The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse

Photograph. Norman Penrose collection: (A) Photo portrait of a man wearing a suit and tie. He is also wearing glasses, dark hair. (B) Tinted portrait of a lady with black hair. She is wearing a grey dress with beads and fabric flowers and leaves at the shoulders. She is also wearing sun glasses. Picture mounted on cardboard. (C) Black and white portrait of a lady with shoulder length curly hair. She is wearing a black dress. She is also wearing glasses. Portrait mounted with matt board. (D) Coloured portrait of a lady wearing a bright yellow dress with large black buttons at the shoulders. She has short, curly hair. She is wearing glasses which are black with clear lower edges to the frames. Also black ear-rings. The portrait has been taken from the side and she has her head turned to the camera. The background is pale blue.photograph, person, norman penrose collection, artwork, male and female portraits

Framed set of 17 No. 60mm x 38mm black and white photographs (see 588 - 604) showing arrival of new trams ex Melbourne in 1930, construction of Lydiard St North track relaying in Ballarat during 1937, opening of Lydiard St. extension in 1937 and two Geelong trams in 1937. Mounted on a white cardboard based with captions written under photos in brown ink, red ink underline contained within a brown stained wooden frame with glass front and cardboard backing sheet, held with small nails. For photo of opening of Lydiard St. Nth extension, has a piece of tape over date, corrected from 28-9-37 to 30-8-37. Also in pencil on rear of frame. For details of individual photographs see prints of photos items 588 - 604. Photos taken with a Kodak Vest Pocket camera. See Kings, Ballarat TramwaysIn pencil on rear "Lydiard St. Nth from Aug. 30/37"trams, tramways, ballarat, geelong, lydiard st. north, new trams

Yields information about the nature of a visit to Ballarat by Melbourne pressmen and the buildings in the background at the time. Also shows the dress of the visitors at the time. Various sources - ex photo held by the Ballarat Historical Society. Also shows the condition of the trams at the time.Black and white print of a photograph of two crowded horse trams in Lydiard St North. Ballarat, titled "Visit of Melbourne Pressmen 1900". Has Morris Manufacturing Company building in the background. Both horse trams, No.9 nearest to camera, have "Havelock" Tobacco roof advertisements. Behind the trams is Irwin's Provincial Hotel, when it was a timber structure. Print made from a copy negative held in the Ballarat Historical Society collection???? 2nd copy added 8/11/2005 from BTM collection of photos in mess room. 2785.1 - as above, but photographed from an album - shows the full length of horse tram No. 9 and has number TR4 in bottom right hand corner. 2785.2 - as above but cropped on sides - cropped out rear of horse tram 9. 2785.1 & .2 added 12/7/2009, ex William F Scott. See Email from Max Harris 12/8/042785.1 - top on rear in ink - "Ballarat Visit of Press men , 1900 Sydney Harvey photo". 2785.2 - in ink on rear "18a)", "Visit from Melbourne Press 1900, opposite Ballarat Railway Station". In bottom right hand corner "Sydney Harvey" and "William F Scott" address label.tramways, trams, horse trams, melbourne pressmen, ballarat, tram 9

Murray MEAD Artist's Statement: Impression attracts me due to its potential for presenting how one person ses one particular part of the world at one particular time in exquisite stylizaton and character. My works explore the nature of the 'individual' and how we perceive others and are in turn, seen ourselves in a given instant in time. I circumvent the tendency of individuals to adopt masks ab when confronted by cameras. I wnt to capture a fleeting moment in paint when that facde is momentarily breahed. I like the fact tht painting is a laborius medium that allows me to utterly stylize the image. In an otherwide realistic caricature I focus on capturing and coveying the subject's unrehearsed and elicited expression and emotion. My works are of individualistic responses from those who view them. From one person's explosive snort of amusement to another's quiet contemplation of how they too are seen by strangers and close friends - all are equally valid connections. photography, scuplture, murray maud

