Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Ephemera from Original Box 313; This is not a catalogued description of the contents but a broad-brush overall description. a. Book with 'Ledger' on cover; has newspaper cuttings re stage and screen on 8 of 94 pages (remaining, mostly blank); b. Gordon & Gotch - Sample Calendar No. 3 1935.( 61 cm x 50 cm) x2; c. Gordon & Gotch - Sample Calendar No. 2 (61 cm x 50 cm) x 2; d. Victorian Act of Parliament No 3041 (amending the Law relating to Public Health, 1919, 176 pages; e. Victorian Act of Parliament -(amending the Sewerage District Acts No 3437, 1925, 5 pages ; f. Scrapbook with cuttings from papers relating to Australia's history, scenery, flora and fauna, Farming, Industry, Rodeo, Horse Racing, Rural, Surf Life Saving, Religion, Federation, Explorers, Gold, Birds, - some loose cuttings in back; g. Land Tax Act, Schedule L 1910 (blank sheet); h. Commission of Public Health - three day tour of Western District (Warrnambool, port Fairy, Colac) from Melbourne; i. Collection of cuttings, envelopes; j. Newspapers - Argus, Advertiser pages late 1930s; (not scanned) k. Collection of newspaper cuttings; l. Collection of Public Health Regulations, 7 parts; m. Act of Parliament, Victoria No. 2632 - Law relating to Amendment of the Constitution; n. Folder containing issues of The Bendigo Church News, 25 parts 1930s-1950s; o. Collection of book lists/catalogues; p. AA (Automobile Association) Members Handbook 1963; q. Collection of varied sheets and pamphlets; r. Articles of Association - Ocean Salt Company; s.. Sydney Symphony Orchestra program 1953; t. Queen Mary's Message to the people, Jan 1936; u. various notices for display of historical items (BHS Collection)ephemera, mementoes

Red Headed Woodpeckers can be found in Southern Canada and a large portion of the United States of America, generally migrating to the south if they originated in the northern regions. Their habitat is open forests or savannahs. They are classed as omnivores, finding food from pecking at wood or in flight. The Red Headed Woodpecker is threatened in Canada and some areas of the United States due to deforestation, lack of deadwood for nesting, competition with other birds, and a lack of food. They are an important part of the ecosystem, controlling insect populations and pollinating flora. Red Headed Woodpeckers typically have a beautiful, vibrant red neck and head, a stark white chest, black back, and black wings with white secondary remiges. They have a large chisel-like beak, suitable for foraging for their food. Their heads are rounded and they have short tails. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Headed Woodpecker is a small to medium-sized bird found in North America. This specimen is tricoloured: it has a red head and neck, a white chest, a black back, and black wings with white secondary remiges. It has a large chisel-like beak. This specimen has pest or humidity damage on the neck and head area. This specimen is standing on a wooden mount with a swing tag attached to it's leg.Swing-tag: 151a. Unnamed / Catalogue page, 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red headed woodpecker

Robert Pullar Cameron was a Shire Councillor for many years. He married Penuel Hossack and had a family of James, Flora, Penuel and Alex. William Cumming was a prominent Orbost identity. He was born in Ballymena, Northern Ireland, in 1866 the son of William Cumming and Mary Ann Montgomery. He came to Australia, aged 28, and to Orbost in 1890. He farmed at Bete Bolong and during WW1 ran a butcher's shop on his farm. He was a shire councillor and served as a South Riding representative for 38 years. He was a keen Newmerella football supporter, a member of the Orbost Bowling Club as well as a director of the Orbost Butter Factory. Cumming was married to Ellen Louise Mundy and had four children ( Harold, Mary, William and Gordon).This item is an example of a hand-written account for a local early 20th century business in Orbost. It is a useful research tool.A white paper account with blue lines and black ink . It has a pink receipt attached as well as a yellow duty stamp. It is from W. Cumming, butcher, to R.P. Cameron.cameron-robert-pullar cumming-william-butcher

Herman Wehner, had learned his trade as a blacksmith and coach builder in Germany before coming to Australia in about 1884. After working for some time in Melbourne and at Wallan he came to Orbost in 1889 and bought John William Borland‟s wheelwright and blacksmithing business in Nicholson Street. At the time there were two blacksmithing and wheelwright businesses in Orbost, the other one, also in Nicholson Street, was owned by Mr John Russell. (ref, John Phillips Newsletter July 2015) Robert Pullar Cameron was a Shire Councillor for many years. He married Penuel Hossack and had a family of James, Flora, Penuel and Alex. The Wehner family is/ was a prominent family in Orbost from the late 19th century. Herman Wehner founded Wehner's Blacksmith's at Orbost in 1889. Oswald Wehner began working in 1910 with his father. In 1947 Ossie's son Tom started blacksmithing, retiring in 1991 and closing the business, The building remains in Nicholson Street. This item is an example of book-keeping in the early 20th century. It is a useful research tool.A white paper account with blue print, red lines. At top left is a blue illustration of a horse. The account is from H. Wehner, General Blacksmith and Wheelwright to R. P. Cameron.wehner-blacksmith account book-keeping cameron-r.p.

