Rochelle SUMMERFEILD Born Sydney, Australia This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artists Statement: I am based in Northern NSW. My art practice is deeply influenced by my connections and experiences with the rivers and habitat where I live. Through drawing, paint, collage and digital media my work explores human relationships with riparian environments. Every day I see the undeniable beauty of our rivers as well as the ecological suffering of these riparian landscapes. Historical practices of land clearing, water politics and weed infestation put tremendous pressure on the Australian ecology. Disrupting traditional art forms, I combine them with new technologies to reveal some of the complexities behind human relationships with nature. With bold collagist experimentation, I combine numerous mediums to expose the small revelations between media. These juxtapositions open up the possibilities of reinventing different ways of being with the natural environment. Like the layers in my work, the issues surrounding our riverine environments are multifaceted and complex and begin with individual choices. I want to direct people’s attention to our rivers, to love, appreciate and reconnect with the natural environment. Human experience with nature is a fundamental part of our sense of self, health and well-being as well as community connection. (https://rochellesummerfield.com/about/, accessed 10 June 2020)art, artwork, rochell summerfield, printmaking, print council of australia

My work is informed by a philosophical and spiritual engagement with Buddhist ideas, particularly in response to environmental concerns. In this work I wanted to challenge myself and explore the limits of clay material. Clay allowed me to express myself and free my mind. When I revisited Australia in 2010 form my residency, the natural environment here still was the best to me. Li-Feng LO (1967- ) Born Taiwan Ceramic artist Dr Li-Feng Lo completed a PhD at Monash University in 2008. She was a resident artist in the Federation University Arts Academy ceramics studio in 2010. Li-Feng worked with Southern Ice porcelain to create sculptural forms in response to environmental concerns. Her work is informed by a philosophical and spiritual engagement with Buddhist ideas. These works were exhibited in the exhibition 'AIRed' at the Post Office Gallery in 2011. This was a group exhibition showcasing the work of six artists who undertook residencies at the Arts Academy over a couple of years. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Handbuilt (pinched), coloured porcelain form. Artist's Statement: In the beginning I try to use clay to achieve a dream-like quality by providing a feeling of flexibility like paper and fragility like glass. I was my artwork to the one with nature. Gift of the artist, 2010art, artwork, li-feng lo, ceramics, artist in residence, available, available ceramics, chinese

Neville Mirvane BUNNING (1902-1990) During World War Two he served with the RAAF. He was an Art Teacher at the Ballarat School of Mines from 05 February 1946 to 22 September 1964. Neville Bunning formed the Ballarat Artist's Society (later the Ballarat Society of Artists), a group that sponsored art and which invited modernist artists to speak to students and to the public of Ballarat. He also wrote a weekly column in the Ballarat Courier. Bunning produced a bust of Australian Prime Minister, The Right Honourable J.A. Lyons from Tasmania, who died in office. Bunning died in Subiaco, Western Australia on 29 April 1990. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.framed water colour LL signature Neville M Bunning art, artwork, neville bunning

Peter CLARKE (1969- ) Gunditjamara (Lake Condah) Born Heywood, Victoria At two months old Peter Clarke was removed from his parents and placed in a Catholic boy's orphanage in Ballarat. The orphanage was closed and Peter was moved to a public orphanage where he discovered 'manners were not a necessity and you often had to take before you were ever given in this orphanage. ... This new orphanage was not a home for me but a prison of sadness and despair.' Disconnected from his country and lore Peter Clarke chose "my own path to land, county and water". Although his childhood memories are dark and bleak, he uses vibrant colours. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Mallee Wood didgeridoo with vibrant colours. A natural wood imperfections have been used to emphasise what is recognisable as a frog. This work was purchased from the "My Art, My Life, My Colours' exhibition at the Federation University Post Office Gallery, May 2008.art, artwork, aboriginal, peter clarke, didgeridoo, stolen generation, st joseph's orphanage, sebastopol, my art, my life, my colours' exhibition, federation university post office gallery