The photograph depicts nine Ruyton Girls' School prefects and probationers in 1952. The four students standing in the back row are probationers, who have been identified from left to right as M. Hartshorn, C. Kent, J. Hodgson, and M. Morrison. The five students seated in the front row are prefects identified from left to right as E. Macdonald, V. Mummery, H. Cole (School Captain), S. Backhouse, and T. Abson. All of the prefects and probationers are dressed in full Ruyton uniform including knee-length check-print skirts, brown lace-up shoes, dark jumper, white collared button blouse with a tie, and wool blazer. The students are all looking straight at the camera and smiling. The image is an official school photograph taken by Clive Stuart Tompkins. The same photograph appears in the 1952 Ruytonian.The record holds strong historic significance as it provides insight into the history of student leadership at Ruyton Girls' School. Student leadership commenced in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Obverse: C STUART TOMPKINS / CAMBERWELL / Reverse: Ruyton / Rawcey Ware (?) / Add to order / no 5488 / & make a / others / Ruyton / [illegible] /ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph

Colour film that is 10 min 29 sec in duration, 16 mm sound. 28th Melbourne Legacy Children's commemoration ceremony on the eve of Anzac Day at the Shrine of Remembrance in Melbourne 1959, attended by the Governor, Sir Dallas Brooks, who gave an address. The President of Melbourne Legacy, Legatee McKeddie, conducted the wreath laying in the Inner Shrine. 2,500 children from 254 Melbourne Schools attended the ceremony, which was simultaneously broadcast by the ABC throughout Victoria, and over 200,000 children participated. Filmed by The Melbourne Repertory Film Unit, cameras Eric Aitken, David Corke, Ian Hanna and Jack Semmens, musical recording by Leo Fowler, music by Felix Werder, directed by Ian Hanna. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Film shows the public reverence and respect for those who died serving Australia in times of war. Displaying the Shrine environs and Melbourne skyline at that time adds further interest.Metal canister and spool with celluloid film labelled Our Children Remember.Circumference of spool MASPRO SYDNEY AUST. Spoke of spool calibrated in 50 feet units from 50 to 400 feet. Label x 2. Label 1 - Please note this film is the property of Melbourne Legacy. Label 2 - Victorian Film Laborities PTY. LTD., Cambridge Buildings, Station Street, Box Hill, Victoria. Our Children Remember. A film of the Anzac Eve ceremony at the Shrine of Remembrance. Melbourne 1959. Magnetic Stripe.anzac commemoration for students, wreath laying ceremony

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. These buildings held a variety of businesses over many years. The building on the left operated as a butcher shop, but at times was also a cafe and the site of Whitehouse Motorcycles in the early 2000s. The business on the right at various times operated as "The Tuck Shop", a cafe, a milk bar and grocery shop. For a short while in the late 1930's/early 40's it was run by Sister Hughes after she had conducted the private hospital on the corner of High and Stanley Streets in the 1920's to 30's.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.A black and white image of the butcher and tuck shop near St. Augustine's convent, Wodonga.wodonga businesses, high st wodonga

Three black and white photos of a group of girls in elaborate costumes on the stage of the Melbourne Town Hall for an Annual Demonstration. It shows a girl dressed as a spider in a large spiderweb with other girls dancing below. This routine was done multiple times over the years. These three appear to be the same year based on the set and camera angle. One of the photos was published in the December 1946 newsletter so the year was 1946. They were in an album of press photos taken during dress rehearsals from the 1940s and 1950s. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo x 3 in an album of girls on stage with a large spiderweb as a background.junior legatees, demonstration, annual demonstration, girls classes, costumes

This is a photograph of Jack Warren, Jessie and Sylvia McNaughton. The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images.This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker.A black / white photograph of three young chilodren sitting in a pumpkin in water. There is a Union Jack at each end.pumpkins-orbost warren-helena-photographer mcnaughton-jessie mcnaughton-sylvia

The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images. This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker, A black / white photograph of a young boy in a carved out pumpkin in water. It has two flags.warren-helena-photographer pumpkins-orbost

