is white framed window.and an open long dark curtain. In the rear far right is part of a dark grey filing cabinet.Barry Sutton LY 64rdns, royal district nursing service, rdns medical records, rdns librarian, rdns social worker, mdns, melbourne district nursing society, ms j. caeli, ms val douglas

Yellow covered booklet 'History of the Bendigo Goldfield from its commencement in 1851 to June 1881' Presented with the Eaglehawk Specimen Case and giving a description of its contents, for transmission with the said case to England. Dedicated to G.D. Peters, Esq, London, by Mr. Hay Kirkwood, Eaglehawk. Inside first page ( un-numbered) 'The Bendigo Goldfield Compiled by Messrs Hay Kirkwood and Wm. Welch. The Rise and Progress. At the latter end of 1851, a few enterprising pioneers, with Captain Harrison, now police magistrate of Castlemaine, made their way from Forest Creek ( Castlemaine ) 30 miles distant, to a place on the Bendigo Creek, now called Golden Square, then a squatter's run, where rich auriferous ground was met with. The new soon spread far and near, and the world was soon startled with the intelligence that another very extensive goldfield had been discovered, the importance of which may be gathered from the fact that in the month of June, in the following year, six months after the first sod was raised, 80,000 ounces of pure native gold was taken by Melbourne.Printer: W. Welch, View Streetbendigo, mining, melbourne exhibition 1880

The photograph is taken in the car park at Royal District Nursing Service ( RDNS) Headquarters, 452 St. Kilda Rd, Melbourne. Sr. Harris is assisting to load the bassinet and the other nursing equipment into the RDNS Van for Mr. Pincher to deliver to the appropriate RDNS Centre or to patient's homes. In 1971 the Commission shop donated a Van to Royal District Nursing Service (RDNS), to be used by the Maintenance crew for delivery of equipment and transporting goods and documents between RDNS Centres and Headquarters. It was also used for transporting Maintenance staff, and the equipment they required, to do maintenance work at RDNS Centres as needed. The Commission Van was kept at the RDNS Service Centre at Chessell Street, South Melbourne. From the founding of the Melbourne District Nursing Society (MDNS), in 1885, known as the Royal District Nursing Service (RDNS) from 1966, equipment was loaned and demonstrated to patients, and their family members, to enable them to care for their loved ones in their home. In the 1970s RDNS employed a Physiotherapist who taught RDNS staff the correct transferring techniques, including the use of a hoist when this became available. RDNS staff taught and used these techniques in patient’s homes to undertake safe transfer of the patient and to reduce physical strain on RDNS Sisters and family members. Each RDNS Centre had a room or shed where equipment for loan was kept, and Headquarters also kept additional equipment which could be transported to Centres as required.On the left of the black and white photograph is Royal District Nursing (RDNS), Sister Betty Harris, who is standing side-on in front of the open door of a white Van. She wears glasses, has dark curled hair, and is smiling, as she has her arms outstretched with her right hand under a white bassinet as she passes it to Mr. Pincher who is standing in and leaning out of the opening of the Van. Mr. Pincher has wavy light colour hair and is smiling at Sr. Harris as he is holding the other end of the bassinet. He is wearing a dark cardigan over a white shirt. On the far left of the photograph, part of an RDNS car is seen and in front of this part of a walking frame. A pair of wooden crutches lean against the open Van door and a wheelchair and a 4 pronged stick are to the right of Sr. Harris. Behind them part of the Van with part of a window in its upper area are seen. Sr. Harris is wearing her RDNS uniform of a light grey skivvie under a darker V neck tunic style frock.rdns, royal district nursing service, rdns equipment, rdns uniform, sister betty harris, mr pincher

