Laughing Waters is the name for a stretch of the Yarra Valley Parklands consisting of river flats and hilly riparian bushland. With Birrarung (Yarra River) flowing through, Laughing Waters has been an important gathering place for thousands of years. For the Wurundjeri, ‘Garambi Baan’ (the name for Laughing Waters in Woi wurrung) is an important site for growing and harvesting food. Significantly, Wurundjeri iuk (eel) traps remain at Garambi Baan to this day. The Wurundjeri Woi Wurrung People take their name from the Woi wurrung language word ‘wurun’ meaning the Manna Gum (Eucalyptus viminalis) which is common along ‘Birrarung’ (Yarra River), and ‘djeri’, the grub which is found in or near the tree. Wurundjeri are the ‘Manna Gum People’ and their Ancestors have lived on this land for millennia. The site on the Yarra River near the former Morrison property Killeavey was given a language name in 2015 at the instigation of Wurundjeri Elder, Dave Wandin. Garambi Baan means “laughing waters” in the traditional language, Woi wurrung. The site at Warrandyte was rediscovered by Campbell Beardsell OAM in 2007 and is one of only a few known remaining iuk (eel) traps on Country once found the length of the Birrarung (Yarra) and the Maribyrnong. Original Indigenous aquacultural infrastructure was dismantled, taken away from sites and used to build houses, fords and roads by Europeans. The difficult and restricted access to this site is thought to be one of the reasons for its survival. The iuk trap is located within lands managed by Parks Victoria. The Narrap team in partnership with Parks Victoria and Acacia Land Management have been improving the native vegetation with a program of woody weed removal, exclusion fencing and revegetation. Importantly, the team have restored the trap’s infrastructure and have demonstrated its effectiveness.” References: Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation - Laughing Waters. (2023, September 3). Retrieved from https://inplace.org.au/laughing-waters/ GARAMBI BAAN LAUGHING WATERS RESIDENCY CENTRE 2020 2024 Strategic Plan, Nillumbik Shire Council (2023, September 3). Retrieved from https://www.nillumbik.vic.gov.au/files/assets/public/minutes-and-agendas/2020/09-sep/15-sep-cm/ocm.177-20-attachment-1-laughing-waters-arts-program_1.pdffay bridge collection, 2015-05-16, eel trap, laughing waters, yarra river, wurundjeri woi wurrung, garambi baan

One of eight double-sided interpretation panels on the Moor-rul viewing platform at the War memoiral park in Kangaroo Ground highlight the area's indigenous history. Wing feathers of the wedge-tailed Eagle (BUNJIL) Courtesy of the Melbourne Museum. "On a clear day a pair of these magnificent birds might be seen soaring high above this platform on rising thermals" For the Wurundjeri people, Bunjil, the Eaglehawk was seen as being the all powerful Being of the Dreamtime, the all-father who created the centre world and its creatures. After the creation Bunjil with his wives and sons went up intothe “tharingbeik”, the sky, where he remains today as the star Attair. Souce: Document compiled by EDHS in 1997 for a series of historic items for Diamond Valley Public Radio. The Moor-Rul Viewing Platform, part of the Kangaroo Ground War Memorial Park opened in April 2007. Eight double-sided interpretation panels on the Moor-rul viewing platform highlight the area's Aboriginal and European history of the area and also details of local geology, flora and fauna. These panels feature high quality graphic design and professionally written text. The subjects covered are: ''Womin Je Ka" Welcome The Kulin Nation Singing, Dancing, Ceremony, Celebration This Country, My Home The Highland Taken Auld Lang Syne "Same Land Different Views" Working the Land Food from the Earth or "Earth's Harvest" Lest We Forget, "And with the going down of the Sun .... (3 panels) This Black Earth Those other indigenous inhabitants - Kangaroo Ground's Wildlife Silent Witnesses - Kangaroo Ground's White Manna Gums Belonging A Place of Reverence and A Tower of Strength Souce: EDHS Newsletter No 173 March 2007. As part of a program to acknowledge the Anzac Centenary Nillumbik Shire Council partnered with Yarra Plenty Regional Library to provide a bus tour with commentary of local sites of significance: Shire of Nillumbik World War One Memorials tour, 10 August 2016. These included Eltham township, the Shire of Eltham War Memorial at Kangaroo Ground, Christmas Hills war memorial, Hurstbridge memorial recreation park and finshed at Eltham Library to view the Writing the War exhibtion at Eltham Library Community Gallery. Born Digitalshire of nillumbik, kangaroo ground, moor-rul viewing platform, interpretative signage, eagle, feather, interpetation panel, dreamtime, bunjil

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Eldridgest. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Tudor.st. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Tudor and Eldridge in conversation with the College in the background.st. philip's college, tudor, chris, eldridge, chris