Vol. 2, No. 2, Apr-May 1997 CONTENTS DRAWING ON NATURE Jenny Chong discusses the long transition from pottery to sculpture 3 THE WRITER IN THE THEATRE Alison Croggon talks about the pains and joys of writing for the theatre 6 A MUSICIAN'S MUSICIAN Daniel Chable on Steve Vai 9 JOURNEYS OF THE MIND The pathway of 14 regional artists 10 THE INVISIBLE THEATRE The contribution of the Melbourne writers' theatre 13 PHOTOGRAPHY Justin McMahon's camera turns the night sky into 'light paintings' 16 NOLAN AT MUSEUM OF MODERN ART Why the Ned Kelly series is the exhibition we had to have 18 THE VOICE IN BETWEEN Short story by Archimede Fusillo 21 THEATRE AND CD REVIEW A play that puts an Aboriginal and Torres Strait Islander point of view 26 THEATRE AND CD REVIEW 27 ALAN MARSHALL AWARDS 28 SOUL OF SOCIETY Ken Strong tackles some questions of creativity 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, food for all seasons, sidney nolan, ned kelly at glenrowan, jenny chong, manningham artspace, alison croggan, steve vai, daniel chable, recherche speciality picture framing, harriet dance, eva gaitatzis, manningham artspace, rick amor, jenny chong, geoffrey gordon dance, ernest fries, isabel davies, lindsay edward, kazuko eguichi, deborah halperin, inge king, grahame king, kevin lincoln, david moore, akira takizawa, tony trembath, carolyn pickett, melbourne writers' theartre, faces coffee house, eastern metropolitan opera, justin mcmahon, albert tucker, archimede fusillo, slickers, whilefood delights, eltham school of ballet, eltham little theatre, peter chapple, alan marshall short story award, janet drake, jon weaving, barry dickens, do lunch at the library licensed cafe, ken strong, wingrove cottage community clinic, helen o'grady children's drama academy, eltham high school symphonic band, james morrison, eltham wiregrass gallery & cafe

Photo display relating to the work of Eltham anthropologist Professor Donald Thomson (1901-1970) who was renowned for his work researching Aborigines across Central Australia. Part of the Bicentennial/Heritage Week Display, "The Eltham Tradition", Eltham Shire Office, 17-22 April 1988. "The Photographic record which forms part of the Donald Thomson collection housed at the Museum of Victoria, by arrangement with the University of Melbourne contains 10,580 negatives. The collection also includes 5,700 artefacts and 4,500 pages of field notes. Cumbersome camera equipment and glass negatives often had to be carried hundreds of miles by pack horse, on small boars and other means. Three documentary films have been made, two by the BBC and released in over 18 countries and third, made by Academy of Science (1987) is for Year 12 Biology students. 28,000 feet of film record of Arnhem land was destroyed whilst in Commonwelath Government Custody." Two colour photographsactivities, eltham shire office, heritage display, heritage week, donald thomson, collection

In 1974 Ms. Val Douglas was appointed as the first Social Worker at RDNS. This photograph is taken in her Office at RDNS Headquarters, 452 St. Kilda Road, Melbourne. Ms Douglas graduated with her Degree of Social Work from the Columbia University in USAThe 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.This black and white photograph shows Royal District Nursing Service (RDNS) Social Worker, Ms. Val Douglas, sitting behind her desk. She has short wavy dark hair; is wearing dark rimmed glasses, and is wearing a V neck, short sleeve, white, which is patterned with small grey oblongs, dress. She is smiling as she looks at the camera. She has a pencil in her right hand which is poised over a quarto sheet of paper which contains writing. A large blotter, clipboard and larger notepad are under this, and other sheets of paper, a notebook, and a receptacle holding several pens also sit on the dark wooden desk. Only a small section of the padded black chair she is sitting on is seen. On the right behind this, is a tall dark grey filing cabinet. On the left is a white shelf with a few books standing vertically on it and behind this part of a window is seen. To its right an open long dark curtain is seen.Barry Sutton LY 65 nameroyal district nursing service, rdns, rdns social worker, ms val douglas