This work was undertaken in 2001 when the artist was undertaking an Honours year at the University of Ballarat Arts Academy (later Federation University). This item is a part of the Federation University School of Business Art Collection. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed Digital Limited Edition Print by Michael Shiell. "The woven form was made at 'Blue Waters' near Creswick. I remember that I went out hoping to make something and I had a few mediocre starts but nothing really inspired was popping for me. Eventually I sat on the bank and started tossing little pebbles into the water. Finally the immediacy and ephemerality of the dissipating ripples struck me. I made the work by twisting and weaving the reeds which lined the banks of 'Blue Waters'. I then floated the rings together and managed to get a couple of quick photos before the work floated away and dissipated." (Michael Shiell)Edition: 1/10art, artwork, michael shiell, shiell, blue water, creswick, school of business collection, available, photography

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, g. siluth

"The breeze going through the eel trap gives a feeling of water flowing through the vessel with the feathers softly waiving as the water flows. My grandfather Nicholas Couzens and my uncles made eel traps to fish the Hopkins River - this is how my mother learnt the techniques which she passed on to me."Bronwyn RAZEM Gunditjmara/Kirrae Whurrong Bronwyn Razem is an Indigenous Australian basket weaver and painter. She is a Gunditjmara woman of the Kirrae Whurrong clan of western Warrnambool on the Victorian coastline. Bronwyn’s practice involves an exploration of her Indigenous heritage and identity, and she creates symbolic representations of places and events that are meaningful to her family. She integrates ochres, sand and other materials into her paintings, and her works also draw on the possum skin cloak traditions of her ancestors. In 2008, Bronwyn was chosen by the Australia Council for the Arts to be part of a delegation of Indigenous artists to attend the 10th Pacific Arts Festival in Western Samoa. Bronwyn’s mother, Aunty Zelda Couzens, was a well-respected basket weaver and elder who taught Bronwyn basket-making techniques. Bronwyn now regularly conducts basket weaving workshops with Victorian Indigenous communities in order to facilitate the revival of cultural traditions. She has a Bachelor of Arts with Honours at Deakin University, and in 2008 she was enrolled in a Master by Research degree at Deakin Institute of Koorie Education, Geelong, and was living in Ballarat. (https://www.daao.org.au/bio/bronwyn-razem/biography/, accessed 18 April 2016) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Bronwyn RAZEM (1953- ) Gunditjmara/Kirraw Wurrong A woven New Zealand flax eel trap with emu feathers. This work won the University of Ballarat Acquisitive Award for work reflecting Victoria's Western District. The judges were impressed by Bronwyn Razem's translation of the traditional eel trap into a sculptural form evocative of the flow of water and possible the passage of time. The design and technical knowhow which Razem inherited from her mother, uncles, and grandfather connects this work to the family;s life and traditions. She then enhances the simplicity of this very functional object by the addition of delicate emu feathers, creating a work that creatively and symbolically transcends its original form. art, artwork, bronwyn razem, razem, eel trap, aboriginal, indigenous, available

Schuss was advertised as Victoria’s Official Ski Journal It was issued monthly from 1935 to 1961 except during the war when summer issues covered two months. This continued after the war, but it averaged 10 issues annually over its 25 year life. Schuss was published by the Ski Club of Victoria which had a membership of 38 Ski Clubs and demanded to be recognised as the prime authority on skiing in the state. The other 30 ski clubs with 85% of the members disagreed and the politics of skiing became heated. These clubs formed the Federation of Victorian Ski Clubs with their own journal, Ski Horizon. With the establishment of the Victorian Ski Association, Ski-Horizon published its last issue in Nov - Dec. 1955 and the role of the official journal was fully taken over by “Schuss”. This item is significant because it contains stories, images and information documenting the development of the ski industry in Victoria.The journal features stories and events chronicling developments in Victoria and internationally. Items related to the Falls Creek Area in this issue include:- Cover - Features a photo by H.Gibbs titled "Western Cliffs of Mt. Bogong" Page 65 - BOB HYMANS reported news of Falls Creek. At his own Ski School, notable improvements to accommodation have been made and additions to the building itself, which will make it very much more comfortable and serviceable to visitors. Water supply and heating are amongst the items in hand. Bob has acquired a Land Rover which will be a power of assistance to him in maintaining fresh supplies and in servicing his project generally. Kiewa Valley Ski Club members are making splendid progress with the erection of their Lodge. This is the latest building addition in that area and raises the number of clubs resident there to nine. Nissen Ski Tow members intend to operate their tow on the upper slopes of Falls Creek every day during the coming season that conditions permit. They are to be warmly commended on their enterprise. Page 65 - Advertisement for Bob Hymans' Ski School and Lodgeschuss journal, bob hymans, kiewa valley ski club, nissen tow

artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses

A wide range of items have been created as souvenirs to represent the Hume Weir on the Murray River. Work on Hume Dam started in 1919 and took 17 years to complete. Souvenir items have included chinaware, ashtrays, placemats and small jewellery items such as this tie pin. This tie pin was created as a souvenir for the town of Tallangatta. In the 1950s, the height of the Hume Weir wall was increased, resulting in a nine metre rise in the level of the water in Lake Hume. This necessitated the moving of most of the town of Old Tallangatta due to flooding. The transfer of the township by the State Rivers and Waters Supply Commission to a new site approximately 8 kilometres to the west was completed on 29 June 1956.This item is representative of many items commemorating the Hume Weir and the township of Tallangatta.A small metal and enamelled oval tie pin. It features and image of the Hume Weir.Around top edge in white: TALLANGATTA Around bottom edge" HUME WEIR"hume weir australia, tallangatta, tallangatta - the town that moved

This publication has a hard cover with blue boards and a pictorial dust jacket. It consists of 264 pages.This book contains contributions from 16 writers who have first-hand knowledge of the Murray River area. It provides a comprehensive picture of the river in all its aspects. It gives a fascinating look at one of Australia's most important geographical and historical features. Contributors and chapters in this book are: - 1. Past, Present and Future – G. V. Lawrence 2. The Structure of the Murray – Edmund D. Gill 3. Seeing the Murray – Graeme Kinross Smith 4. The Mountains at the Source – Elyne Mitchell 5. The Explorers – Leigh Betheras 6. The Irrigators – G. Arch Grosvenor 7. Murray Water Conservation – W. G. L. Harrison & K. E. Johnson 8. The Murray River Steamers – Ian Mudie 9. Pioneer Days: A Story of Seventy Years Ago – Dorothy Roysland 10. Birdlife of the Murray Valley – John Eckert 11 .Aborigines in the Murray Valley, How We Learned the Story – H. A. Lindsay, The Aboriginal Occupation – Norman B. Tindale 12. Fish of the Murray River – John S. Lake 13. Native Plants of the Murray Valley – J. H. Willis 14. Murray Wildlife – K. N. G. Simpsonmurray river, australian geography, settlement on the murray river, native plants, aborigines in the murray valley, murray valley flora and fauna

This item was created for Wodonga Historical Society by the artist, Betty L. Barberis in 2009. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work, including this banner created for Wodonga Historical Society and featuring the Wodonga Water Tower. Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013.This banner was created by a renowned and highly regarded artist from Northeast Victoria.A large velvet banner created for the Wodonga Historical Society by noted local artist Betty L. Barberis. It is mounted on a pine rod and features an image of the water tower in Wodonga, Victoria. The majority of the banner is hand stitched.Around the edge of the central image: "Wodonga Historical Society Victoria.wodonga historical society, betty l. barberis

