The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photographs of a double storey, red brick building built - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. This building is now the Gribble Building on the Federation University Australia SMB Campus.Artwork by students of the Ballarat Technical Art School from the 1934 Ballarat School of Mines Students' Magazine .1) Stairs to the Ballarat Junior Technical School from Grant Street .2) Caricatures by Nornie Gude .3) work by Colin S. Hunt .4) A girl and a rooster by Gilda Gude .5) Self Portrait .6) Main entrance to the Ballarat Technical Art School by Lorna Bailey .7) Artwork from the magazineballarat technical art school, gribble building, gribble, stained glass, white flat, hopwood, bailey, gude, ballarat junior technical school, visual arts

A small number of heavy cast iron weights and two rods remain at the Point Hicks. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene-fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene-fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions . One weight is displayed in the lantern room at Cape Otway. The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890.PHLS0005.1 Round cast iron weight with flat base used for lens clock-work mechanism attached to a bent metal rod. PHLS0005.2 Removable round cast iron weight with flat base used for lens clock-work mechanism stored above the other weight.

The images in the Bogong Village Collection were displayed in Bogong Jack’s Tavern for over 20 years and were donated to the Falls Creek Museum when the Tavern closed in 2021. In 1939, the State Electricity Commission of Victoria established a field headquarters at Bogong to house workers and their families for the Kiewa Hydroelectric Scheme which ran from the 1930s to the 1960s. The workmen's camp was originally started with tents and was called Junction Camp. By 1947, the village supported 300 workers and their families. It included 40 houses, a hostel for single staff, a post office, a police station, a medical centre, and a primary school. The staff hostel was known as Kiewa House. At the completion of the Scheme, in the 1960s, the village was opened to public/tourism use. In 1968 the Victorian Education Department acquired the camp buildings and four houses from the State Electricity Commission of Victoria to establish an Outdoor Education Centre which operated for over 50 years. The Kiewa Hydroelectric Scheme was privatized in the 1990s and sold to Southern Hydro, before being acquired by AGL in 2005. In 2023 the Grollo Group signed a 73 year sublease on Bogong Village and has plans for its redevelopment as a workers’ village. John Maddison and his wife Mary Padman emigrated from London to Australia in 1850 with their five sons. Jack (John James William Maddison) was one of their great grandsons. In 1877 Jack’s grandfather George Maddison selected land between the East and West Kiewa branches of the Kiewa River - known as the "Island". It is now known as Mount Beauty. The Maddison family built Aertex Hut at the top of T Spur at Mt. Bogong for use when grazing cattle. It later became known as Maddison's Hut. Staircase Spur walking track at Bogong was formerly known as Maddison’s Track as it is the path once used by the Maddison family to drive their cattle on to the high plains. These images are significant because they feature the son of a pioneering family on the Bogong High Plains.A black and white photograph of Jack Maddison leading horses on the Bogong High Plains.bogong alpine village, bogong high plains, maddison family mt beauty, maddison's hut, aertex hut,

Compact Diskette with video (DVD), titled "Malvern Tram Depot Centenary Celebration 30 May 2010" - in a clear covered plastic case with a black back. Chapter 1 - "Celebrations" running time 5mins, 40secs, gives an introduction to the PMTT, Yarra trams celebrations, includes interview with Craig Tooke (COTMA), Ian Stimpson of Bendigo trams, images of 44 and 84 running in and out of the depot, speech by Michel Masson, CEO of Yarra Trams, Brian Tee, Parliamentary Secretary for Transport, historic footage of the 1910 Opening of Malvern depot. Chapter 2 - "News Footage" - running time 4mins 15 secs, ABC News excerpts, channel 9 and channel 7 news broadcasts for that night features an interview with Darren Hutchesson, Craig Tooke, Roderick Smith, Allan Pollard and Michel Masson. Chapter 3 - "Archive footage" - running time 3 mins, footage thanks to National Film and Sound Archive, titled the "Opening Prahran and Malvern Tramway " features people speaking from a spiral staircase, trams No. 1, 2 and 3 running out of the depot, 12 in Glenferrie Road, lots of people views, 6 with Mayor, 6 See also Reg Item 2450 for a Yarra Trams labelled copy of the first chapter. See also Reg Item 2451 for a copy of chapter 2. See also Reg Item 2452 for the original version ex the Archive along with the paperwork re use.trams, tramways, pmtt, opening, yarra trams, malvern depot

A small number of heavy cast iron weights and two rods remain at the Point Hicks Lightstation. These weights comprise one rod with a forked top and four circular weights attached to the bottom of the shaft. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene‐fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions. One weight is displayed in the lantern room at Cape Otway. The image shows four of the clockwork weights attached to a rod with a forked top. They were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. The Aldis lamp in its case sits on the floor next to the weights. Source: Parks Victoria.The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890. Four circular metal weights are stored on a metal rod with a forked section at the top. The weights have a cut out section which allows the weights to be removed easily.

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

Hilda Hill Collection. Black & White Photos of Hill Family Total 9. Three girls at SHLC 1918 with white sashes and medallions, dark clothing with white collars, background is garden scene , photo has over exposure problem which gives a lighter print, 24 September 1918, could it be a ladies college of education? Al standing wearing white blouse and dark dress holding a white hat standing and Gert sitting and holding a white hat in front of a bush wearing a white blouse and a light coloured skirt, background is forested area, 'The Pines' January 9th 1919. Claire dressed in dark dress and wearing a white hat with her hands together, oval photo, 'The Ranche', October 23 1918. Jonah wearing a hat and white dress with colourful hemline standing before a large hedge holding a parasol, large tree background left, 'The Ranche'. Three boys and two dogs All boys dressed in dark coats and shorts long socks two of the boys are on their haunches, Background is a gabled roof and 2 chimneys, white fence, between two of the boys is a water tap on a medium height pipe, Durvol December 1919. Moll Noonan seated on a round backed chair wearing a white dress, right background shows the side of a building, at knee level sis a broad leafed plant, other shrubbery in the background, 'The Ranche' November 1918. Ettie seated on a staircase and holding a dog, lady is wearing a broad brimmed hat, One Tree Hill April 18 1920. Two ladies in lightly coloured dresses standing in a garden setting, lady on left has a black sash waistband, Durvol December 1919 . Group of seven girls and 4 boys, all of the girls are dressed in white, front girl has black neck accessory, 'The Pines' January 9 1919 No. 7 Reservoir.Hilda Hill Personal Collectionaustralia, history, post war life

Black Boys Inn is in the market square of Aylesham, England. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph colouredinn, aylsham, england, black boys inn, market square

Black Boys Inn is in the market square of Aylsham, England. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph"Admiral Lord Nelson attended a dance at the Assembly rooms here on 15th December 1792 - 21st October 2005"aylsham, lord nelson, 1792, plaque

Lord Nelson plaque is in the town of Aylsham. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph"This stone commemorates JOSEPH THOMAS CLOVER 1825-1882 pioneer anaesthetist born in Aylsham"aylsham, joseph thomas clover, anaesthetist

The property is a classic example of what made Eltham famous from the late 1940s to the 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p149 The first view of the large double-storey house at Yarra Braes Road, Eltham South, is of a jutting roofline over a balcony, reminiscent of a large sailing vessel or galleon – very appropriate, considering the name of one of the first owners, Le Gallienne. The Downing-Le Gallienne property is a classic example of what made Eltham famous from the late 1940s to the 1960s and attracted so many artists and intellectuals to the area. Set in a largely indigenous bush-style garden, the mud-brick and timber house was built by Alistair Knox. It was built for economist Richard Downing, to become a founder of the welfare state in Australia and Chairman of the Australian Broadcasting Commission, and musician and composer Dorian Le Gallienne. Le Gallienne was a pioneering composer of modern music in Victoria before 1945, whose works included the Symphony in E.1 He wrote several pieces of film music for Eltham Films, including The Prize, working with its writer and artistic director Tim Burstall. Le Gallienne was also a music critic for The Argus and later for The Age. In 1967 the music critic Roger Covell argued that Le Gallienne’s Symphony, was ‘still the most accomplished and purposive . . . written by an Australian’. According to Alan Marshall the main inspiration behind the building that evolved from 1948 to 1964 was Le Gallienne. ‘He was able to see value in the simplest things and many who worked there had their eyes opened for the first time to the Eltham environment, to the bush and the trees and the fauna which lived there.’ The garden included no formality, no lawns, nor exotic plants. ‘Natural informal growth came right up to their doors and so did the indigenous birdlife.’ This informal style – consisting of mass and void – was to be developed and popularised by landscaper Gordon Ford from the 1950s. The large mud-brick and timber house, which was built in four stages and has three separate but linked sections, began as a small weekend retreat for the couple. In 1948, Downing and Le Gallienne (Dick and Dor to their friends), asked Knox to build the 36 x18 foot (11mx5.4m) building with a pitched slate roof. It was built on a concrete slab and included a fireplace, which is still in use. The second wing was built in 1954 after Downing had returned from working at the International Labour Office and the couple decided to live there full-time. The third section was built after the death of Le Gallienne in 1963, aged 48. He is buried in the Eltham Cemetery. When Downing married widow, Jean Norman (nee McGregor) and had to accommodate a large family, including her six children and one of their own, the last stage was built by 1964. At that time the house was considered one of the largest mud-brick houses in Victoria. It consists of five living areas, including a small ballroom. Several artists helped Knox build the Downing-Le Gallienne house, which was one of his first of mud-brick. They included painter Clifton Pugh, artist John Howley and actor Wynn Roberts. Ellis Stones had landscaped the first wing and Gordon Ford set the boulder steps and made a pool as part of the landscaping he completed. Inside, the mud-bricks are largely whitewashed with pine-lined ceilings and Oregon beams. A winding timber staircase in the front extends behind a glass window from the ground floor to the top. The property, of a little more than 0.5 ha, is bordered by Parks Victoria land, which extends to the Yarra River.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, dorian le gallienne, downing-le gallienne house, eltham, mudbrick construction, mudbrick houses, richard downing, yarra braes road