The MDNS Sister has given nursing care to the gentleman and has transferred him safely into the wheelchair. Whilst doing this the Sister demonstrated the transfer technique to the lady in the photograph who is probably his wife. The Sister is wearing the MDNS uniform of the day, a grey cotton dress and red cardigan, under her white gown. She has a red Maltese cross applied to the centre of her grey peaked hat.From its founding in 1885 the Hospital Trained nurses of the then named Melbourne District Nursing Society (MDNS), later named Royal District Nursing Service (RDNS) gave high quality nursing care to patients in their own homes. They nursed patients referred by Hospitals and General Practitioners giving treatments, such as injections, wound care and doing many other procedures, as well as assisting them with 'general care' when required. The Sisters needed to transfer the patients when required and also taught family members safe transferring techniques to enable them to care for their loved ones. RDNS employed a Physiotherapist who taught staff the correct techniques, not only for safety of the patient, but to reduce physical strain on patient’s family members and the RDNS nursing staff . Where possible the Sisters worked towards independence, using equipment such as shower seats, rails and hand showers. The Sisters liaised with the patient's Doctor and supported and advised the patient and Carer of any further help to assist them.On the left of the black and white photograph is a Melbourne District Nursing Service, (MDNS) Sister, who is wearing glasses and is looking at the camera. She is wearing a white gown over her uniform, with the grey collar and the dark sleeves of her cardigan in view and her grey peaked hat, with an emblazoned Maltese cross in the centre front, sits over her short dark curly hair. Both of her arms are extended and resting on either side of a pillow she is straightening. The Sister is standing next to wheelchair bound man who has short dark hair and is wearing dark trousers and a light coloured jumper. On the right hand side of the wheelchair a lady, wearing a light blouse, grey jumper and tartan skirt, is standing with her left hand resting on the left arm of the man.They are both smiling and looking slightly towards the right in the photograph A 'monkey bar hand grip' is attached to the bed by a pole and hangs on a white chair over the bed. A window covered by a blind is behind the Sister, with a light curtain to the left..Photographers stamp. Quote No. DW 84mdns, melbourne district nursing service, patient care, rdns, royal district nursing service

Hilda Hill Collection.Series of Black & White Photos Hill Family & Friends Total 5 Photos. Clem & Jim out bush, both boys are wearing dark coloured shorts and long socks boy on left has white stripes at top of the socks with braces white shirts bottom right corner shows a piece of barb fence wire. 'Babe' Noonan contemplating hatless and wearing a white dress and dark stockings, Bill Hill (lady) by lake wears round top hat with the front brim turned up white dress highlights on the lapels black belt with a black bag attached columbine pattern on her stockings standing on dam bank background is forested area. Family Group 'The Push' made up of 7 young ladies and 4 boys one of which wears a hat one girl is dressed in black all others are in white on girl is wearing a hat with another on the ground beside her girl front right has a s part black bag hanging around her neck. Hilda Hill on 2 steel wheeled apparatus with long shaft at the front being held by a man dressed in grey suit with white shirt and dark tie another man is standing rear right of the girl also wearing grey suit white shirt and dark tie, Mid left side shows a heavy wheeled cart loaded with full bags at Summer Hill March 8, 1925. rear background has large willow tree, right background shows corner of large shed and haystack Also noted in pencil -At The Pines 1919. There is also a photo of two ladies facing the camera both wearing hats one light and the other dark colours lady on left is wearing dark jacket over a white dress lady on right wearing white dress and long tress forward over her shoulder two other ladies have their backs to the camera both wearing white one has black sash at her waist and head coverings, The venue appears to be a large dam and background shows far shore and bushland.Hilda Hill Personal Collectionaustralia, history, post war life

This is a photograph of Percy Nixon's sons - Jack, Allen, Pres, Keith and Jim. The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images.This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker. It is also associated with the Nixon family, early settlers in the Orbost district.A black / white photograph of four young boys in a pumpkin with an older boy pushing them. There is a Union Jack flag at each end of the pumpkin with "HMAS ORBOST" on the side. The boys are wearing shirts and ties. A baby has his hand over the side trying to touch the water. pumpkins-orbost warren-helena-photographer nixon-percy nixon-jack nixon-pres nixon-keith nixon-jim nixon-allen

This is a photograph of Jack Warren, Bon Trewin, Enid Eaton, Linda Warren, Ivan Trewin and Jim Trewin. The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images.This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker.A black / white photograph of si small children sitting in a pumpkin on water. There is a Union Jack at one end and an Australian flag at the other,. On the side is "HMAS ORBOST"pumpkins-orbost warren-helena-photographer trewin-bon trewin-ivan trewin-jim warren-jack warren-linda eaton-enid

This photograph shows Cora Lynn, Enid Eaton, Jim Trewin, Jean Trewin and Ivan Trewin. The photographer was Warren, Helena (1871-1962) who was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images.This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker. This item is associated with a popular activity of the Orbost community in the first half of the 20th century. Pumpkins have been been part of the district's agricultural history since settlement.A black / white photograph of three children and two babies in a carved out pumpkin. There is a flag at each endpumpkin warren-helena trewin lynn eaton