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.1. Locality Plan and Plan of Dam. The dam is about ten miles by road upstream from Albury and about three-quarters of a mile below the confluence of the Mitta Mitta River and the Murray River. Its main features consist of a concrete portion across the bed of the river with earth embankment at both ends. The foundations throughout are on hard granite, found at an average depth of about 40 feet below the surface, the centre line being located to take advantage of the most favourable rock levels.Heading on page "WORKS UNDER RIVER MURRAY WATERS AGREEMENT/HUME RESERVOIR" Beneath top diagram "FIG. 1. ELEVATION" Beneath second diagram "FIG. 2. PLAN" On map "LOCALITY PLAN"hume reservoir australia, river murray waters scheme, hume weir diagrams, hume weir location

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 22. General View of Works from New South Wales end, Looking Upstream. Features: At the left, part of the North Wing Wall, the highest part of which is 26 feet below its ultimate height. Below in the foreground is the portion of the dam where provision is to be made for hydro-electric generation. The tubes, three in number, 13 feet in diameter, will be laid on the level shown and an early start will be made in laying them. The level for the other four regulating outlets, 9 feet in diameter, together with a part of the spillway section of the dam, is underwater at this stage and it may be remarked that at one point, about half way across the channel where the water is now flowing, the concrete foundations are about 80 feet below the level of the water. The broken surface of the water is due to the large “plums” in the concrete. The still water in the right foreground is the stilling pool over the concrete floor of which there is now more than 20 feet of water and by means of which the discharge from the outlet pipes will be quelled. The trestlework on the upstream side of the dam carries the concrete belt conveyor. It extends from the concrete mixer house, which is out of the picture, behind the wing wall, along almost the entire length of the concrete portion of the dam. The concrete is discharged from the belt at any desired point by means of trippers, one of which may be seen over the second trestle. On the other side of the flowing water is the coffer dam. A channel 300 feet wide involving about 140,000 cubic yards of excavation and dug for the temporary diversion of the river as it is flowing now. To the right top of the view beyond the Coffer Dam is the earth embankment being thrown across the major part of the valley by the Victorian Constructing Authority. The Mitta Mitta River flows into the Murray at the far end of the reach of water on the left. August 1927.hume reservoir australia, river murray waters scheme, hume reservoir construction

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 23. General view of works from the New South Wales end, looking downstream. The features are generally speaking the same as in the last view 22 (Record WHS 00716) in reverse.hume reservoir australia, river murray waters scheme, hume reservoir construction

A wide range of small china pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different pieces were used to depict Wodonga during this period, primarily focusing on the Woodland Grove and the Soldier Memorial. In 1924, Arthur Arnold and his father Wilhelm Arnold had established a general store in High Street, near the water tower, but in 1931–32 they moved to new premises in High Street on the corner of what is now known as Elgin Boulevard. In 1933-34 they widened the frontage of the shop and added new premises at the rear for the sale of produce. As customer debt mounted during the depression, it became difficult for Arthur and Wilhelm to re-stock the shop, so they enticed customers into paying their accounts by rewarding them with a small individual cream or milk jug upon payment. The jugs were made in Czechoslovakia and displayed the war memorial, water tower and bandstand from Woodland Grove, Wodonga. The Arnolds continued to trade until they finally closed their store in 1950. Wilhelm Arnold was a brother of J G Arnold, whose business ultimately became the present-day Arnold’s Fruit Market, Wodonga. This item has local historic and social significance as it depicts which features of the city the community valued in the past. It has artistic significance as an example of the kinds of souvenirs used widely across Australia to represent communities and the landscape.A pair of miniature white jugs with a gold rim and handle detailing. A hand-coloured transfer image fills the front side depicts Woodland Grove Wodonga, including the Soldiers' Memorial, Water Tower and RotundaBeneath the image : "WOODLAND GROVE, VIC. / With Compliments/ from/ A. Arnold & Co."wodonga, souvenirs, woodland grove, ceramics, arnolds wodonga