From the Argus Newspaper of 10 May 1888: "OLD COLONISTS' ASSOCIATION OF BALLARAT. (FROM OUR CORRESPONDENT.) BALLARAT, WEDNESDAY. This association, which was founded in August, 1883, and at first known as the Old Identities' Association, now has a roll of 450 members. The objects of the association are "to aid and assist indigent or suffering old colonists; to raise a fund, by the voluntary subscriptions of the members and the aid of outside donations, for the purpose of relieving members in sickness and old age ; for assisting those in extreme distress, to provide the shelter o a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association, and in the event of the death of any member to have his remains decently buried, the association defraying the expenses of the funeral (providing that no funds or property are left by the deceased), and to attend the funeral if so desired by the relatives " The qualifications for member- ship are good character and repute, and residence in the colonies for a quarter of a century. For some time the association had no property except the regular subscriptions, but about a year ago they obtained from the Minister of Lands the grant of a very valuable block of land in Lydiard-street, the Crown grant of which they received last week. This block has a frontage of 66ft to Lydiard street, worth at least £100 a foot. The ground was given to the association as a site for them to build a hall upon, and with so valuable an asset they had no difficulty in borrowing at 7 per cent, enough money to construct a hall. For revenue purposes the ground floor of the building has been made into four shops, and the rental from these, judging from the rentals of shops in the vicinity, will not only pay all the interest on the borrowed money, but over £200 a year towards clearing off the principal. The officers of the association are Messrs J P Murray, president; J W Graham and T. Stoddart, vice presidents; D Fern, treasurer , and J Fraser, secretary. The Old Colonists' Hall is an elegant looking building in Lydiard-street, lying between the newly-opened mining exchange and the Commercial Club house, and a few doors north of the Post office. The style of the facade is classic. The lower portion of the front is constructed of Waurn Ponds stone, forming piers, and the upper portion of brick and cement, the background being tuckpointed. The centre bay is carried by two three quarter columns with Ionic cups, which support a pediment on which is set a cast of the Ballarat coat of arms. The four other bays are supported by pilasters with Corinthian caps mid partly fluted. The entrance is through a spacious circular headed doorway, the keystone of the arch of which bears a sculptured head, in marble, representing that of the president of the Old Colonists' Association here, Mr. John P Murray. An ample vestibule leads to a wide stone staircase which ends at a spacious landing. The landing has a dome over the centre, with cornice and enrichments, and is lighted from above. The walls round the landing are panelled with marble slabs, which are to be appropriately inscribed in the future. On the first door are the rooms appropriated to the association. The principal of these is a hall 44ft x 33ft and 17ft high. This room is well ventilated and lighted from the back of the building with large windows, and the walls are finished with Keene's cement. The other rooms are committee room, 14ft x 16ft; scretary's, 14ft x 17ft 6in; kitchen, bedrooms, bathroom, &c. The front portion of the first floor is arranged so that it may be let for offices, or utilised for club purposes. Suitable provision has been made throughout tor lighting, ventilation, and means of egress. The architect for the edifice is Mr A. G Legge, of this city, and the contractors are Messrs. Whitelaw and Atkinson, Irving and Glover, Reynolds, and J Donaldson. The total cost of the building when completed, which will be in a few weeks, will be about £4,000."Colour photograph of a room with marble plaques on the wall. They relate to the Old Colonists' Association of Ballarat, old colonists' association ballarat, old colonists' club, marbles

These 27 photographs were taken at an Army Survey Regiment Open Day at Fortuna Villa, Bendigo on the 24th of February 1990. This occasion was one of several events held to commemorate the 75th anniversary of the formation of the Royal Australian Survey Corps. Although historical tours of Fortuna occurred on a regular basis, this was the first technical open day since 1972. The Royal Australian Survey Corps recognised that an Open Day was the best way for the local community in Bendigo to gain an insight into the unit’s important role as Defence’s map production agency, its technical equipment, and its economic importance to Bendigo. It also gave them an opportunity to tour through historic Fortuna Villa. This occasion is covered in more detail in page 143 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. Refer to items 6435.35P and 6436.18P for more photos of the Open Day taken in the Map Production areas of Air Survey and Cartographic Squadron, and production areas of Lithographic Squadron. Photo prints of some of these photos were scanned and catalogued in items 6247.30P and 6291.6P.These 27 photographs were taken at an Army Survey Regiment Open Day held at Fortuna, Bendigo on the 24th of February 1990. The 35mm colour and black & white negatives photographs were scanned at 96 dpi and are part of the Army Survey Regiment’s Collection. .1) & .2) - Photo, black & white, 1990. Ballroom - Visitor briefings by CO LTCOL Rene van den Tol. .3) - Photo, colour, 1990. Ballroom - Visitor briefings by MAJ Ray Redman. .4) - Photo, colour, 1990. Ballroom - Visitor briefings by unidentified UK Exchange officer. .5) - Photo, black & white, 1990. Music Room - Visitor briefings by MAJ Bob Williams. .6) - Photo, black & white, 1990. Orderly Room - ADJT CAPT Peter Parkes. .7) - Photo, colour, 1990. Music Room - ADJT CAPT Peter Parkes with civilian visitors. .8) - Photo, colour, 1990. Music Room - Visitor briefings by CPL Le-Anne (Smallshaw) Shirley. .9) - Photo, colour, 1990. Entrance Foyer - Visitor briefings. .10) - Photo, colour, 1990. CO’s Office - Visitor briefings by CPL Raelene (Munting) Brodie. .11) - Photo, colour, 1990. Mr Pat Thwaites outlining utilisation of satellite imagery to civilian visitors. .12) - Photo, black & white, 1990. Mr Pat Thwaites outlining utilisation of satellite imagery to civilian visitors. .13) - Photo, colour, 1990. Staircase leading up to the top floor - Visitor briefings by CPL Ian Nelson. .14) - Photo, colour, 1990. Building 16 - Visitor briefings by RSM WO1 Neville Stone. .15) - Photo, colour, 1990. Civilian visitors enjoying views of the garden from Fortuna Villa’s rooftop. .16) - Photo, black & white, 1990. Visitor briefings at Fortuna’s rear steps. .17) - Photo, black & white, 1990. Outside Building 16 - Visitor briefings by WO1 Gary Warnest. .18) - Photo, colour, 1990. Outside Building 16 - Visitor briefings by WO2 Adrian ‘Charlie’ Creedy. .19) - Photo, colour, 1990. Outside Building 16 - L to R: SPR Sue (Foote) Bourne, LCPL Sandy Winn, WO2 Adrian ‘Charlie’ Creedy. .20) - Photo, colour, 1990. Outside Building 16 - SGT Greg Byers. .21) - Photo, colour, 1990. Visitors enjoying Devonshire Tea in the gardens next to the Tavern. .22) - Photo, colour, 1990. RSM WO1 Neville Stone and family enjoying Devonshire Tea in the gardens next to the Tavern. .23) - Photo, colour, 1990. Visitors relaxing in the garden next to Fortuna’s lake. .24) - Photo, black & white, 1990. CPL Trevor Poll and others serve up BBQ lunch next to the tennis courts. .25) to .27) - Photo, colour, 1990. Parking at a premium inside the Army Survey Regiment and Chum Street..1P to .27P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