Vol. 2, No. 5, Oct-Nov 1997 CONTENTS ART BRIDGES GAP IN WAR-TORN NATION Painter Piers Batman captures life in Eritrea 3 TENACITY OF THE HUMAN SPIRIT A teacher's road back from road trauma 7 EXHIBITIONS 10 POETRY Ray Liversidge 11 STUDIO WALKABOUT Artists open studios for Eltham Festival 12 ART FROM THE HEART Interview with Herman Pekel 14 ERITREAN JOURNEY Bill Moseley's camera in Eritrea 16 ART AND THE INTERNET Two Kangaroo Ground women bring art to a wider audience 18 HOUSE AND GARDEN IN SUBURBIA Exhibition of sculpture at Austin and Repatriation Medical Centre 20 THEATRE New Playbox - powerful advocate of Australian theatre 21 SHORT STORY Goodbye Dave, by Sherry Clarke 22 BOOK REVIEW 27 POETRY READING 28 BOOK REVIEW 29 EXPATRIATES COME HOME Former Nillumbik artists exhibit works 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, thornton mccamish, bill moseley, eritrea, darebin festival, christine durham, michele lonsdale, ray liversidge, ona henderson, syd tunn, eltham festival, artists open studios program, nillumbik artists' open studios, david armfield, janet boddy, jules christian burns, wendy donald, jill forest, annie keil-taggart, ming bellamy mackay, jenni mitchell, grace mitchell, mervyn hannan, mary lou pittard, chris pittard, maureen runge, herman pekel, austin and repatriation medical centre, carolyn pickett, sherry clarke, manningham artspace, alan marshall short story award, eltham arts council inc., eltham library community gallery, harriot dance, chapman & bailey artists' stretchers and furniture, eltham high school

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. Wodonga Civic Centre - In the late 1960s the area in Wodonga between Hovell and Havelock Streets was zoned for civic purposes. By 1969 Melbourne architect Bruce Marshall had designed the civic centre which included a library, theatre and senior citizens' rooms. The main hall had a seating capacity of 1,000 people but could be divided by a sliding door. into smaller areas. It also included meeting rooms and kitchen facilities. The Civic Centre was officially opened by the Honorable Sir Henry Bolte, K.C.M.P., M.P., Premier of Victoria who was accompanied by the Honorable R. J. Hamer E.D., Minister for Local Government. The Shire President was Cr. James A. Terrill, J.P. This image records an important stage in the development of local government and civic buildings in Wodonga, Victoria.A series of black and white images showing the constriction and opening of the Wodonga Civic centre.wodonga businesses, high st wodonga, melba theatre

This stereoscope was used to view a pair of separate and overlapping aerial photos as a single three-dimensional image. This smaller foldable unit could be easily used in the field but larger, mirror stereoscope was used in offices. The aerial images were used to map forest types, timber stands, new roads and tracks, firebreaks, boundaries of timber harvesting, plantations, bushfires, insect and disease attack and so on In 1928, the Forests Commission undertook its first major aerial photography project over 15,000 acres of forest which is said to be the first of its kind in Australia. During the Second World War, large areas of Victoria were photographed by RAAF and used to produce orthophoto maps. By 1945 aerial photography of 13,000 square miles (3.4 M ha) was completed, including much of the inaccessible eastern forests. The Forests Commission started developing its own small format photography in the early 1970s. Simple, cheap and rapid methods of obtaining photographs using 70mm and 35mm cameras were developedFoldable plastic stereoscope in box Benallaforests commission victoria (fcv), surveying, forest measurement

This stereoscope was used to view a pair of separate and overlapping aerial photos as a single three-dimensional image. Smaller units and could be easily used in the field but this larger, mirror stereoscope was used in offices. The aerial images were used to map forest types, timber stands, new roads and tracks, firebreaks, boundaries of timber harvesting, plantations, bushfires, insect and disease attack and so on In 1928, the Forests Commission undertook its first major aerial photography project over 15,000 acres of forest which is said to be the first of its kind in Australia. During the Second World War, large areas of Victoria were photographed by RAAF and used to produce orthophoto maps. By 1945 aerial photography of 13,000 square miles (3.4 M ha) was completed, including much of the inaccessible eastern forests. The Forests Commission started developing its own small format photography in the early 1970s. Simple, cheap and rapid methods of obtaining photographs using 70mm and 35mm cameras were developedFoldable metal stereoscope in wooden box with mirror covers Ex Dept of Defenceforests commission victoria (fcv), surveying, forest measurement