Ill, maps, p.373.non-fictionEarly history of N.T. and explorations; Detailed account of intercepting Macassan proas around coast of Arnhem Land whilst author was Sub-Collector of Customs for 14 years; Names of proas and masters, Malay camps & smoke houses along coast & nearby islands; Natives employed by Malays in trepang fishing and collecting tortoiseshell, relationships between Malays and Aborigines; influences (physical & cultural); Habit of exchanging children between tribes (Roper R. & Normanton) for the purpose of learning each others language & customs; Description of native camps at Fort Dundas (1895) shelters, finding of bark water bags, types of canoes used; Platform burial at Daly R.; Sacred burial site on Maria Island; Geographical features, vegetation, climate etc., general ecology, depredations & murders by natives; Cannibalism practiced by Fitzmaurice River tribes. northern australia - description and travel, ethnography

Produced for souvenir sales - features a Melbourne W class tram surrounded by water.Demonstrates a Melbourne souvenir featuring a tram.Metal-pressed badge with a cartoon plastic insert and spring clip on rear. tramways, badges, comics, souvenirs

Full colour gloss postcard of five Melbourne trams titled "Trams of Melbourne". Features: 1 - 887 in Swanston St. 2 - Restaurant tram 442 3 - Decorated tram No. 990 - Vicsig website gives two dates for Evian (they spelt it Avian) water Oct 1990 and Feb. 1991. 4 and 5 - tram ? - advertising car done for "Metland Express" - "Safety First on the Metland Express" On the rear has the Biscay Greetings Pty Ltd logo, copyright message, message and stamp block and in the bottom left hand corner, a map of Melbourne with an arrow pointing at Melbourne. 2nd copy added 30/8/2020trams, tramways, postcards, the met, advertising trams, swanston st, tram 887, tram 442, tram 990

Art Collection Previously located in History HouseThe painting depicts a body of water with two large trees in the foreground. The two trees are situated on the left side of the riverbank which extends across the foreground of the work. The trees extend beyond the borders of the work with only a few branches visible at the top of the work. To the right of the trees, on the surfaceof the water, is a boat with a large white sail. The river bed continues on the left and right sides of the work and is covered with brown trees. The background features a distant view of the riverbank covered in blue trees. The work has a gilded ornate frame with cardboard and gilded mount and glass.Front: A.S. Murray plaque attached to frame: SCENE on the RIVER MURRAY Back: W. HAMER __________Street, Ballarat

CEMA Art Collection Previously located in History HouseThe painting depicts a large body of water surrounded by hills and mountains. The work is predominantly grey with the calm grey water of the lake opposed by by the ominous cloudy grey sky. In the foreground is a grassy hill top with several large rocks. The background features a line of distant grey mountains. The work has a gilded ornate frame with no mount and exposed canvas.Front: A. S. Murray Plaque attached to frame: THE GREAT LAKE (TASMANIA) Back: W. HAMER 189 Sturt Street, Ballarat, VICTORIA BUILDINGS OPPOSITE CITY FIRE BRIGADE

A wide range of small china pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different items have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. This cup depicts three key landmarks in Wodonga. THE SOLDIERS' MEMORIAL in Wodonga was unveiled on Tuesday 18th November 1924. It was designed by Messrs. Hosken & Co., of Hawthorn, Victoria. The monument is all of Australian workmanship. The pedestal is made of Harcourt granite, 9ft x 9ft at the base, and rising in seven courses to a height of 10ft 2in. The emblems (rising sun and wreath) are of bronze, and the lettering of the inscription and names of fallen soldiers are in raised lead letters. Originally the Memorial was completed with a full life size, 6ft in height, sculpture of an Australian soldier in Sicilian marble. The memorial bore the inscriptions: ERECTED BY THE RESIDENTS OF WODONGA AND DISTRICT IN MEMORY of the Men of this Town and District who fell in the Great War, 1914-1919, Also in grateful recognition of the men who served and returned. “Lest We Forget.” In 1982, due to frequent vandalism and high cost of materials to repair, the soldier statue was removed and later installed at the RSL Rooms. THE WATER TOWER is a major landmark of High Street, Wodonga. It began operation from 1924 until it ceased operation in 1959. It stood unused for a decade until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. THE BAND ROTUNDA was officially opened on Sunday 5th September 1920 at the naming of the triangular reserve at the corner of High and Hovell Streets as Woodland Grove. The Wodonga Band gave a public performance on this occasion. The tri-coloured ribbon, which stretched across the entrance to the Rotunda was cut by Mrs R.H Murphy, daughter of Mr. John Woodland, secretary of the Wodonga Shire Council for 35 years, after whom the area was named. The rotunda has since been moved to Martin Park, Wodonga. This item has local historic and social significance as it depicts which features of the city the community valued in the past. It has artistic significance as an example of the kinds of souvenirs used widely across Australia to represent communities and the landscape.A white souvenir cup made from china with a water colour image of Woodland Grove, Wodonga which incorporates the Soldier Memorial, Water Tower and the Rotunda."WOODLAND GROVE, WODONGA."souvenirs, wodonga, woodland grove, soldiers memorial, wodonga landmarks