A picture of the original Gordon Lodge lodge-room of 1886 - room currently in use by the Lodge's artist-in-residence. Below is a newspaper article from the North Melbourne Advertiser (Vic: 1873 - 1894) for Friday 22 April 1887 that describes the architecture of the building at the time of its completion. From some of the details included in the article it is obvious that the journalist who wrote the article was a Freemason. THE MASONIC HALL ASCOT VALE North Melbourne Advertiser (Vic. : 1873 - 1894) Friday 22 April 1887 THE MASONIC HALL ASCOT VALE The now Masonic Hall, Ascot Vale, the foundation stone of which was laid by the Worshipful Master of the Gordon Lodge (Bro, W. F. Lamonby) in October last has just been completed, and will be formally opened: with grand Masonic ball on the 13th prox. The hall stands on a fine block of land having a frontage of 50ft to the Maribyrnong road by a depth of 130 ft., and is built of brick and cement on a most substantial foundation of bluestone. The Tuscan style of architecture has been adopted with the most successful result, and the front design which is especially handsome, includes four massive pilasters with frieze architrave and enriched cornice, forming the entablature of the order,- and giving a most imposing appearance. The front door, over which are the masonic emblems, is seven feet wide, and two escape doors made to open outwards in compliance with the Central Board of Health regulations are also provided, in case of emergency. In the vestibule is a very fine elliptic arch with keystone enriched with fruit, and the whole floor, 9ft. 6in. wide, is laid with Cawkwell's encaustic tyles. On the right, of tile vestibule is a commodious committee room 22ft. by 12ft 6in with side entrance for members, so that in case the main hall is engaged no inconvenience need be caused. On the left is the Secretary's room, and off this again is a staircase cellar. The vestibule is well lighted with two exceedingly pretty chandeliers, which have a very pleasing effect and give it a nice bright appearance ascending a handsome staircase leading from the vestibule the upper storey is reached, and here everything is splendidly arranged, especially 'the Lodge Room, which is a model of neatness and of comfort. The dimensions are 28ft. x 22ft 6in. with an elevation of 17ft. 6in. to the beautiful cove ceiling, which is quite a work of art. At the east end of the room on a raised dais is the master's chair with the masonic emblems, and neat forms of polished kauri are placed at the sides for members, about 150 of whom can be accommodated. The lighting and ventilation have both been well attended to and all is very complete. The main hall is 75ft. by 35 ft. with a stage 15ft. deep, leaving the auditorium 60ft. x 35ft. with a seating capacity about 600. Round the walls up to 6ft 6in. is a handsome dado in Portland cement and above it are panelled Tuscan pilasters to the entablature, architrave enriched frieze and medallion cornice forming the main cornice to the hall. Immediately inside the cornice is a sunken panel all-round the ceiling relieved with ornamental outlet ventilators. There are twelve large windows, six on each aide, and the sashes, skirting boards, and doors throughout the building are beautifully painted in imitation of grained cedar. Two enormous gas reflectors, each for 50 lights are suspended from the ceiling and besides these, four elegant hanging chandeliers for lighting up the proscenium, and back of the stage, under which is a storeroom for seats, &c, when the hall is required for a ball. The floor is made of kauri, secretly nailed, and is beautifully finished off. At the back of the stage are two lavatories and ladies and gentlemen's dressing rooms, between which are a connecting passage for a call boy. Outside is a capital asphalted yard, and the other usual conveniences on an improved plan. There is a right-of-way asphalted on each side of the building, and a large lamp is to be placed opposite the main entrance to light up the front. Everything that forethought and ability could suggest to make the hall comfortable and popular has been done, and it now only remains for the public to avail themselves of the advantages offered them by the enterprising Company. The cost of the building and furniture, including a magnificent piano, was £2,500, and the land £300. Mr J. C. M. Cowan, of Ascot Vale, is the architect, and Messrs Parker and Pater, of South Melbourne, the contractors. The plastering was done by Mr I Nicholas, of Murray Street, Moonee Ponds, who is also entitled to great praise for his splendid workmanship. Mr Cowan has been most assiduous and particular in seeing that his instructions were carried out to his satisfaction, and the result must be exceedingly gratifying to him and to the directors. The Masonic hall is only one of the many buildings erected by Mr Cowan in this district, among the others being the well known residences of Meessrs. J. Levy, Mooneo Street; W. Murphy, Eglington street; G. Groube, Maribyrnong street; C. A. Arvier, Moonee Ponds ; and F. Paul, Mount Alexander road. It may also be mentioned that Mr Cowan generously presented the plans for the now local fire brigade tower which is acknowledged to be one of the strongest and most graceful around Melbourne, The new Masonic Hall does infinite credit to the borough, and in accommodation, design, and comfort it is not surpassed by any similar building of the kind outside the city.

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbart residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built their home from mud-bricks and recycled materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139 Standing on a hilltop at Arthur Street, Eltham, the Jelbart residence and former barn were part of a major change that transformed Eltham’s character in the late 1960s. Built from the late 1940s to the mid 1950s when Eltham was a rural community, they are all that remain of what was once a family property of around 250 acres (100 ha). As population pressure increased in the late 1960s, owners Ron and Yvonne Jelbart, decided to subdivide their property. The break-up of this property into the Woodridge Estate in the early 1970s, was a major factor towards transforming Eltham into the suburb it is today.1 Although standing only a few minutes from Eltham’s busy hub and hundreds of houses in Woodridge, scarcely any urban sound disturbs the peace. Views from the two buildings are almost exclusively of trees and extend to Mt. Dandenong to the south-east, the Great Divide to the north, and Melbourne city to the south-west. The Jelbarts had lived in Eltham since the early 1940s when they bought a poultry farm in New Street, now Lavender Park Road. Although Jelbart was primarily a businessman importing office machinery, he was keen to farm dairy and beef cattle, so the couple bought rough bushland at what was then the end of Arthur Street. But a shortage of building materials following World War Two hampered their plans to build their new home, so they followed the example of the Eltham Artists’ Colony (later called Montsalvat) and used mud-bricks and recycled materials.2 With great determination the family and friends constructed their house. Massive timber frames and huge quantities of mud-bricks were made on site. The barn was built first in 1945, and two years later, while camping inside, the Jelbarts started building their house. It took eight years to construct the two buildings, even with the help of professional tradesmen. The buildings, with timber frames infilled with mud-brick and plastered, are reminiscent of the English Tudor style. The Jelbarts are of Cornish stock. Much of the timber framework came from demolished bridges or warehouses, and recycled slate was used for roofs and floors. Quality second-hand materials were readily available in the late 1940s and 1950s when there was much demolition in Melbourne and little respect for heritage. A former 19th century Toorak mansion Woorigoleen provided the magnificent stone fireplace, the timber panelling and the parquetry floor in the living room. The large stone gateposts at the entry of the property came from Melbourne University. Almost no mechanical equipment was used to build the 55 square house and the 25 square barn. Massive timber frames were erected using block and tackle pulleys and timbers were shaped, sawn and drilled by hand. Son and architect Ian, with his family, have lived in and extensively renovated both buildings since the early 1970s. Ian transformed the steep ridge of the property into a plateau, where the main house Kinloch stands, surrounded by terraces and lawns. The grounds retain many native plants, including massive yellow boxes – some nudging 80 years. Ian attached 70 metres of pergolas draped with wisteria, roses and grape vines, to three sides of the house. The beautiful garden is featured in the book Through the Rose Arbour by Rosemary Houseman. The two-storey barn – now a house – retains traces of its original use. The cow-shed with milking and feed-rooms, and the machinery-shed remain. The house, separated on the ground floor by a breeze-way, soars two storeys and includes a mezzanine. These are connected by spiral staircases, to timber-beamed and plaster-lined high-pitched ceilings. The house also descends to a wine cellar. Curiously the roof is of corrugated iron on the south and slate on the north, to save costs. Small-paned windows and three French doors open onto the front lawn, which extends to Jelbart Court.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens

Hilda Hill Collection. Combination of Sepia and Black & White Photos. (Total 16.) two men with arms on each others shoulders, both with legs crossed, background shows large group of people and large trees, Hibernian Picnic November 19th 1919. Elderly lady holding two bird cages with birds therein standing in front of large flowering bush, the lady is dressed in all white and her hat lies on the ground in front of her, the hat appears to have flowers on the brim. Mrs Mc'Rosebower' October 1919. Hilda V. Standing with a background of shrubbery, wearing a dark dress, photo not very clear, 'The Ranche' March 1921. The Pinnacle One Tree Hill, people on the top lookout area and the wooden staircase for access, note the iron roof at the first level to provide shelter at ground level, April 1920. Lady on a ladies bicycle, dressed in geometric patterned dress, in front of an old shed with a corrugated iron roof. The bicycle has a front and rear mudguard, 'The Ranche' January 1920. Three ladies, the lady on the left is wearing a white dress with a black belt and holding in her right hand a small bag with a handle, the middle lady is wearing a dress of another colour with three strips of material at different levels on the front and holding her hands at her waist, also wearing lace up boots, lady to the right is wearing a white blouse and a dark skirt and her hands behind her back, background is garden, 'Durvol' December 1919. Photo of young girl dressed in black standing next to a small bush with her back to a house exterior wall, to the left is a white wall, NO Details.Three ladies standing beneath a large tree arm in arm, left girl is wearing a white top with a black belt and dark skirt, Centre girl is wearing a white top and dark skirt, girl at right wearing coloured? Dress with matching sash belt,'Durvol' December 19th 1919. Two men and three ladies in a rowing boat on lake Weeroona, both men are wearing dark suits and hats, the ladies are all in light coloured clothing and also wearing large brimmed hats. Kath wearing a black dress with a fox skin stole and holding a large bag in her right hand in garden setting, left background is a corrugated iron fence with wooden top rail, to the right is the wall of a building, September 1919 'the Ranche'. Jack wearing a black coat and jodhpurs with a white high neck jumper leaning on a wire and netting farm type fence, Mt. Buffalo July 1923. Photo of a 'Rosebower' in a garden corner, right shows part of a picket fence, wear and tear indicates that a gate may be in the fence accessible through the bower, October 1919. Two ladies holding tennis racquets, dressed in white blouses with one dark dress and the other a lighter shade sitting on stool inside a netted tennis court, both ladies are wearing large brimmed hats, background is a house with a water tank on the left end, three decorative chimneys, tiled roof, decorative panelling below the guttering, 'Kilmuir' October 1919. Lady on dark coloured horse, the lady is wearing a white blouse and jodhpurs and a large brimmed hat, background is house showing a bow window three chimneys and a small portion of the decorative fretwork below the gutter line of the verandah, 'Kilmuir' October 1919. Two young men dressing collar and tie one wearing a coat and three young ladies reclining on the ground, girl on the left is wearing a light coloured dress white blouse and cardigan, middle girl wearing a short sleeved top, right lady is wearing white blouse and dark coat, in foreground there appears to be a pudding meat and a wine bottle, left edge another male can be partially seen lying on the ground with a bottle in his left hand, at 'Monte Video' after dinner 18 July 1924. Ten people sitting and standing on a veranda, 'The Ranche', celebrating an event, small 4 wheel table with food, person front left holding a white cup and saucer, July 1924.australia, history, victoria post war touring boom, http://www.yourbrisbanepastandpresent.com/2012_02_01_archive.html

The Old Colonists' Association Ballarat Inc. is a not for profit charitable organisation providing accommodation for elderly people. It manages a 27 Home retirement village at Charles Anderson Grove Ballarat. Accommodation is offered at significantly below market rates. It has been providing low cost accommodation to the elderly since the 1920s. The Association Council overseas the running of this facility on a voluntary basis. OLD COLONISTS' ASSOCIATION OF BALLARAT. (FROM OUR CORRESPONDENT.) BALLARAT, WEDNESDAY. This association, which was founded in August, 1883, and at first known as the Old Identities' Association, now has a roll of 450 members. The objects of the association are "to aid and assist indigent or suffering old colonists ; to raise a fund, by the voluntary subscriptions of the members and the aid of outside donations, for the purpose of relieving members in sickness and old age; for assisting those in extreme distress, to provide the shelter of a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association, and in the event of the death of any member to have his remains decently buried, the association defraying the expenses of the funeral (providing that no funds or property are left by the deceased), and to attend the funeral if so desired by the relatives." The qualifications for member ship are good character and repute, and residence in the colonies for a quarter of a century. For some time the association had no property except the regular subscriptions, but about a year ago they obtained from the Minister of Lands the grant of a very valuable block of land in Lydiard-street, the Crown grant of which they received last week. This block has a frontage of 66ft to Lydiard street, worth at least £100 a foot. The ground was given to the association as a site for them to build a hall upon, and with so valuable an asset they had no difficulty in borrowing at 7 per cent, enough money to construct a hall. For revenue purposes the ground floor of the building has been made into four shops, and the rental from these, judging from the rentals of shops in the vicinity, will not only pay all the interest on the borrowed money, but over £200 a year towards clearing off the principal. The officers of the association are Messrs J. P. Murray, President; J. W. Graham and T. Stoddart, vice presidents; D. Fern, treasurer; and J. Fraser, secretary. The Old Colonists' Hall is an elegant looking building in Lydiard-street, lying between the newly-opened mining exchange and the Commercial Club house, and a few doors north of the Post Office. The style of the facade is classic. The lower portion of the front is constructed of Waurn Ponds stone, forming piers, and the upper portion of brick and cement, the background being tuckpointed. The centre bay is carried by two three quarter columns with Ionic cups, which support a pediment on which is set a cast of the Ballarat coat of arms. The four other bays are supported by pilasters with Corinthian caps mid partly fluted. The entrance is through a spacious circular headed doorway, the keystone of the arch of which bears a sculptured head, in marble, representing that of the president of the Old Colonists' Association here, Mr. John P. Murray. An ample vestibule leads to a wide stone staircase which ends at a spacious landing. The landing has a dome over the centre, with cornice and enrichments, and is lighted from above. The walls round the landing are panelled with marble slabs, which are to be appropriately inscribed in the future. On the first door are the rooms appropriated to the association. The principal of these is a hall 44ft x 33ft and 17ft high. This room is well ventilated and lighted from the back of the building with large windows, and the walls are finished with Keene's cement. The other rooms are committee room, 14ft x 16ft; secretary's, 14ft x 17ft, 6in; kitchen, bedrooms, bathroom, &c. The front portion of the first floor is arranged so that it may be let for offices, or utilised for club purposes. Suitable provision has been made throughout for lighting, ventilation, and means of egress. The architect for the edifice is Mr A. G. Legge, of this city, and the contractors are Messrs. Whitelaw and Atkinson, Irving and Glover, Reynolds, and J. Donaldson. The total cost of the building when completed, which will be in a few weeks, will be about £4,000. (The Argus, 10 May 1888)ballarat old colonists' club, charles anderson grove, old colonists' association

