This is a photograoh of students at the Higher Elementary School at Orbost. Mary Gilbert has identified those in the photograph. From L-R Back Row - ? Irvine; Madge Macalaster; Rhoda Perry; Daisy Scouller; Dorrie Napier; Lila Perry; Don Cameron_____________________- Rita Murray; Raay Fisher; Grace Morris; Reston Nish; Bill Irvine; Stella Rodwell; Headmaster Mr W. Guy; ?; Annie Stirling; Harold Napier; R Lay; Dora Smith; Doris Shortell; Percy Hambrock Nellie MacPherson; Irene Parker; Gertie Griebenow; Vera Saunders; Mr Jack Blaikie; Bernice Feltis; Dillkys Broome; Vera Spink; Jean Irvine; Lexie Nixon; Eda Ross; Maggie Whillance; Violet Scouller; Jean Stirling; Miss Zoe Hazlett; Lily Daly; Jack Parker; Eric Herbert; ?; Tom Henderson; Frank Richardson; Vance Moysey; Vernon Nevins; Frank Rodwell; Bill Fisher; ? Murray Kerr Molly Dreverman; Emmy Gibbs; Hilda Kerr; Charlie Richards; Mick; Spink; Tom Swan; Ronnie Gluth; Annie Gibbs; Madge Grose; Mary Reynolds During 1910-11 the first approaches were made to the Department for the establishment of a HES in Orbost and this became a reality in 1912. Orbost HES supplied post-primary education in the district until a high school was built in 1948.Orbost High School / Orbost Secondary College has played a significant part in the education of senior students in the Orbost district . It is the sole senior educational institution. This photograph is representative of its history.A black / white photograph of children in front of a timber building with an open door. One female and two adult male teachers are with the children. At the front centre is a drum. Behind the drum is a boy holding a board with H.E.S. Orbost hand-written in what appears to be white chalk on a blackboard. There are three smaller boys holding brass musical instruments. The photograph is mounted on a brown card which is damaged. a card with names written in it has been attached to the photograph, on the front of the card at the bottom - "X Frank Richardson Bill Guy H.T. 1915".education-orbost-higher-elementary

4-page typed document, prepared by Dr. Ralph Birrell, on the significance of the former mining sites on the White Hills. Document describes the 'area adjacent to the old Railway Workshops as shown on attached map'. A further addition (slip of paper, typed) to the paper describes the location of the Whiter Hills of White Hills: 1st White Hill is east of Lake Weeroona The 2nd and 3rd White Hills are around Strickland Road, former East Bendigo Primary School, Baden/Powell Streets The 4th and 5th White Hills are east of Napier and Grace Street The 6th White Hill is east of Plumridge Street The 7th White Hill is east of Bosquet Street.