A wide range of souvenirs have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. The producers mark on the plate was used by the company RKG Czechoslovakia between 1921 and 1938 This plate depicts three key landmarks in Wodonga. THE SOLDIERS' MEMORIAL in Wodonga was unveiled on Tuesday 18th November 1924. It was designed by Messrs. Hosken & Co., of Hawthorn, Victoria. The monument is all of Australian workmanship. The pedestal is made of Harcourt granite, 9ft x 9ft at the base, and rising in seven courses to a height of 10ft 2in. The emblems (rising sun and wreath) are of bronze, and the lettering of the inscription and names of fallen soldiers are in raised lead letters. Originally the Memorial was completed with a full life size, 6ft in height, sculpture of an Australian soldier in Sicilian marble. The memorial bore the inscriptions: ERECTED BY THE RESIDENTS OF WODONGA AND DISTRICT IN MEMORY of the Men of this Town and District who fell in the Great War, 1914-1919, Also in grateful recognition of the men who served and returned. “Lest We Forget.” In 1982, due to frequent vandalism and high cost of materials to repair, the soldier statue was removed and later installed at the RSL Rooms. THE WATER TOWER is a major landmark of High Street, Wodonga. It began operation from 1924 until it ceased operation in 1959. It stood unused for a decade until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. THE BAND ROTUNDA was officially opened on Sunday 5th September 1920 at the naming of the triangular reserve at the corner of High and Hovell Streets as Woodland Grove. The Wodonga Band gave a public performance on this occasion. The tri-coloured ribbon, which stretched across the entrance to the Rotunda was cut by Mrs R.H Murphy, daughter of Mr. John Woodland, secretary of the Wodonga Shire Council for 35 years, after whom the area was named. The rotunda has since been moved to Martin Park, Wodonga. Small china pieces carrying scenic views of holiday destinations were a popular kind of souvenir during much of the 20th century. These items have local and social significance as they reflect the landmarks or local features valued by the community over time. An apricot irregular shaped dish made from lustre ware with a drawing of the Wodonga Soldiers Memorial, Water Tower and Rotunda. The manufacturer's mark is imprinted on the base. Text under the image says 'THE SOLDIERS' MEMORIAL. WODONGA. VICManufacturer's trademark printed on base, in orange paint, in a circular formation 'ROYAL SYDNEY CHINA / MADE IN / CZECHOSLOVAKIA', within circular formation '(crown) / RK / G' ('RK / G' within circle with handles).porcelain, wodonga, royal sydney china, soldier memorial, wodonga souvenirs

A wide range of souvenirs have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. The Water Tower and Soldiers Memorial have been key landmarks in the centre of the main street. The Water Tower was in operation from 1924 until it ceased operation in 1959. The original Soldier Memorial was dedicated on Tuesday 18th November, 1924.Small china and glass pieces carrying scenic views of holiday destinations were a popular kind of souvenir during much of the 20th century. These items have local and social significance as they reflect the landmarks or local features valued by the community over time.A square crystal dish with image of the Water Tower and Soldiers MemorialAt bottom of central image "Scene, Wodonga"wodonga, souvenirs, water tower, soldiers memorial