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Poor video quality (noise and interference), edited raw footage with music and some commentary by Merv Hanna. A video documenting the demolition of the Shire of Eltham offices at 895 Main Road Eltham under the direction of the Commissioners appointed for the new Shire of Nillumbik and some of the communities activities surrounding the event. The building was demolished exactly 25 years after the southern wing housing Engineering and Planning on the upper level and the Eltham Library on the ground level was opened in celebration of the Shire of Eltham's centenary. Video has lots of distortion and noise, and sections of clips dubbed over. Immediate initial footage of Jenni Mitchell talking about asbestos claims in the Shire Offices (Sigmund Jorgensen standing behind her) advising Council did a review of the building several years previously and had been cleared of health problems. Cuts to group of people standing outside front door of offices but possibly voice dub over not related ? Then the date 27 Jul 1996 on a scene flashes on screen immediately followed by an edited clip intro of title and credits with classical music track. It then opens with Jenni Mitchell driving to the Shire Offices on Saturday 27 July 1996 at 11.00am. Footage of Main Road past Pitt Street, Alistair Knox Park then entering Shire Office driveway which is fenced off and contractor signs hanging up. Scenes at rear of building showing some internal demolition has commenced. View of the Administration wing. More clips of road driving, Alistair Knox Park, Eltham Library and visitor car park for Shire Offices. Cuts to a group of people standing in access to visitor carpark with new Eltham Library in background, one being immediate former Shire of Eltham President, John Graves. Scenes of people looking through chain link fence and security guard checking front door. John Graves being filmed that someone informed him the Shire was offering the building to the Community Health Centre for $2.3 million and that if they had been offered a price of $1.1 for what it apparently was sold for they would have snapped it up. View of truck loaded with brick rubble literally struggling to ascend the hill of Library Place to exit into Main Road. Cuts to a scene looking at Eltham War memorial Hall through the Memorial Gate, then the Shillinglaw trees and large banner sign ‘Delta Demolitions’ hanging on office façade. Views of front door, old library and bluestone wall. Scene (31 Jul 1996) filmed at night of several white crosses with “RIP Community” and “RIP Democracy”. Scene (1 August 1996) again driving along Main Road towards the Shire Offices then scenes of the offices showing substantially more demolition to exterior, groups of people standing on footpath outside watching, Delta heavy demolition machines, woman holding sign “Democracy where have you gone …”, the odd person in full protection gear and breathing apparatus hand carrying materials out to place on rubbish pile in front of people standing on footpath watching (with no protection) and then stamping on it to break it creating dust, security person in hard hat (no other protection) wandering around, many groups standing around watching, news film crew, person standing on roadside edge holding signs facing traffic stating “Pirate Planning” and “ Grant us your ears” also sign on back of parked car “Elthams High Jacks”, another sign “Community Democracy”, views of crosses in Main Road median strip “RIP Community”, groups of people on footpaths and reporters conducting interviews, footage of unknown person standing with Jenni Mitchell and Sigmund Jorgensen advising people have the right to protest, Jenni Mitchell urging people to ask questions of local MP and Council and Sigmund Jorgensen referring to the three historic Shillinglaw trees with demolition machinery operating in background, Jenni Mitchell and others installing more crosses in median strip; demolition machines operating inside and outside the building, more views of onlookers including Sigmund Jorgensen then Police approaching on footpath, workers and machinery continuing to operate, views of the old library being demolished, the former Community Services department, security personnel. Scene (2 August 1996) more heavy demolition machinery in operation smashing building up, people standing around southern wing watching, view overlooking Eltham Library of train pulling in to Eltham station. Scene (7 August 1996) more heavy demolition and people wandering around with only hard hat protection, no dust protection, comments from one operator dumping a bin of material stating “wait till there’s a Hungry Jack’s here, you’ll be laughing, fuel, videos, hamburgers. You’ll be up with the rest of the world soon, you’ll have electricity and everything here, ha ha ha ha”, more heavy machinery demolition and breaking up of materials, view of Hitachi train going by and Administration wing, view inside the front door opening of the staircase leading to upper level, person walking around operating heavy machinery with a hose spraying rubble (no protective gear other than hard hat interspersed with edit cuts of meeting of Commissioners and independent observers on panel as well as members of the community in public gallery. Nillumbik Shire CEO Barry Rochford addressing the meeting., Chief Commissioner Don Cordell directly addressing Jenni Mitchell with respect to permission to take photographs, Barry Rochford continues to address the question asked of Council about the valuation of the former Shire of Eltham Office building/site, public gallery calling out asking why was building demolished, what was the urgency. Scene (14 August 1996) views of southern wing, previous single demolition operator again mocking people filming, operators working in and around building, Shillinglaw trees and largely demolished front, heavy demolition equipment at work, piles of building rubble, hose spraying water over rubble, large trucks arriving for rubble removal and loading of truck. Scene (21 August) more of the same, building virtually down, Shillinglaw trees standing tall and alone, water spraying on rubble and wattle in bloom. Cuts to Council meeting with public onlookers. Barry Rochford walks out, Wayne Phillips addresses meeting explaining one or two people shouting, members of the community challenging Council (Commissioners) about why due process appear to have been subverted. Former Shire President Robert Marshall in public audience, cuts back to Shire office carpark entrance site and sign hung on fence in front of library “Think Again!” and people standing around observing awaiting a protest demonstration erecting a large sign on stilts stating “Shell No!”, people singing a revised version of God Save the Queen (God Save Us All), Sigmund Jorgensen in attendance, Jenni Mitchell, Sigmund Jorgenson and others address the protest crowd, followed by people mingling, music being played then people standing around the cleared site circumference all with arms linked (video very broken up with noise) then chants “Save the Gateway” and “No Shell for Eltham” and more music and singing “Put up a parking lot”. The crowd then proceeds to walk along the footpath of Main Road. Scene (15 Sep 1996) meeting at Montsalvat in Great Hall addressed by Sigmund Jorgensen discussing a recently published list of the Commissioner’s to senior Council Officers of banned Nillumbik people, others encouraging people to view proposed plans for the site and lodge objections. Specific issues regarding asbestos claims are also addressed. Harry Gilham addresses the meeting on the subject of the Eltham War Memorial and Memorial Gardens and how Council believe a roundabout in the vicinity is of greater importance. Views of various artworks on display (for auction) and music performance in the Barn Gallery. Meeting addressed by Sigmund Jorgensen discussing an appeal against Council granting a permit to Dallas Howgate to develop the site and that the Minister has called the matter in to be decided by the governing council. This is followed by an auction of paintings.Hi-Tech Ultra High Grade Video Cassette E-180 VHS dubbing of (poor quality) edited raw footage with some music from Star Wars and commentary by Merv Hannan Converted to MP4 file format 0:30:26, 2.6GBOn label " Merv's Demolition tape No. 2 Copy"video recording, 895 main road, alistair knox park, artworks, auction, barn gallery, barry rochford, community health centre, dallas howgate, delta demolitions, demolition, don cordell, eltham, eltham library, eltham shire office, eltham war memorial, eltham war memorial gate, eltham war memorial hall, great hall, harry gilham, jenni mitchell, john graves, library place, main road, memorial gardens, mervyn hannan, montsalvat, pitt street, protest, robert marshall, roundabout, shell oil, shillinglaw trees, sigmund jorgensen, sign, wayne phillips