This large hat box was owned by Miss Katherine Robertson (now deceased). It was sold by Drews, a leather and travel goods shop in Melbourne, and has been made as good quality, sturdy travel luggage. It has its own leather luggage label buckled to the handle and there are remnants of labels on the base of the hat box, signifying that it has indeed been used as luggage. A hat box such as this one is made to protect, store and transport head wear. Hat boxes became popular in the 19th and early 20th century when hats were a part of the modern fashion. Inside the hat box is a brown paper wrapper with two Great Britain postage stamps attached. Both have the portrait image of Queen Elizabeth II (1) orange 1/2d (2) green ten pence. These stamps belong to the Wildings series and were issued 1952-1954. The wrapper was sent by J McGregor in Glasgow, Scotland to Katherine Robertson in Sale, Victoria. The postmark stamp shows it was sent in 1955. The paper had once been folded around something rectangular in shape, perhaps a book. The hat box was recently found by Archie’s daughter, niece of Katherine, when she was looking for something else in the ceiling of her home. The hat box had been there, with the brown paper wrapper inside, for about 30 years, forgotten by the family. There are no family members remaining now to tell the full story. ABOUT MISS KATHERINE ROBERTSON The Robertson family emigrated from the Isle of Wight and settled in Woorndoo, Western Victoria, Australia. Katherine Robinson was the 10th child of 13 children, born in 1906 and lived until 1995. The youngest child in the family was a boy named Archibald (Archie) who was born in 1911. His daughter is the donor of the hat box. Katherine went to school at Woorndoo and later became a trained teacher. She taught in many places, amongst them were Alexandria, Geelong, Sale, Stawell and Ballarat. People said “She was a school teacher 24 hours a day!” She was insistent on being called Miss Katherine Robinson, and no-one dare call her a shortened name in any way, not Kate, or Katie or even Kathie. She spoke with the authority of a teacher throughout her life, never asking but always giving her requests as orders. Miss Katherine Robinson remained single all her life. She bought items that were the best quality and workmanship, which gives reason for the strong and well-travelled hat box. She enjoyed going on trips and travelled the world twice. While on her journeys Katherine would knit Fair Isle patterned socks using fine 4 ply wool because she “Didn’t believe in wasting time!” Katherine’s niece remembers being in Melbourne at Station Pier, seeing her Aunt off on one of her journeys. She recalls the atmosphere and the colourful streamers in the air that celebrated the special occasion. Katherine travelled on the Oriana and Fair Star lines. ABOUT DREWS Drew’s, Leather Goods Specialists, was located at 70 Swanston St, corner of Queen’s Walk, Melbourne, at the time that this hat box was sold by the company. Queen’s Walk was constructed in 1889. It was a lavish ‘L’ shaped arcade that connected Swanston Street to Collins Street and was home to many specialist stores. In the 1950’s Drews address was advertised as Collins Street. In the late 1960’s Queen’s Walk was purchased by the Melbourne City Council and demolished in the early 1970’s, to be replaced by the Melbourne City Square. This very sturdy and good quality hat box is an example of travel luggage available to and used by the Victorian population of Australia in the early to mid-20th century. The retailer of this hat box, Drews, operated from premises on the corner of Swanston St and Queen’s Walk in Melbourne where many other specialist shops were located. Queen’s Walk was only in existence for around 70 years, 1889-late 1960, before it was demolished to make way for Melbourne’s City Square. Hat box, large, deep round shape with a straight section where lid is joined on at the back. Dated early to mid-1900’s. Brown coloured, textured heavy weight card box with folding metal carry handle, three clip closures for lid, metal hinge on back of lid. Purple maker’s label inside lid - DREWS, Leather Goods Specialists, Melbourne. Leather luggage tag has two rectangular cut-outs on front, attached with buckle strap. Underside of lid has two supporting leather straps attached to base. Base has inner cardboard liner around most of circumference. Contained inside are two leather straps with metal buckles. Label remnants, red, attached under base. Hat box was owned by Miss Katherine Robertson. Also inside is brown paper wrapper with three hand written addresses, in blue nib pen, and two attached Great Britain postage stamps, Queen Elizabeth II (1) Orange stamp, QE II, ½d (2) Green stamp, QE II, ten pence. It is postmarked [19] 55. Purple label has printing "70 SWANSTON STREET / Cr. QUEEN'S WALK / DREWS / LEATHER GOODS / SPECIALISTS / MELBOURNE". Wrapper inside has two hand written addresses (1J) Mrs. K. F. Robertson / 33 Mcalister Street / Sale / Victoria / Australia” (2) “from / J Mc Gregor / 15 Napier’s Hall St / Glasgow N W / Scotland” Postmark “ - -em 55” & “CLAS-“ OR “GLAS-“ [GLASGOW] flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, luggage, hat box, hatbox, hat storage box, hat travel case, hat case, bandbox, drews melbourne, drew’s melbourne, drew’s handbags, travel goods, travel luggage, hat box suitcase, hat box luggage, 1952-1954 gb postage stamps 1/2d orange queen elizabeth ii, katherine robertson, archibald (archie) robertson of woorndoo, j mcgregor

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

a, Cohn Bros Victoria Brewery Co Limited share scrip No 426 certifying that G V Craig of Bendigo was the holder of ten shares with progressive numbers from 29986 - 29995. Dated at Bendigo on 18th day of August 1903. Share Capital of £55,000 in 55,000 shares or 20 shillings each. E A Haskey secretary witnessed the two directors, Jacob Cohn, Magnus Cohn signing share document. .b, Transfer document No 289 of shares numbering 29886- 29995 held by George Napier Craig of Bendigo to Sarah Anne Craig and Emily Mary Craig on 17th December 1906. Signed in the presence of G N Craig. Two sisters were Gentlewomen of Boundary Rd Sandhurst. One penny stamp duty affixed.bendigo, industry, cohns brewery, cohns bros victoria brewery. g n craig. cohns share transfer

Colour group portrait photograph of the members of the RNZCOG Council. The group consists of nine men and one woman, arranged in two rows. Six men stand at the back, while three men and a woman sit in chairs in the front row. The group is pictured in front of a beige coloured wall. The wall features a gold coloured Roman numeral clock at centre behind the group, and a painting/print of a landscape on the right hand side. There are vertical blinds visible at the left of the image, and the roof of the room in which the photograph is taken can be seen to be sloped on the right hand side of the image. The photograph is framed in a brown wooden frame with gold trim. Handwriting on the back of the frame reads 'RNZCOG COUNCIL NAPIER MASTING CONFERENCE'. There is a cord stapled to the back of the frame for hanging.