The photograph is taken outside the new Royal District Nursing Service (RDNS) Caulfield Centre. RDNS Sisters left in RDNS Torana vehicles from this Centre each morning to give nursing care to patients in surrounding suburbs and returned to the Centre after their visits. Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS) from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area and outer suburbs. In 1972 The Melbourne Centre which was conducted from RDNS Headquarters, 452 St. Kilda Road, was relocated to Caulfield and it became the Caulfield Centre. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area (district), taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for re-sterilization, and contact other medical and community personal as necessary. Most of the RDNS cars were housed at each Centre, only a few being driven home by a Sister. This is a black and white photograph of two RDNS two door grey Torana cars parked on the road outside a flat roof, one storey, light coloured brick building. The building is in three sections with the centre section set back. Part of the back of a white car can be seen in the driveway to the left of the set back section. Three large white framed windows can be seen along the end view of the left hand section and even larger windows are seen in the centre section. A small water tank and piping sit on a platform on the roof of both the left and right hand sections of the building. White fascia with dark trim above it edges the roof on each sections of the building. Some pencil shape type shrubs and a bare tree is seen in front of the building and a low light coloured brick fence runs across the property and down either side of the drive, with the footpath and nature strip in front of this. The back of a white car is seen on the road in the far right of the photograph and part of a wooden fence and parts of two large trees with leaves can be seen.Barry Sutton Photographer's Stamp. Quote KY 5rdns, royal district nursing service, rdns transport, rdns centre

In 1964 Melbourne District Nursing Service (MDNS) commenced a Domiciliary Postnatal Service, later called Domiciliary Infant and Maternal.Care (DIMC), when Royal patronage was granted in 1966 (RDNS). The Sisters gave Post-natal care to the mother and babes and visited for support and advice as long as needed. The central RDNS badges on the Sisters hats is made of metal and has 'Royal District Nursing Service' written in the outside royal blue circle. The inner area is divided in three parts, the top and bottom sections are a silver rising sun and the central royal blue horizontal band has the letters 'RDNS' written white capital letters.In August 1893 Melbourne District Nursing Society (MDNS), commenced a Midwifery Service with Nurse Fowler, who was Hospital trained in General nursing and Midwifery nursing, being the first Midwife employed. Mothers were assessed for suitability of a home birth, or if they required delivery at the Women’s Hospital. The Midwife worked in conjunction with the Doctors at the Women’s Hospital and if a complication arose the patient was transferred to their care. Following birth they gave Post-Natal care to both the mother and babe. In 1898 the service ceased due to lack of funds but recommenced in 1906, and in the August 1925 Annual Report the number of MDNS home births was recorded at 478. MDNS built the After-Care Home and an Anti-Natal Clinic was opened in 1930. The last Ante-Natal clinic was held there in December 1951 and the MDNS Midwifery service ceased in February 1952. In 1964 MDNS commenced a Post-Natal service with General and Midwifery trained MDNS Sisters working from a room at Footscray Hospital, and visiting early discharged Footscray Hospital maternity cases at home. Later, as Royal District Nursing Service (RDNS), this service was extended to a Domiciliary Infant and Maternal Care (DIMC), service operating from most Centres and visiting early discharged, often 24 hours after birth, maternity cases from hospitals to give post-natal care to the mother and babe. Many of the RDNS Sisters who did DIMC had their Triple Certificate (Infant Welfare), though Midwifery trained nurses also visited. Black and white photograph showing two Royal District Nursing Service, (RDNS), Postnatal Service Sisters visiting a mother and her triplets in their home. Both Sisters and the mother are smiling and sitting on a dark coloured couch with each holding one of the babes who are wrapped in light coloured bunny rugs. The Sister on the left is wearing a white gown, with the grey peaks of her uniform showing; her nursing badge is attached to the right hand peak of her uniform. She is wearing her grey peaked hat, with central attached RDNS badge, over her short dark curled hair. To her right is the mother, who has short straight dark hair, and is wearing a white blouse and dark tartan skirt. On the far right is Sister Barbara Weisart, wearing a white gown; with the grey peaks of her uniform showing, and wearing her grey peaked hat with central RDNS badge over her short dark straight hair. A set of white baby scales are seen to her rightPhotographers Stamp. Quote No. GE 13mdns, melbourne district nursing society, melbourne district nursing service, royal district nursing service, rdns, rdns domiciliary postnatal service, dimc, sister barbara weisart