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

Poor video quality (noise and interference), incomplete and unedited raw footage. A video documenting the demolition of the Shire of Eltham offices at 895 Main Road Eltham under the direction of the Commissioners appointed for the new Shire of Nillumbik and some of the communities activities surrounding the event. The building was demolished exactly 25 years after the southern wing housing Engineering and Planning on the upper level and the Eltham Library on the ground level was opened in celebration of the Shire of Eltham's centenary. Video has lots of distortion and noise, and sections of clips dubbed over. Immediate initial footage of Jenni Mitchell talking about asbestos claims in the Shire Offices (Sigmund Jorgensen standing behind her) advising Council did a review of the building several years previously and had been cleared of health problems. Cuts to group of people standing outside front door of offices but possibly voice dub over not related ? Then the date 27 Jul 1996 on a scene flashes on screen immediately followed by an edited clip intro of title and credits with classical music track. It then opens with Jenni Mitchell driving to the Shire Offices on Saturday 27 July 1996 at 11.00am. Footage of Main Road past Pitt Street, Alistair Knox Park then entering Shire Office driveway which is fenced off and contractor signs hanging up. Scenes at rear of building showing some internal demolition has commenced. View of the Administration wing. More clips of road driving, Alistair Knox Park, Eltham Library and visitor car park for Shire Offices. Cuts to a group of people standing in access to visitor carpark with new Eltham Library in background, one being immediate former Shire of Eltham President, John Graves. Scenes of people looking through chain link fence and security guard checking front door. John Graves being filmed that someone informed him the Shire was offering the building to the Community Health Centre for $2.3 million and that if they had been offered a price of $1.1 for what it apparently was sold for they would have snapped it up. View of truck loaded with brick rubble literally struggling to ascend the hill of Library Place to exit into Main Road. Cuts to a scene looking at Eltham War memorial Hall through the Memorial Gate, then the Shillinglaw trees and large banner sign ‘Delta Demolitions’ hanging on office façade. Views of front door, old library and bluestone wall. Scene (31 Jul 1996) filmed at night of several white crosses with “RIP Community” and “RIP Democracy”. Scene (1 August 1996) again driving along Main Road towards the Shire Offices then scenes of the offices showing substantially more demolition to exterior, groups of people standing on footpath outside watching, Delta heavy demolition machines, woman holding sign “Democracy where have you gone …”, the odd person in full protection gear and breathing apparatus hand carrying materials out to place on rubbish pile in front of people standing on footpath watching (with no protection) and then stamping on it to break it creating dust, security person in hard hat (no other protection) wandering around, many groups standing around watching, news film crew, person standing on roadside edge holding signs facing traffic stating “Pirate Planning” and “ Grant us your ears” also sign on back of parked car “Elthams High Jacks”, another sign “Community Democracy”, views of crosses in Main Road median strip “RIP Community”, groups of people on footpaths and reporters conducting interviews, footage of unknown person standing with Jenni Mitchell and Sigmund Jorgensen advising people have the right to protest, Jenni Mitchell urging people to ask questions of local MP and Council and Sigmund Jorgensen referring to the three historic Shillinglaw trees with demolition machinery operating in background, Jenni Mitchell and others installing more crosses in median strip; demolition machines operating inside and outside the building, more views of onlookers including Sigmund Jorgensen then Police approaching on footpath, workers and machinery continuing to operate, views of the old library being demolished, the former Community Services department, security personnel. Scene (2 August 1996) more heavy demolition machinery in operation smashing building up, people standing around southern wing watching, view overlooking Eltham Library of train pulling in to Eltham station. Scene (7 August 1996) more heavy demolition and people wandering around with only hard hat protection, no dust protection, comments from one operator dumping a bin of material stating “wait till there’s a Hungry Jack’s here, you’ll be laughing, fuel, videos, hamburgers. You’ll be up with the rest of the world soon, you’ll have electricity and everything here, ha ha ha ha”, more heavy machinery demolition and breaking up of materials, view of Hitachi train going by and Administration wing, view inside the front door opening of the staircase leading to upper level, person walking around operating heavy machinery with a hose spraying rubble (no protective gear other than hard hat interspersed with edit cuts of meeting of Commissioners and independent observers on panel as well as members of the community in public gallery. Nillumbik Shire CEO Barry Rochford addressing the meeting., Chief Commissioner Don Cordell directly addressing Jenni Mitchell with respect to permission to take photographs, Barry Rochford continues to address the question asked of Council about the valuation of the former Shire of Eltham Office building/site, public gallery calling out asking why was building demolished, what was the urgency. Scene (14 August 1996) views of southern wing, previous single demolition operator again mocking people filming, operators working in and around building, Shillinglaw trees and largely demolished front, heavy demolition equipment at work, piles of building rubble, hose spraying water over rubble, large trucks arriving for rubble removal and loading of truck. Scene (21 August) more of the same, building virtually down, Shillinglaw trees standing tall and alone, water spraying on rubble and wattle in bloom. Cuts to Council meeting with public onlookers. Barry Rochford walks out, Wayne Phillips addresses meeting explaining one or two people shouting, members of the community challenging Council (Commissioners) about why due process appear to have been subverted. Former Shire President Robert Marshall in public audience, cuts back to Shire office carpark entrance site and sign hung on fence in front of library “Think Again!” and people standing around observing awaiting a protest demonstration erecting a large sign on stilts stating “Shell No!”, people singing a revised version of God Save the Queen (God Save Us All), Sigmund Jorgensen in attendance, Jenni Mitchell, Sigmund Jorgenson and others address the protest crowd, followed by people mingling, music being played then people standing around the cleared site circumference all with arms linked (video very broken up with noise) then chants “Save the Gateway” and “No Shell for Eltham” and more music and singing “Put up a parking lot”. The crowd then proceeds to walk along the footpath of Main Road. Scene (15 Sep 1996) meeting at Montsalvat in Great Hall addressed by Sigmund Jorgensen discussing a recently published list of the Commissioner’s to senior Council Officers of banned Nillumbik people, others encouraging people to view proposed plans for the site and lodge objections. Specific issues regarding asbestos claims are also addressed. Harry Gilham addresses the meeting on the subject of the Eltham War Memorial and Memorial Gardens and how Council believe a roundabout in the vicinity is of greater importance. Views of various artworks on display (for auction) and music performance in the Barn Gallery. Meeting addressed by Sigmund Jorgensen discussing an appeal against Council granting a permit to Dallas Howgate to develop the site and that the Minister has called the matter in to be decided by the governing council. This is followed by an auction of paintings. 0.05 - Jenni Mitchel, Sigmund Jorgensen and Peter Doughtery in background. 0.18 - Jock Kyme in front of building – David Essex, Marg Johnson on his left-hand side. 5.34 - John Graves – ex Shire of Eltham Councillor and President. 9.02 - Unknown person being interviewed. 9.30 - Jenni Mitchell, unknown person, Mark Burns, community activist. 10.04 - Sigmund Jorgenson, Jenni Mitchell. 12.04 - Police members 21.33 - Nillumbik Council offices 7 August 1996 Barry Rochford CEO, Vin Heffernan Commissioner, Don Cordell Chief Commissioner, Kevin Abbott Commissioner, unknown person. 28.00 - Barry Rochford CEO 28.05 - Kahn Frankie - in commissioner’s seat after commissioners and council staff have vacated the council chamber. 28.26 - Wayne Phillips, State Liberal member for Eltham, addressing community in response to questions. 28.36 - Mark Burns, community activist addressing gallery. 28.48 - Ken Hines, ex Shire of Eltham Councillor and President. 29.34 - Ken Hines, ex Shire of Eltham Councillor and President standing, Robert Marshall, ex Shire of Eltham Councillor and President seated in front. 29.41 - Karen Gerhards, community activist. 30.06 - Marg Johnson with loud hailer, next to Jock Kyme, community activist. 31.32 - Marg Johnson with possibly Frank Burgoyne?, Sigmund Jorgensen, Jock Kyme. 35.35 - Harry Gilham at meeting at Montsalvat on 15 September 1996. 35.43 - Sigmund Jorgenson at lectern. 36.42 - Marg Jennings. 37.47 - Mark McDonald, Jim Connor, ex Shire of Eltham Councillor in background. 36.28 - John Cohen, ex Shire of Eltham Councillor and President. 38.56 - Ken Hines, ex Shire of Eltham Councillor and President. 41.11 - Harry Gilham, president of the Eltham District Historical Society. 43.55 - Sigmund Jorgensen in Long Gallery at Montsalvat, at start of the art auction to raise funds for community action. 45.50 - Unknown person conducting art auction. VHS Video cassette (poor quality) Converted to MP4 file format 45:01, 535MBvideo recording, 895 main road, alistair knox park, artworks, auction, barn gallery, barry rochford, community health centre, dallas howgate, delta demolitions, demolition, don cordell, eltham, eltham library, eltham shire office, eltham war memorial, eltham war memorial gate, eltham war memorial hall, great hall, harry gilham, jenni mitchell, john graves, library place, main road, memorial gardens, mervyn hannan, montsalvat, pitt street, protest, robert marshall, roundabout, shell oil, shillinglaw trees, sigmund jorgensen, sign, wayne phillips