Colour group portrait photograph of the members of the RNZCOG Council. The group consists of nine men and one woman, arranged in two rows. Six men stand at the back, while three men and a woman sit in chairs in the front row. The group is pictured in front of a beige coloured wall. The wall features a gold coloured Roman numeral clock at centre behind the group, and a painting/print of a landscape on the right hand side. There are vertical blinds visible at the left of the image, and the roof of the room in which the photograph is taken can be seen to be sloped on the right hand side of the image. The photograph is framed in a brown wooden frame with gold trim. Handwriting on the back of the frame reads 'RNZCOG COUNCIL NAPIER MASTING CONFERENCE'. There is a cord stapled to the back of the frame for hanging.

Tim and Betty Burstall designed and built their mud brick house in (68 Napier Crescent) Montmorency in 1948. Extensions were added in the 1960s. The Alistair Knox Collection (Image 6) The Alistair Knox Collection is a series of mounted enlarged photos of about forty images mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to EDHS. Some of the photos have been used in Knox's books. Alistair Knox (1912 - 1986) is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcbetty burstall, houses, mud brick construction, tim and betty burstall house, tim burstall, montmorency, alistair knox collection

Dawn Ski Club was one of the earliest buildings on Falls Creek. Tom Mitchell was one of the biggest shareholders who was also one of the main instigators and a driving force behind the formation of Falls Creek. Other members were the Napier family from Wagga and Dale Crooke from Gundowring in Victoria. Their hut was built by Cec Dobson and was a copy of Skyline Lodge. Initially it had two bedrooms but was later extended to four. Dawn Ski Club was named by Tom Mitchell because he said it was the dawn of skiing for the children and it was always noted for having a child friendly atmosphere and programs. Tom Mitchell was a former Australian ski champion and Member of Parliament for Benambra who championed the causes of skiers and Falls Creek for his whole time in State Parliament. Dawn Ski Club was sold in 1960 and then sold again to Astra Lodge when a block of flats was built on the Limlimbu site. In 1986 the original Lodge building was moved to Windy Corner to become the SES Headquarters.This image is significant because it depicts one of the earliest Ski Clubs built at Falls Creek.A coloured photo of Dawn Ski Club under light snow. A red telephone box can be seen on the left.dawn ski club, accommodation falls creek, lodges falls creek, tom mitchell

Dr. Ian Stephen MacLeod Murphy (studied at Melbourne University) was a Surgeon Lieutenant on the destroyer S.S. Napier during WW11. Pieces of shrapnel hit Dr. Murphy on the head and he was saved by his tin helmet. He retired to Emerald in 1947 after running a successful medical practice in Hampton, with the intention of breeding turkeys. But Emerald and the surrounding districts had no doctor, so for the next 34 years, the well loved Dr. Murphy provided medical care, working 7 days a week and travelling all over the hills making house calls in all types of weather. Many families couldn't afford his services, and they didn't receive an account or if they did pay, the cheques were not cashed. Often payment was rendered in the form of fruit and vegetables. He was awarded the British Empire Medal in 1977 for devotion to the health of the community. He died in 1981 at the age of 76 years and a Memorial Fund was set up in his name to provide support for local students studying Medicine.VEMU1647.1 Naval Cap VEMU1647.2 Geelong Grammar Cap (Rowing) VEMU1647.3 Tin Helmet VEMU1647.4 Mug Intercollegiate Boat Race VEMU1647.5 Mug Ballarat Hospital Medico's VEMU1647.6 Pocket Badge Royal Melbourne Hospital Surgeon VEMU1647.7 Pieces of Shrapnel which hit I.S. Murphy on head VEMU1647.8 Medical Registration Certificate 22.12.1937 VEMU1647.9 Geelong College Flag VEMU1647.10 Rudder Ormond College Students Club 1931 Cox I.S.Mc. Murphy VEMU1647.11 Wooden Shield Geelong College 1921-1922 VEMU1647.12 Program from Scotts Hotel VEMU1647.13 Paperwork Celebration Dinner at Emerald Country Club for New Year Honour.dr. murphy

The Manchester Assurance Company. Duplicate Fire Policy No. 8277256. Name of insured: Frank J. Every, sum insured 940 pounds premium 3 pounds 4 shillings 4 pennies. Expires on the 20th day of December, 1924. Insured are two buildings described as No.1 and 2 in the proposal for this insurance dated 20th December 1923, each of one storey having walls of wood, roof of iron, situate at the corner of Napier and Bosquet Street, White Hills, occupied by the insured No. 1 as a Dwelling house only, No. 2 as a motor shed only. On the building 1 900 pounds, building 2 40 pounds. Attached are 3 renewal certificates: 52007 from 20/12/1947 to 20/12/1948, 56299 from 20/12/1948 to 20/12/1949 and 60917 from 20/12/1949 to 20/12/1950.business, legal, manchester assurance company