This photo shows the group of ladies who were the official collectors for the Red Cross during WW1. The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the the British Red Cross. It came into being as a branch of the British Red Cross Society on August 13th 1914 to succour the wounded in the First World War.This is a contemporary record of a significant event in Orbost. It reflects the involvement of Orbost, a small town, in the efforts of the Australian Red Cross Society to provide comforts to soldiers during World war 1.A black / white photograph post card of a group of nine ladies wearing white uniforms with red crosses on the front. They are wearing hats / veils.on front - "Leila Perry, Grace Cameron,Nell Cameron, Jean Cameron, Flora Cameron, Jean Stirling, Lily Perry , Anne Stirling" on back - "For Historical Society - official collectors for Red Cross 1914-1918 War"red-cross-orbost

This is a surveyors' camp in the McCulloch Ranges April, 1897. Surveyors were among the first European settlers to arrive in Australia. A Surveyor-General was present on the First Fleet, as well as the first two ships which landed in South Australia. These men were issued with instructions to record observations in a journal that included the country’s general appearance, its soil, flora and fauna and the customs and language of local inhabitants. The conditions they worked in were harsh and they embarked on journeys with drays carrying cumbersome surveying and camping equipment, spending months camping out in the bush and mapping the land. It was not until well into the second half of the nineteenth century that the professional training of surveyors became mandatory in Australia. This is a pictorial record of a surveyors' camp in the late 19th century.A black / white photograph of a group of men standing at a campsite in the bush. Two tents are in the background.on the front - "Surveyors Camp, McCulloch Ranges" Some names have been added for identification - Bates, Thorn and others which cannot be read.surveyors-camp-mcculloch-ranges land-settlement

Manna Gum is a species of a small to a very tall tree that is endemic to south-eastern Australia. These particular trees are part of the Gawa Wurundjeri Resource Trail at Watsons Creek. Signs share information about how the Wurundjeri people lived near the creek and used the land to obtain bush foods, medicines, tools, shelter and clothes. The trail introduces visitors to the indigenous flora and fauna, including manna gums, Lomandra (used to weave baskets) and wombat burrows. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p3This 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, gawa wurundjeri aboriginal resource trail, manna gums, watsons creek

In 1872 Senior Constable Myles Lyons replaced Peter Lawlor at Eltham Police Station. Earlier in his career, he had taken part in a search (one of many) for missing explorers Burke and Wills. At Eltham, his arrests ranged from minor instances of theft, vandalism and larrikinism to serious cases of manslaughter, murder and attempted suicide. He even tracked down and arrested two Norwegian seamen charged with desertion from their vessel. While conveying a prisoner from Eltham to Melbourne in 1886, he was attacked by the prisoner en route. It seems that much of the local news in the Evelyn Observer was provided by Eltham Shire Secretary C.S. Wingrove. In 1878, Eltham residents held an “Indignation Meeting” at the Evelyn Hotel, complaining that the reporting had denigrated Lyons’ conduct and had stigmatised the character of Eltham’s inhabitants. They passed a resolution castigating Wingrove and supporting Lyons. Wingrove claimed to have been misconstrued. But in 1887 the Evelyn Observer carried a long ranting vitriolic editorial. It complained about inadequate policing generally, then attacked Lyons personally, saying that (although efficient in the past) he had now become incompetent and needed to be replaced by a younger more energetic man. Myles Lyons retired due to ill health in 1889 but remained in Eltham until his death in 1899. He is buried in Eltham Cemetery with his wife Flora and five of their children. Four sons moved to Western Australia where two were killed in unconnected railway accidents. In Loving Memory of Myles Archibald Beloved Husband of Flora Lyons Who Departed This Life 19th August 1899 Also their beloved Children Archibald Myles Myles died at age 75 on the same day as his 14 year old daughter, Flora Louise. Who died 28th June 1865, aged 18 months Edith May Died 9th November, 1884, aged 1 year Hester May Died 17th July, 1887, Aged 14 months Flora Louisa Died 19th August, 1889, aged 14 years Joseph William Died 1st August, 1904, aged 27 yearsRoll of 35mm colour negative film, 6 stripsKodak GC 400-9eltham cemetery, gravestones, edith may lyons, flora louisa lyons, flora lyons, hester may lyons, joseph william lyons, myles archibald lyons, police, archibald myles lyons