Material relating to the Shire of Eltham War Memorial located at Garden Hill, Kangaroo Ground. Also known as The Eltham Shire War Memorial Tower, Shire of Eltham Soldiers' Memorial and Kangaroo Ground War Memorial Park. Includes photocopies, newspaper clippings, correspondence and more beginning from early history 1919-2009. Contents: Archive Box 1 Folder 1 (Publication Proofs) The Tower of Remembrance and War Memorial Park On Garden Hill at Kangaroo Ground, Victoria 1919-2010 Folder 2 (Up to 1960) 1. Binder with plastic pockets. Photocopies. Minutes of the Kangaroo Ground War Memorial Bazaar Committee, 1922-1926 EDHS Newsletter No. 123 November 1998 PRESIDENT'S REPORT ACQUISITION FROM NILLUMBIK SHIRE'S MEMORABILIA Recently found in a storage box of old Shire of Eltham items was a school size, blue lined black covered writing book. It is recognized as the minute book and cash receipt book of the period 1922-1926 when the Memorial Park Committee, who it seems were part of the Shire of Eltham Soldier's Memorial League, was requested to raise funds for building the Shire of Eltham War Memorial Tower at Kangaroo Ground. History tells us that the tower, which is currently being refurbished, was officially opened by the Governor General of Australia, Lord Stonehaven on 11.11.26. The ladies invited to the first meeting at the Shire Hall did so on 21st September 1922. The minutes book reads: Present: Mesdames Bell, Bourchier, McMahon, Gosling, Cockcroft, Wraight, E Coutie, R Rogers, A Jones, AH White, Davies, Everitt and the Misses Lacey, Harris, N Weller, Gosling, Bell and D and G J Bourchier. These people became the Kangaroo Ground Memorial Bazaar Committee along with others named at further meetings. They conditionally accepted the role of raising funds, their condition being that the Bazaar Committee be given representation on any committee empowered to deal with the memorial in proportion to the amount of money raised by the bazaar'. The Andrew Ross Museum has the original book. We at Eltham District Historical Society have two photocopies for public perusal. 2. Transcriptions of newspaper articles 1919-1920. 6 pages. 3. Photocopy of program for thanksgiving service July 6th, 1919 held at Public Hall, Panton Hill. 4. Photocopies: a. Kangaroo Ground, The Advertiser, 17 Oct 1919 (working bee) b. The Advertiser August 1920 – advertisement for coach between Eltham and KG. c. Anzac Memorial Service, The Eltham & Whittlesea Shires Advertiser & Diamond Creek Advertiser, April 14, 1922 and April 28, 1922 d. Anzac Day services. April 27, 1923 e. Photocopy Anzac Commemoration, local newspaper, May 2, 1924 f. Shire of Eltham Memorial Service, The Advertiser April 23, 1926 g. Eltham Shire War Memorial Advertiser August 13,1926 h. Eltham Shire War Memorial The Advertiser October 26, 1926 i. Eltham The Advertiser, December 17, 1926 j. Kangaroo Ground April 26, 1929 5. Photocopy. Eltham War Memorial Tower article, The Advertiser, November 19, 1926 6. Typed transcription of parts of newspaper articles for three titles, November 1926 7. Transcription. Public Notice, October 16, 1926 8. Photocopy Kangaroo Ground Armistice Day local newspaper, November 25, 1927 9. Photocopy Kangaroo Ground Armistice Day local newspaper, November 16, 1928 10. Photocopy Kangaroo Ground, local newspaper, April 26 1929 11. 3 Original Copies. One Hardback. Dedication of memorial official brochure, 1951 original but damaged 12. Photocopy with notes from G.G. relating to the land transfer/acquisition/contract via White and Gepp. Folder 3 (1961-1970) 1. Original newspaper article: Place with a view at Kangaroo Ground, The Age, May 11, 1963, p18 Folder 4 (1981-1990) 1. Newspaper article, Memorial a fire watch. Diamond Valley News, March 16, 1982, 2 original copies. 2. Newspaper article. An Obvious Monument by Russell Yeoman article with photo: Network Nov/Dec 1984, p14. Folder 5 (1991-2000) 1. Original newspaper article: “Kangaroo Ground Tower is top spot”. Thought to be from a tourist information free newspaper, Mountain Country, Summer [1993] p39. 2. Newspaper article with reference to quoins – a contrasting edging or corner stone on the façade of a stone or brick house. Age August 2000 3. Program. Service program for Remembrance Day commemoration ceremony, 1996. 4. Speech by Harry Gilham for Remembrance Day commemoration ceremony, 1996 5. Newspaper article: Remembrance, Diamond Valley News, 20 November 1996 6. Word Document. A Tower of Strength by Dean Stewart April 1997 7. Newspaper articles: Tower group needed, Diamond Valley News, September 17, 1997, p3 and advertisement “Nillumbik, Nominations for Kangaroo Ground Memorial Tower and Grounds Advisory Committee”, Diamond Valley News, September 17, 1997 8. Newspaper article: Council apology; scaling new heights, 1997 about Aboriginal Reconciliation. Probably Diamond Valley News ca 1997. 9. Photocopy / Newspaper Article: Two newspaper clippings, “Memorial with a view” 30 April 1997 and “Funds boost to restore tower to its former glory”, Diamond Valley News, 3 December 1997. 10. Newspaper article: Kangaroo Ground Tower of Remembrance Nillumbik Mail, 9th August 2000 and Research notes (July 2000) by Harry Gilham pertaining to photo in August 2000 newspaper article. 11. Photocopy. Newspaper article: New lease of life for tower (Concept plan) Nillumbik Mail, September 27, 2000 12. Photocopy: 4 pages, War Memorials of Victoria; a pictorial record, c.1994 Folder 6 (2001-2010) 1. Newspaper article: $10,000 to start refurbishment, Nillumbik Mail, Feb 21, 2001 2. Circular. KG War Memorial Advisory committee circular August 2001 3. Newspaper article: Tower group retained 4. Program for re-dedication of the Kangaroo Ground War Memorial Tower 8th November 2001 with copies of pages 65-70 of from The Tower of Remembrance and War Memorial Park 1919-2001 (see Folder 1) - Speaking notes from the day from Nillumbik Shire Mayor, Cr. Sigmund Jorgensen and Harry Gilham and Speech by John Landy, Governor of Victoria 5. 2 pages of Harry Gilham notes – Draft of ‘book’ notes ‘Thank you’ for rededication ceremony to be held Thursday, Nov 8, 2001 - list of invitations, notifications and acknowledgements. 6. Proposed running sheet. Re-dedication of KGT. November 8, 2001 7. Newspaper article (2 copies) Century of war service, DVL November 14, 2001 page 6 8. Letter. Gov. John Landy to Harry Gilham. Thank you for visit. [2001] 9. Newsletter Clipping: Governor of Victoria re-dedicates KG War memorial Tower, Nillumbik News (NSC) Christmas 2001 10. Newspaper article: War Memorial to be restored: DVL November 19, 2003 11. Newspaper article: Memorial Facelift Sept 29 2004. 12. Folder. Collection of maps and context Yarra Water proposal to build water tanks 13. Newspaper clipping. Pressure on with new tank. Re installation of water tank near site. DVL March 2, 2005 14. Folder of emails and designs from Dennis Ward re poppies and prostrate rosemary for formal garden around base of tower April 2005 15. Folder. Letters and paperwork re the Victorian Government “Community Cabinet” and invitation for community groups to speak directly with a government minister. Actual submission not included in folder. 16. Newspaper clipping. Time to remember among the poppies, Diamond Valley Leader, 9 November 2005, p1 and 17. Newspaper clipping. Lone pine company for souls. DVL 9 November 2005 18. Folder. Restoring Community War Memorials Grants Program. Application and associated paperwork 2005/2006 January 2006 19. Newspaper article. Shared views. Valley Weekly, June 21 2006 20. Newspaper article: Kangaroo Ground, Restoration on schedule, DVL October 2006? 21. Newspaper article. Towering over the terrain. The Age August 8, 2009 22. Photocopy. Nillumbik Shire Council. Policy and service report re lease of land to Victoria Police for police radio communications and re-building of radio tower. December 9, 2009 23. Schematics: A3 photocopies, Kangaroo Ground memorial Tower, front and rear view, Tom Manley, 17 Apr 2001 Folder 7 (2011 on) 1. Magazine article and cover. Cover story – The Kangaroo Ground Memorial Tower, The Genealogist, March 2010 2. Newspaper article. (2 copies) Photo and caption. Diamond Valley Leader, July 14, 2010 3. Newspaper notice: Notice of application for a planning permit to construct radio communications tower, DVL, October 10, 2012 4. Copy. Reference enquiry to National Film and Sound Archive. 10 September 2012 5. Copy letter. Quotation/estimate for Shire of Nillumbik on renovation and underpinning of old care takers cottage, KG. 30 September, 2012 6. Story. The Kangaroo Ground Tower of Remembrance by Amy Shaw. Yarrambat Primary School Year 6 History speech, 2014. 7. Program: Remembrance Day service, 11th November 2014 8. Newspaper article. Tribute to bravery DVL, November 19, 2014. 9. Minutes. MAC meeting. 2 September 2016. Folder 8 (Interpretative Signs Grant 2000-2001) 1. Folder. Various including Letters. EDHS Grant project: Kangaroo Ground Park and Tower of Remembrance interpretative signage from Parks Victoria 2000-2001. Folder 9 (Miscellaneous) 1. Folder Gilham collection. Google earth images of Tower, Extract describing history of Tower, including honour roll for WW1 and WW2, 8 pages, Extract describing history of Tower, including honour roll for WW1 and WW2, 3 pages, 2002 and 2004; Kangaroo Ground Tower; Southwell-Keely M.; WAR MEMORIALS IN AUSTRALIA; 8 pages, https://web.archive.org/web/20080722161554/http://www.skp.com.au/memorials2/pages/30054.htm) 2. Letter. Undated, unsigned re application to council to proposed work to police radio masts behind caretaker’s cottage. 3. Brochure: Heritage Nillumbik. Includes cover photo and other information about site. Published by Nillumbik Shire Council. About 2006. 4. Folder of notes and photocopies of various Certificates of Title for property 5. Inward loan documents. Two. Andrew Ross Museum inward loan for collection items from “War Memorial Tower” 2003 6. Photocopies of postcards of Soldiers War Memorial: One taken c.1926 before completion around base, on colour print on paper (enlarged) of Soldiers War Memorial postcard c.1930s prior to gun placements with typed text pasted on and additional detail version mounted on card with handwritten explanatory notes by Harry Gilham. 7. Photocopy of photo of tower 1944 with guns in place from Gordon and explanatory notes plus A4 photo paper print of image (photoshopped cleaned up). 8. Miscellaneous photocopies of photos taken by Harry Gilham of Memorial Park entrance, model tower in font of tower entrance, caretaker’s cottage, spiral staircase, Menin Gate sign and possibly planting of Lone Pine. Folder 10 (Fire Spotting Operations) 1. Biographical notes on Herman Motschall 1969-1981 2. Newspaper article, Memorial Tower top site for fire spotter, Diamond Valley News, May 15, 1973. 3. Proper Officer's report on an addition to the Kangaroo Ground Memorial Tower for Fire Spotting purposes: "This report covers the history of the tower, its uses, and reasons why it should be put to greater use, benefiting the Shire Council and ratepayers" Includes detailed commentary around the proposal to use the Shire of Eltham War Memorial at Kangaroo Ground for fire spotting. From Shire of Eltham archives. H. J. Masefield Property Officer. 4. Eltham Shire Council meetings 14 and 24 September 1973 references to fire watching facilities. Summary of end of season reports from spotters 1965-1973. 5. Newspaper clipping; Memorial a fire watch by Marguerite Marshall Diamond Valley News 16 March 1982 6. Letter: Cover letter from Dennis Ward 20 Feb 2006 architect for CFA Cabin design and Proposal to upgrade the fire spotting cabin, 2007 including a cost and concept plan dated 7 February 2009. 7. Newspaper article. From that first puff of smoke – horror. Diamond Valley Leader, Feb 25, 2009, p. 7 8. Invitation: State Government announcement of refurbishment of KGWM Fire spotting tower 19 October 2009 9. Newspaper article. Tower– up, Black Saturday watch. Cover and page. Diamond Valley Leader, October 28, 2009 10. Invitation. Opening of newly upgraded fire spotting tower, 11 April 2010 11. Newspaper article. Incredible luxury at fire spotting tower, Diamond Valley Leader, April 21, 2010, p, 5 12. Printout of plan of base of tower including comms cabinet and ladder to CFA cabin. Dated 17/6/2010   Archive Box 2 Folder 11 (Moor-rul Viewing Platform) 1. Agenda. Planning and building committee 12 March 2003 Application for construction of a viewing platform and road entry refurbishment and coach parking bay. 2. Envelope. Letters, paperwork and emails, mainly from Dennis Ward re roof design for the viewing platform and order for poppy seeds. 2005 3. Newspaper article (enlarged and laminated). Stolen Red gum seats sap new project’s momentum. (Local paper), April 3, 2007 4. Convenor’s Notes – Opening of the Viewing Platform at Kangaroo Ground, Shire of Nillumbik 5. Folder. Nillumbik Reconciliation Charter. Opening of the Moor-rul viewing platform 17.4.2008. Compiled by Harry Gilham. Includes newspaper clipping, speech, photocopy of photos with captions. 6. Newspaper article. View from the hill is a thrill. Heidelberg and Diamond Valley Weekly, April 22, 2008 7. Newspaper article. A platform towards reconciliation. Diamond Valley Leader, 23 April 2008. 8. Newspaper article: 6 reasons to visit Hurstbridge, The Age, Jun 6 2012 9. Article: Aboriginal cultural values and heritage management issues 10. Folder: Material relating to design and construction of viewing platform Folder 12 - Shire of Nillumbik Advisory Committee 1. 2011 Diary, Harry Gilham, Kangaroo Ground Advisory Committee 2. Photocopy. Newspaper clipping. Nillumbik Council seeking nominations for new Kangaroo Ground Memorial Tower and grounds advisory committee. DVN 17 Sept 1997 3. Letter. From NSC to Dean Stewart re heritage listing status. 12 July 1998. 4. Business paper for NSC Council meeting: KG Memorial Tower and Grounds advisory committee, 12 March 2002. Includes Terms of Reference Folder 13 - Friends of Kangaroo Ground War Memorial Park Inc. 1. KG Tower and land occupational health & Safety (guidelines) for volunteers 2. Supplementary notes (not related to fire spotting) from Friends group or advisory group of Kangaroo Ground War Memorial Park including design of seating, proposed budget for works, hand written notes from meeting by H.G. about 1999. Folder 14 - Soldiers. 1. Folder of material pertaining to men from the Shire of Eltham who enlisted in WW1 and for whom the Shire of Eltham War Memorial was dedicated. 2. Folder on residents from Shire of Eltham who died in WW2 1939-1945 with listings of each from Commonwealth War Graves Commission, WW2 Nominal Roll for Eltham 3. Newspaper article: Mates join to recall past, Diamond Valley News, November 16, 1994 4. Newspaper article: Board replaced, Diamond Valley News, September 2, 1998 about Hurstbridge RSL Honour Roll Board 5. Newspaper article: Keeping the memories alive; VP Day honoured, Valley Weekly, August 17, 2005 6. Newspaper article: In our hearts; Tributes for war heroes, Diamond Valley Leader, November 9, 2005, p1 7. Newspaper article: Service honoured, Diamond Valley News, Leader, April 23, 2008 8. Newspaper article: Salute to last men standing, Diamond Valley Leader, April 20, 2011, p1 and Last of the world warriors, pp8-9 9. Newspaper article: We will remember, Diamond Valley Leader, April 25, 2012, p3 10. Newspaper article: Family legacy builds whole town, Diamond Valley Leader, Oct, 2013, p15 11. Photos and details of Honour Boards in the shire 12. Miscellaneous notes by Harry Gilham Folder 15 – Welcome Home Committee Meeting Minutes. 1. Extracts from Welcome Home Committee Meeting Minutes 18 August 1917 to 14 August 1919. Folder 16 – World War One Local Enlistments. 1. Lever arch binder containing records of local enlistments by name from the Diamond Valley including extracts from Commonwealth War Graves Commission records. Includes Newspaper article clipping "Digger's marker of respect: Temporary cross a poignant find after eight decades in dusty garage"; Sunday Herald Sun, November 10, 2024, p33 concerning Private Harry Conway who died April 1918 and whose tempory grave marker cros now housed at Montmorency-Eltham RSL. Archive Box with documentsharry gilham collection, fire spotting, kangaroo ground, shire of eltham war memorial, masefield h. j., cfa, kangaroo ground war memorial park, shire of eltham soldiers' memorial, eltham shire war memorial tower, harry conway, montmorency-eltham rsl sub-branch