This is a set of 40 photographs taken in 1992 during 4th Field Survey Squadron’s deployment on Operation MIZMAZE 92 in the Kimberley region of Western Australia from the 13th of May to the 14th of July 1992. The area of operations was Wyndham, Halls Creek and Sandfire Flat. It was a two-part operation involving the field completion of topographic maps and the acquisition of mapping control by GPS field parties utilising Texas Instruments TI4100 Global Positioning System receivers. Survey parties conducted field checking of topographic maps and GPS control acquisition in Perentie 110 Series Survey variant FFR Land Rovers. Three Bell Kiowa LOH helicopters provided by 162 Recce Sqn supported field checking and limited deployment of GPS surveys parties. C-l30 Hercules from 36 Sqn supported deployment and extraction of personnel and equipment to and from from the AO. A Cessna 404 Titan Ambassador from Vee-H Aviation was used as the Wild RC10 camera platform for aerial photography acquisition.This is a set of 40 photographs taken in 1992 during 4th Field Survey Squadron’s deployment on Operation MIZMAZE 92 in the Kimberley region of Western Australia. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1992. CAPT Craig Hersant. .2) - Photo, colour, 1992. Unidentified officer/soldier. .3) & .4) - Photo, colour, 1992. Aboriginal rock art - Wandjina Gunduran, Donkey Creek. .5) - Photo, colour, 1992. Aboriginal rock art - Track Wandjinas, Donkey Creek. .6) & .7) - Photo, colour, 1992. CAPT Craig Hersant. .8) - Photo, colour, 1992. Kimberley region topography. CPL Glen Weatherell. .9) - Photo, colour, 1992. Unidentified personnel .10) - Photo, colour, 1992. Supermarket at unknown location. .11) to .13) - Photo, colour, 1992. Caravan park at unknown location. .14) - Photo, colour, 1992. Old bridge at Fitzroy Crosssing. .15) & .16) - Photo, colour, 1992. Survey party in Perentie 110 Series Land Rover. .17) & .18) - Photo, colour, 1992. Kimberley region topography. .19) - Photo, colour, 1992. Kimberley region topography. CPL Glen Weatherell. .20) - Photo, colour, 1992. Kimberley region topography, possibly the Bungle Bungles. .21) - Photo, colour, 1992. Kimberley region topography. SGT Frank Downie. .22) - Photo, colour, 1992. Kimberley region topography: the Bungle Bungles. .23) - Photo, colour, 1992. Kimberley region topography: the Bungle Bungles. .24) - Photo, colour, 1992. Kimberley region topography: the Bungle Bungles. SPR Neil Pedler. .25) & .26) - Photo, colour, 1992. Kimberley region topography: the Bungle Bungles. .27) - Photo, colour, 1992. Kimberley region topography. .28) - Photo, colour, 1992. Survey party with Perentie 110 Series Land Rover. .29) - Photo, colour, 1992. Kimberley region topography. .30) - Photo, colour, 1992. Survey party outside Perentie 110 Series Land Rover. .31) & .32) - Photo, colour, 1992. Survey party operating TI4100 GPS Receiver next to Perentie 110 Series Land Rover. SGT Eddie Jacobs. .33) & .34) - Photo, colour, 1992. Survey party operating TI4100 GPS Receiver next to Perentie 110 Series Land Rover. Unidentified surveyor. .35) - Photo, colour, 1992. Kimberley region topography. Hand water pump at well. .36) - Photo, colour, 1992. Survey party in Perentie 110 Series Land Rover. .37) - Photo, colour, 1992. Kimberley region topography. CPL Glen Weatherell. .38) - Photo, colour, 1992. Kimberley region topography viewed from Bell Kiowa LOH helicopter. .39) & .40) - Photo, colour, 1992. Unidentified surveyor field checking a preliminary map in a Bell Kiowa LOH helicopter..1P to .40P – There are no personnel identified. ‘1992 OP MIZMAZE annotated on negative sleeve.royal australian survey corps, rasvy, 4 fd svy sqn, op mizmaze 92