In 1872 Senior Constable Myles Lyons replaced Peter Lawlor at Eltham Police Station. Earlier in his career, he had taken part in a search (one of many) for missing explorers Burke and Wills. At Eltham, his arrests ranged from minor instances of theft, vandalism and larrikinism to serious cases of manslaughter, murder and attempted suicide. He even tracked down and arrested two Norwegian seamen charged with desertion from their vessel. While conveying a prisoner from Eltham to Melbourne in 1886, he was attacked by the prisoner en route. It seems that much of the local news in the Evelyn Observer was provided by Eltham Shire Secretary C.S. Wingrove. In 1878, Eltham residents held an “Indignation Meeting” at the Evelyn Hotel, complaining that the reporting had denigrated Lyons’ conduct and had stigmatised the character of Eltham’s inhabitants. They passed a resolution castigating Wingrove and supporting Lyons. Wingrove claimed to have been misconstrued. But in 1887 the Evelyn Observer carried a long ranting vitriolic editorial. It complained about inadequate policing generally, then attacked Lyons personally, saying that (although efficient in the past) he had now become incompetent and needed to be replaced by a younger more energetic man. Myles Lyons retired due to ill health in 1889 but remained in Eltham until his death in 1899. He is buried in Eltham Cemetery with his wife Flora and five of their children. Four sons moved to Western Australia where two were killed in unconnected railway accidents. In Loving Memory of Myles Archibald Beloved Husband of Flora Lyons Who Departed This Life 19th August 1899 Also their beloved Children Archibald Myles Who died 28th June 1865, aged 18 months Edith May Died 9th November, 1884, aged 1 year Hester May Died 17th July, 1887, Aged 14 months Flora Louisa Died 19th August, 1889, aged 14 years Joseph William Died 1st August, 1904, aged 27 yearsBorn Digitaleltham cemetery, gravestones, archibald myles lyons, edith may lyons, flora louisa lyons, flora lyons, hester may lyons, joseph william lyons, myles archibald lyons

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair knox

Alistair Knox was an architect and builder who came to Eltham in 1948. Influenced by Frank Lloyd Wright and Walter Burley Griffin, he sought to create buildings that would blend into the landscape, enhanced by the planting of indigenous flora. The post-war shortage of building materials made traditional construction expensive. Adobe (mudbrick) provided a cheap and plentiful alternative, and one which would be aesthetically pleasing. Mud-brick manufacture was a problem at first. Sonia Skipper had been experimenting with Eltham clays for years to find the best mix for making bricks and render. Alistair employed her as building foreman on several of his sites. By the 1980s, he had brought mud-brick and earth building into the Australian mainstream, and a Knox-designed house had become highly desirable. Sonia said that he would craft a bespoke earthen house to fit with his client's lifestyle. He was drawn to the environmental movement, publishing three books on housing and the environment, and speaking on radio. He also served on the Eltham Shire Council 1971-1975, was Shire President 1974 and was instrumental in re-establishing the Eltham Community Festival in 1975. Alistair died in 1986 and is buried in a small garden setting at Eltham Cemetery.Born Digitaleltham cemetery, gravestones, heritage excursion, alistair samuel knox

Cr. John Herbert served three terms as Eltham Shire President A3 photocopy of 3 documents with note at bottom of page - Cr. John Herbert 1. Federal Convention, The Government of Victoria request the honor of the Company of the The President, Eltham Shire & Lady to a Garden Party at Parliament House Melbourne on Friday February 4th 1898 at 3 o'clock. 2. Heidelberg & Eltham Railway Construction Trust, Ticket No. 87, Dinner in celebration of the opening of the Railway to Eltham, will be given in the Marquee on the Station Ground, Eltham on Thursday, 5th June, 190212.30 o'clock, H.J. Price, Secretary 3. Post card addressed to Miss Flora Herbert, "Blair Athol", Nutfield P.O., Victoria, Australia - France 12/12/17 - Dear Floss, Just a card to let you know I have not forgotten you. Tell "Mum" I am quite well, but a bit cold, I remain yours sincerely, Will"Photocopy A3 page; all three items on one page aif, blair athol, councillors, cr. john herbert, eltham railway station, eltham shire council, federal convention, first world war, flora herbert, government of victoria, heidelberg & eltham railway construction trust, invitation, nutfield, opening ceremony, parliament house, postcards, shire president