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. A wide range of small china pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different items have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. This plate depicts three key landmarks in Wodonga. THE SOLDIERS' MEMORIAL in Wodonga was unveiled on Tuesday 18th November 1924. It was designed by Messrs. Hosken & Co., of Hawthorn, Victoria. The monument is all of Australian workmanship. The pedestal is made of Harcourt granite, 9ft x 9ft at the base, and rising in seven courses to a height of 10ft 2in. The emblems (rising sun and wreath) are of bronze, and the lettering of the inscription and names of fallen soldiers are in raised lead letters. Originally the Memorial was completed with a full life size, 6ft in height, sculpture of an Australian soldier in Sicilian marble. The memorial bore the inscriptions: ERECTED BY THE RESIDENTS OF WODONGA AND DISTRICT IN MEMORY of the Men of this Town and District who fell in the Great War, 1914-1919, Also in grateful recognition of the men who served and returned. “Lest We Forget.” In 1982, due to frequent vandalism and high cost of materials to repair, the soldier statue was removed and later installed at the RSL Rooms. THE WATER TOWER is a major landmark of High Street, Wodonga. It began operation from January 1924 until it ceased operation in 1959. It stood unused for a decade until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. THE BAND ROTUNDA was officially opened on Sunday 5th September 1920 at the naming of the triangular reserve at the corner of High and Hovell Streets as Woodland Grove. The Wodonga Band gave a public performance on this occasion. The tri-coloured ribbon, which stretched across the entrance to the Rotunda was cut by Mrs R.H Murphy, daughter of Mr. John Woodland, secretary of the Wodonga Shire Council for 35 years, after whom the area was named. The rotunda has since been moved to Martin Park, Wodonga. This item comes from a collection used by a prominent citizen of Wodonga. It is also representative of a domestic item common in the 1940s and features significant landmarks used in many forms to represent the city of Wodonga.This bone china cup and saucer set features an image of Woodland Grove. Wodonga, Victoria. The image incorporates landmarks in Woodland Grove, including the Soldiers' Memorial, the Rotunda and the Water Tower. There is a makers' mark imprinted on the underside of the plate."ROYAL STAFFORD/BONE CHINA/ MADE IN ENGLAND/ 423" . A crown is in the centre of the textmemorabilia, woodland grove, wodonga victoria

A wide range of small china pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different items have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. This plate depicts three key landmarks in Wodonga. THE SOLDIERS' MEMORIAL in Wodonga was unveiled on Tuesday 18th November 1924. It was designed by Messrs. Hosken & Co., of Hawthorn, Victoria. The monument is all of Australian workmanship. The pedestal is made of Harcourt granite, 9ft x 9ft at the base, and rising in seven courses to a height of 10ft 2in. The emblems (rising sun and wreath) are of bronze, and the lettering of the inscription and names of fallen soldiers are in raised lead letters. Originally the Memorial was completed with a full life size, 6ft in height, sculpture of an Australian soldier in Sicilian marble. The memorial bore the inscriptions: ERECTED BY THE RESIDENTS OF WODONGA AND DISTRICT IN MEMORY of the Men of this Town and District who fell in the Great War, 1914-1919, Also in grateful recognition of the men who served and returned. “Lest We Forget.” In 1982, due to frequent vandalism and high cost of materials to repair, the soldier statue was removed and later installed at the RSL Rooms. THE WATER TOWER is a major landmark of High Street, Wodonga. It began operation from 1924 until it ceased operation in 1959. It stood unused for a decade until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. THE BAND ROTUNDA was officially opened on Sunday 5th September 1920 at the naming of the triangular reserve at the corner of High and Hovell Streets as Woodland Grove. The Wodonga Band gave a public performance on this occasion. The tri-coloured ribbon, which stretched across the entrance to the Rotunda was cut by Mrs R.H Murphy, daughter of Mr. John Woodland, secretary of the Wodonga Shire Council for 35 years, after whom the area was named. The rotunda has since been moved to Martin Park, Wodonga. This bone china plate features an image of Woodland Grove. Wodonga, Victoria. The image incorporates landmarks in Woodland Grove, including the Soldiers' Memorial, the Rotunda and the Water Tower. There is a makers' mark imprinted on the underside of the plate."ROYAL STAFFORD/BONE CHINA/ MADE IN ENGLAND/ 423" . A crown is in the centre of the textmemorabilia, woodland grove, wodonga victoria