This photograph depicts a MDNS Sister visiting a male patient to give him nursing care. He is lying in bed in his home and the Sister is applying a bandage to his left wrist. Under her white gown the Sister is wearing the MDNS winter uniform of a grey dress with peaked collars and grey wool beret which has a central red Maltese cross attached. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients who ranged in age from the very young to the elderly. The patients required their wounds to be dressed following various types of surgery, accidents, burns, cancer, leg ulcers etc. As research developed better products and dressing materials, the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed wound care programs, such as the Leg Ulcer Management Program to provide their Trained nurses (Sister) with methods of best quality care. They ran a program for Wound Care Specialists who made assessments and provided advice and support to the District Sisters working in the field as needed. The Sisters liaised with the patient’s Doctors and hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. Standing on the left of this photograph is a Melbourne District Nursing Service (MDNS) Sister who is wearing a white gown over her grey uniform, the collar of which can be seen. She is wearing her uniform grey wool beret over her short dark curly hair and is smiling as, with her outstretched left hand, she supports the partly bandaged extended left arm of a gentleman who is sitting up in bed to her right; his right arm is resting on the bed and supporting him as he is partly turned towards the Sister. She has part of a rolled bandage in her right hand. The male patient, who has short dark hair, is looking at the camera and smiling. He is wearing a white and striped pyjama top and his lower body is covered by a patterned bed cover. Part of a pillow with check pillow case sits flat behind him and part of a wooden horizontal slat bedhead is seen. On the wall behind the bed hangs a framed photograph of a couple on their wedding day. Patterned curtains cover the window in the left rear of the photograph.John Gallagher photography. 4 Benares Street, Mitcham Victoria WU 2568 No. 4-4melbourne district nursing service, mdns, mdns wound care, royal district nursing service, rdns

The photograph was taken in a Shopping centre and shows an RDNS Sister about to check the blood pressure of a lady..Over many years the Royal District Nursing Service (RDNS), was involved with carrying out health screening checks at many Shopping centres, and other venues, when requested.A coloured photograph taken in a Shopping centre, showing a Royal district Nursing Service (RDNS), Sister, who is wearing glasses and has short blonde straight hair, standing on the left hand side of a seated elderly lady. The RDNS Sister, is wearing RDNS dark blue slacks and a jumper over a white blouse, with the collar and cuffs seen. She is looking down at a blood pressure machine and holding the dial with her right hand. A stethoscope is hanging down from around her neck. The elderly lady has a blood pressure cuff around her right arm. She has grey curly hair and is wearing a blue and pink patterned jacket over a navy blue frock. She is facing the camera and looking serious. To the Sister's left are some open cardboard boxes, one with a white balloon on a stick from it, and further to the left part of a table covered with a red tablecloth can be seen. A shoe shop can be seen in the rear, as well as a vertical dark banner with the word 'Police' running down it in white letters.royal district nursing service, rdns, health screening checks

This photograph depicts the style of MDNS uniform worn at that time, which was a grey cotton dress and red cardigan, over which was a woolen grey coat. The beret was of grey felt and had a red Maltese cross attached to the centre. Sister Wilson is about to enter her MDNS car, which was one of the early cars in the MDNS fleet, to drive to a patient to give nursing care.Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state they were sold in 1927. A Motor Auxiliary was formed in 1929 to take Sisters to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. Black and white photograph of Sister Jill Wilson of the Melbourne District Nursing Society (MDNS) about to enter her work car. Sister Wilson is wearing her winter uniform, with a light grey beret over her short dark curled hair, and a long light grey coat which has lapels. She is standing side on, and to the left of the partially seen small white car. She is smiling and looking at the camera. Her right arm is extended with her hand on the handle of the partially opened car door and she is holding a white bag and cloth in her left hand. At her feet is her dark coloured, square shaped, nursing case which has a leather strap around the middle and two light coloured clasps each end, as well as a thick hard handle on the top. She is standing on the road and to her left, on the grass, are two lamp posts; small bushes can be seen as well as two trees in the distance. Two dark coloured buildings, one with a hip roof and one a flat roof, can be seen behind the car. rdns, motor vehicle, nurse, uniform, melbourne district nursing society, mdns, rdns transport, royal district nursing service, sister jill wilson