In the 1830’s, European pastoralists started moving south from NSW into the Alps. In 1836, cattle grazing began around Omeo and the runs spread out into the foothills. The higher country was used for summer grazing and huts were built for shelter and storage during stock mustering. The lure of gold brought many people to the Alps from around 1850 to 1900. Bushfires destroyed the forests around Melbourne in 1939 and the boom in house-building after World War II ked to increased demand for timber from the Alps. This resulted in the building of a network of roads which helped open up access to the Alps. The early 1940’s brought the first of many workers to the Alps for the planning and construction of the Hydro-Electric Scheme. These were the pioneers and early settlers of the Kiewa Valley and provided a wealth of characters and a tapestry of stories and adventures to be handed down to future generations.These 3 posters, which were most likely produced for promotional purposes provide a glimpse into the early lives of the pioneer families of the Kiewa Valley through pictures and verse. They show their lifestyle and outline the hardships they had to endure in living and working in the Alpine region. They also highlight the early arguments regarding grazing in the high country which would ultimately lead to the end of the long traditions of the high country cattle men. Set of 3 A4 size posters with black and white photographs and text and colour background depicting various parts of the history of the Kiewa Valley. 1. Titled - ‘Life wasn’t meant to be easy’ Describes early life for Kiewa Hydro workers. 2. Titled - ‘Cattlemen of the High Plains’ Describes a brief history of life of the cattlemen of the high plains 3. Titled – ‘There are Places I’ll remember’ Depicts early photographs of residents of the Kiewa Valley, also includes the words from a John Lennon song as per poster title. Printed on each poster – Poster designed by Dyanne Photography - Wodonga 1. Printed at bottom of poster – Sources: G Napier and G Easdown “The Kiewa Story” 1993. Southern Hydro Archives, N Hetherington and R Hollands. G Gardner “The Kiewa Kids” 1998. 2. Printed at bottom of poster – Sources: D Purland. Handwritten at top of poster- Poster 4 3. Printed at bottom of poster – Sources: B Roper, W Davies, D Higginson, H Ryder. Handwritten at top of poster- Poster 3 kiewa valley; tourism; lifestyles

Boothey Photo Collection. Eight sleeves.-1 Black Memorial Card John Boothey January 14, 1908 -2 Marble Gravestone for John Boothey & Hannah Boothey buried at Stawell -3 John & Ann Boothey Family -4 Wedding Photo Son of John & Hannah Boothey (seated) and his wife in wedding dress -5 Wife of John & Hannah's son -6 Mrs J Boothey -7 Mrs J Boothey -8 Boothey House Lake Road Stawell -9 Boothey House Napier Street, Stawell -10 Boothey Home Napier Street, Stawell -11 Left to Right Mrs Boothey, J Robson, W Boothey, L Robson, E Boothey, D Boothey, c 1940's -12 Sent By Cpl. Boothey E B V240192. Left Myself, Bill Cairns, Sgt Mc Nell, Lieut. Izod, Ken Cullen, Reg Kelso -13 Myself & Bob Richards. New Guinea 1945. -14 Stawell Cenotaph Main Street. Lawson's Model Bakery at left. -15 Erin, Daisy, Walter -16 Daisy 15 Years -17 Mrs W B Boothey 1934. nee Ursula Harris -18 W B Boothey in suit with Bicycle -19 Man with two Puppets on knee -20 Five puppets -21 Walter Boothey & dancing dolls 1941 -22 Daisey Boothey -23 Soldier in uniform WW2 in Card Folder Ern Boothey -24 Soldier in uniform WW2 Ern Boothey -25 Man in suit with Gladston bag in front of tree foliage. Mr E Boothey left Stawell for camp 19 December 1941 -26 Soldier with parents. To Ern from Mum & Dad. May 1942. -27 Early truck. Ern Truck Boothey -28 Ern Boothey in uniform.-1 The Australian Card Company, 49 Elizabeth Street Melbourne -3 Stawell Photographic Co, Close Railway Station, C Hewitt, Manager -12 PHOTOGRAPH No 15587, Supplied by Military History Section (S.D.9), General Staff L.H.Q. -15 W. J. Chapman, Stawell. -23 Chapman Photo Stawell -25 Mr E Boothey left Stawell for camp 19 December 1941 -26 To Ern from Mum & Dad. May 1942. -27 Ern Truck Boothey stawell