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p101 A sharp turn from busy Wattletree Road by the railway line, brings a surprise. Only 1.4 km from Eltham’s centre, sheep feed, blissfully unaware of the hectic suburban activity so close by. At the entrance to the 5.6ha Edendale Farm is another surprise. A work of art that looks like huge tree trunks transformed into bowler and top-hatted men. The Fences Act 1968 by Tony Trembath with Mark Cain and John Doyle, 1996, is classified by the National Trust of Australia as having Regional Significance. The title refers to a government act on disputes between neighbors over the placement of fences and boundaries. This takes a ‘wry swipe’ at a community divided by trivial squabbles. It also celebrates making do with limited resources.1 Further along on the left, the office wall is decorated with a massive Eltham Copper Butterfly, designed by Robert Tickner and made by school children with used plastic bottles and other waste material. Nillumbik Council runs Edendale as an Environmental Education Centre, to help preserve and enhance the local environment. As early as 1988 the former Eltham Shire Council realised Edendale’s importance in meeting people’s needs, particularly of children, to enjoy farmland. The centre, with the Eltham North Reserve to the north - including remnant bushland and open parkland - makes up the major part of the public open space for this area. The council considers this area will become increasingly important to the local community for recreational use.2 Educational programs aim to encourage community involvement to ensure the long-term rehabilitation and protection of natural bushland areas. Edendale is used by people of all ages - from school children to adults - for environmental programs and workshops, as well as for recreation, to enjoy the domestic animals and to picnic. Edendale is also home to the Environmental Works staff who manage reserves and roadsides and support Nillumbik Friends environmental groups. The Friends propagate plants at the nursery, which grows indigenous plants and sells these to the public.3 The centre demonstrates the sustainable living the farm teaches, with features like solar hot water and drive lighting and for the fireplace, logs of recycled cardboard. Edendale has had a varied history as a dog pound and even as a retreat for Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne. His single-storey weatherboard house built in 1896, which still stands, was grander than most homes in Eltham. Although such buildings were common in many other parts of Melbourne, Eltham’s poverty and remoteness did not encourage such construction. The Victorian rectangular-shaped house, with a corrugated iron roof and veranda, has elegant large rooms, leadlight windows, ceiling roses, two bay windows and ornately carved wooden fireplace surrounds. Cool bought seven acres (2.8ha) from pioneer Eltham farmer Henry Stooke’s 200 acre (81ha) farm, which he had bought from the Crown in 1852. In 1918 Cool bought an extra seven acres (2.8ha) but in 1919 sold the estate to farmer John Cox. In 1933 Cox sold Edendale to Mrs Elizabeth Gaston, after whom the road leading to the centre was named. The property was owned by several Gaston family members, who called it Edendale, then by a police constable, Douglas Mummery, until the Shire of Eltham bought it in 1970. Oddly Edendale was known as Mummery’s for almost 20 years, although Mummery owned it only for a short time.4 The shire used Edendale as a dog pound until amalgamation with other municipalities in 1996. The pound then moved to the Yan Yean Road, Plenty site, which had been used by the former Diamond Valley Shire Council. To the west and north the centre is bounded by Diamond Creek and on the east by the Melbourne-Hurstbridge railway line. Part of the Research creek forms the centre’s southern boundary.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, edendale farm