A pictorial journey of Marysville before the 2009 Black Saturday bushfireA book of photographs taken in and around Marysville before the 2009 Black Saturday bushfires. Marysville was almost completely destroyed in the fire and this book showcases natural attractions, locations to eat and stay and some of the local flora and fauna in and around the district.Hardcover. Front cover has a photograph of the Corner Cupboard Cafe in Marysville taken at night.In memory of those that lost their lives and property in the/ Black Saturday fires/ on the 7TH of G=February 2009marysville, photographs, victoria, australia, black saturday, bushfire, 2009, 7th february 2009, angelina lodge, darmody lake, galipolli park, murchison street, meeting of the waters, marysville bakery, marysville patisserie, lolly shop, bruno's sculpture garden, crystal journey, flora, fauna, coralyn falls, steavenson falls, keppel lookout

A pictorial book of the flora, fauna and waterfalls in the Marysville district affected by the 2009 Black Saturday bushfirePaperback. Front cover has a main photograph of Keppel's Hut on a misty day in the rainforest. There are also four small photographs along the lower edge of the front cover. They are of a Mountain Ash canopy, a Drosera Peltata, a Brown Tree Frog and a view of the smoke plume on Black Saturday.marysville, victoria, australia, landmarks, flora, fauna, waterfalls, black saturday, bushfire, nature

A pictorial book of the flora, fauna and waterfalls in the Marysville district affected by the 2009 Black Saturday bushfirePaperback. Front cover has a main photograph of Keppel's Hut on a misty day in the rainforest. There are also four small photographs along the lower edge of the front cover. They are of a Mountain Ash canopy, a Drosera Peltata, a Brown Tree Frog and a view of the smoke plume on Black Saturday.marysville, victoria, australia, landmarks, flora, fauna, waterfalls, black saturday, bushfire, nature

A book outlining recreational activities available in the towns of Marysville, Alexandra and Eildon and their surrounds Paperback. Front cover has a series of colour photographs depicting flora, places to visit and activities in the areas named in the title. Back cover has a photograph of houseboats at Eildon Boat Club at Anderson Harbour on Lake Eildon.Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, alexandra, eildon, recreation

A book outlining recreational activities available in the towns of Marysville, Alexandra and Eildon and their surrounds Paperback. Front cover has a series of colour photographs depicting flora, places to visit and activities in the areas named in the title. Back cover has a photograph of houseboats at Eildon Boat Club at Anderson Harbour on Lake Eildon.Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, alexandra, eildon, recreation

A book outlining recreational activities available in the towns of Marysville, Alexandra and Eildon and their surrounds Paperback. Front cover has a series of colour photographs depicting flora, places to visit and activities in the areas named in the title. Back cover has a photograph of houseboats at Eildon Boat Club at Anderson Harbour on Lake Eildon.Property of Blackwood Cottages / available for sale at Office @ $3.00 per copy Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, alexandra, eildon, recreation

A book outlining recreational activities available in the towns of Marysville, Alexandra and Eildon and their surrounds Paperback. Front cover has a series of colour photographs depicting flora, places to visit and activities in the areas named in the title. Back cover has a photograph of houseboats at Eildon Boat Club at Anderson Harbour on Lake Eildon.Property of Blackwood Cottages / available for sale at Office @ $3.00 per copy Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779marysville, alexandra, eildon, recreation

Albert E. Williams was a teacher at the Ballarat Technical Art School.Framed Study in Colour of a Flowering Plant from Naturealbert e. williams, art gallery design, art teachers' certificate, a.e. williams, ballarat technical art school, staffmember, flora, aqualegia, available

Item in the collection re Robert H Baron No 3596, refer Cat No 1981P for his service history. Framed Coloured Certificate from the " Shire of East Loddon/ For Liberty Anzacs Justice" to Robert Baron, dated November 13, 1917. Certificate - red print and handwritten detail in red ink. Illustrated background in colour - flags, flora and ship; and silhouette of Australia. Frame - timber, light brown stain, decorative edge with gold painted inner edge, glass front. Mount - white cardboard with gold coloured inner mount.Handwritten in red ink on certificate "Robert Baron" - remainder of writing illegible.certificate, history, ww1, cooper collection

A printed journal of horticulture from 1909. Images: George Laughton, J. Allanhorticulture, roses, carnations, flora, george laughton