The Federation University SMB Campus is lcocated in Lydiard Street, Ballarat.Colour photograph of Federation University Administration Building interior stairs and Associateship boards. arts academy, camp street, former ballarat state offices, associates, associateship, ballarat school of mines associates, associateship boards

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Victorian Heritage Database https://vhd.heritagecouncil.vic.gov.au/places/35576 No. 70 Orrong Road is important as an exceptionally ornate Boom style villa residence in the terraced form and in this respect is rare in Caulfield. Its architectural value is enhanced by its intact state and by the manner in which its bold architectural expression is carried through into the hallway and staircase. Victorian Heritage Database - National Trust local significance 284 Orrong Road Caulfield https://vhd.heritagecouncil.vic.gov.au/places/65700 A house designed by Harold Desbrowe Annear in 1917 and believed to have been the first "all electric" house in Melbourne. It has been extensively altered.Page 164 - four photographs of 2 different houses on Orrong Road. The top left photo is in colour while the others are in black and white.Handwritten: Orrong Road [top right] / Lisborn House [ (ed. correct name is LISBON HOUSE), under top left photo] / Lisborn House [under top right photo] / [under bottom right photo] / CORNER ORRONG ROAD AND PEARSON AVENUE / HOUSE BY DESBROWE ANNEAR [under bottom left photo] / 164 [bottom right]trevor hart, orrong road, lisbon house, lisborn house, elsternwick, pearson grove, st kilda east, caulfield north, terrace houses, cast iron work, verandahs, balconies, parapets, arches, cars, streetscapes, attic houses, desbrowe annear

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 as at 30/10/2020 "Glenmoore" is locally significant as a surviving mid nineteenth century villa residence in the then fashionable bi-chromatic brick form. It is also important as the home of Hugh Moore who built several shops in nearby Glen Huntly Road and which remain as important contributors to the architectural character of the Elsternwick Shopping Centre.Victorian Heritage Database citation HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 An imposing two storeyed villa in bichrome brick with two storeyed timber posted verandah, coupled with cast iron lace frieze, spandrels and central tympanum enrichment. The hipped roof is in slate and has a prominent crean1 brick chimney stack forming part of the facade. Openings are flat arched although the entrance is round arched with a fan light. The south elevation has bayed windows. Two storeyed hip roofed additions are sympathetic and attached on the north side and at the rear. Inside, the staircase and stained glasswork with initials "HM" and family coat of arms are important surviving elements. INTEGRITY: Good, timber outbuildings of an early date, mature and spacious front garden includes early palm trees. Alterations include reconstruction of facade verandah including tiled pavement and front door on east side. Interior has a high level of integrity. Original grounds included adjoining "Carramar".Page 178 of Photograph Album with three photographs of Glenmoore, St Georges Road. Handwritten: "Glenmoore" 1 St George's Road [top right] / 178 [bottom right]trevor hart, chimneys, porch, mansion, slate roof, return verandah, stained glass, cast iron frieze, glenmoore, 1860's, hugh moore, glenmoore estate, double storey, elsternwick shops, st george's road, thomas watts, elsternwick, victorian style, protruding bay windows, cast iron work, bi-chromatic bricks, gardens, balconies, moore's buildings, glen huntly road, stairs, house names

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Myoora - Victorian Heritage Register (VHR) Number H0490 https://vhd.heritagecouncil.vic.gov.au/places/275 (as at 6/10/2020) Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to port phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions. Stonnington is perhaps closer but relies on different details from the Queen Anne style and lacks any American influence. For its historical associations through its owners and architects, for its style and composition and for its intactness, Myoora is significant at a State level. The craftmanship of Myoora is what could be expected of a building of the time and type. It is relatively intact and in fair condition. The main staircase has been removed, minor alterations to decorative features have occurred and additions have been made to the exterior.Page 8 of Photograph Album including four black and white photographs. Three photos are in a portrait orientation, one on the left hand side of the page with the other two in the bottom part of the page. One photograph in a landscape orientation is on the top right hand side of the page. Handwritten: "Myoora" 405 Alma Rd [top right hand corner] / Neg 179 DEC 1972 [underneath bottom left photograph] / Neg 180 DEC 1972 [underneath bottom right photograph] / 8 [bottom right]caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, views, cast iron work, reed henderson & smart, flats, gardens, asymmetrical style, slate roofs, entrances