Rohan Robinson is an artist born in Geelong, and attended “the Mill” part of Deakin University in 1980-82, studying Fine Art. In 2010-11, he was the manager of Kayili Artists Aboriginal Corporation, at Patjarr in the Gibson Desert W.A., where he oversaw the development and marketing of artworks of the corporation’s members. The community is the remotest in Australia and averaged 25 people, mostly consisting of elderly people and part of the Ngaanyatjarra region, with some members not having any consistent contact with white fellas up to the mid 1960’s. During his time it was common for all the community members to go out hunting and having a visit to important areas, where members would get some tucker of rabbits and lizards and honey ants and perhaps some “meow meow” and have a nice sleep in the shade on the warm sand. Robinson would often take his painting gear along and do some work on unstretched linen on the desert ground, he would paint for a while and then perhaps lie around with the elders or follow one of the expert hunters and observe from a distance [several meters] the skills of elderly women casually walking through some recently burned spinifex knocking cowering bunnies on the head with a steel rod. It was on one of these occasions, when this particular painting was being conceived, that after returning from the hunting mission, he was informed by some of the mob, that an elder had been spending time looking at this work in it’s infantile stage...”You know the old fella over there, he been looking at that painting of yours” It was later in the day, when returning to Patjarr, that the elder Arthur Robertson approached Robinson, and demanded/asked that Robinson paint his stories for him. Mr Robertson was suffering from Parkinson’s disease, and was having trouble painting, but had been doing some brilliant work with Posca markers. It was with a certain reluctance that Robinson agreed, as he felt this to be a “political hot potato in some quarters” but also respected a relationship between artists beyond the cultural divide. Mr Robertson demanded that they start immediately and armed with pencil and paper they created the notes for several paintings under Mr Robertson’s direction. The painting that you are viewing is signifcant in that it was the catalyst for this relationship between the two artists. Mr Arthur Robertson died later that year 2011.Gold framed blue and earth tone painting. Painting depicting four circles with mountain and sky in the background.

Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. River Bend was designed and built by Alistair Knox for Rosemary and Bill Cuming in 1968. It sits in a deep cutting on a steep slope above the Yarra River and features floor to ceiling windows and glass doors set into mission brown timber frames and walls of reclaimed bricks in pinkish hue. Rosemary laid the brick paving around the house, a copy of the shell paving found in the ancient French town of Colmar, where the family had lived for a period. The kitchen was equipped with a 1960s stove as well as a cast iron wood stove reclaimed from Rosemary's sister's home in Armadale. Max and Tini Huygens, migrants from Holland, purchased the property in 1975 and named it Tilwinda from an Aboriginal word meaning 'hole in a rock'. In late 1981 Tini died after a short illness, but Max continued to live at Tilwinda until he moved to a retirement village in 2000 and the property was sold to Parks Victoria. Renamed River Bend, the property became part of the Laughing Waters Artist in Residency Program in 2008. Nillumbik Shire Council upgraded the property in 2012 with solar panels, a heat pump for hot water and double glazing to improve the comfort of the artists in residence and make the house more energy efficient. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2008 to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, jim connor collection, laughing waters road, river bend house

Ian SPRAGUE (1920 - 18 April 1994) Born Geelong, Victoria Ian Broun Sprague's initial training was in Architecture, completing a degree at the University of Melbourne in 1950. After a serious car accident in England, Sprague was encouraged to take up a craft to restore the strength in his arms. He studied at the Central School of Arts and Crafts, London for three years, and spent two months at the David Leach Pottery in Devon, before returning to Australia in 1962. In 1964 Ian Sprague established the Craft Centre in Toorak Road, South Yarra, and the Mungeribar Pottery in Upper Beaconsfield, with Robin Welch, Mungeribar being an Aboriginal word meaning 'red clay'. In 1981, he moved to Mooney-Mooney, NSW (Mungeribar was gutted by bushfires shortly after he left), and to Noosa in 1992. The Mungeribar Pottery mark is an impressed 'm', and Sprague's own mark is an impressed 'IS' with the S rendered in Morse code. Ian Sprague's Mungeribar apprentices were Grattan Burley, Victor Greenaway (1969–73), Christopher Sanders (1976-78}, Trevor Hanby (1978–80). In 1981, he moved to Mooney-Mooney, NSW , and Noosa in 1992. Greenaway's mark in his Mungeribar years was an impressed capital G. Grattan Burley (for six months), The Craft Centre in South Yarra was owned and stocked entirely by Ian Sprague, and he travelled all over Australia in search of the best possible textiles, glassware, woodwork and jewellery, not just pottery. The opening exhibition showed the pottery of Robin Welch. Sprague sold the Centre in 1967, but soon started a campaign for a government funded centre, eventually established as the Meat Market Craft Centre in North Melbourne. In 1971 Sprague became president of the recently created Craft Association of Victoria. Dismayed by the quality of teaching in art schools and technical colleges, he ran many workshops around the country on the textural treatment of clay. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Contemporary ArtTexture fire clay slab and partly glazed wall panel. Ian Sprague produced his hand modeleed wall panels by cutting them from fireclay blocks, heating and scraping them, and applying bold simplified motifs. A strong solution of salted wated was poured onto the rugged clay surfaceswhich produced a warm toasted surface effect. The panels show a clear understanding of the modulation of two dimensional relief sculpture. Artists stamp on lower RH cornerceramics, ian sprague, gippsland campus, jan feder memorial ceramics collection, mungeribar, meat markery craft centre, craft centre south yarra

In Australia, precious opal is found in Cretaceous age sandstones and mudstones. These sedimentary rocks were deeply weathered and this weathering released silica into the groundwater.Australia is the only part of the world where opalised animal and plant fossils have been found. Opal artefacts several thousands of years old have been discovered in East Africa. As early as 250 BC the Romans prized opals, thought to have come from mines in Eastern Europe, the ancient world's main source of opals. There are many aboriginal dreamtime stories that feature opal. Australian opals discovered during the late 1800's found little favour with European markets but their commercial value increased in the 1900's and in 1932 Australia took over as the major producer of opals in the world and remains the largest producer to this day. Opal is found around the world (Brazil, Mexico, Honduras and the western US) however Australia produces 95% of the world's precious opal and it is our official national gemstone. Opal was first mined commercially at Listowel Downs in Queensland in 1875 and later at White Cliffs in NSW. Today, Coober Pedy (SA) is the main producer of white opal, though in recent years this field has expanded and all types of opals are found. Other centres in SA include Andamooka and Mintabe. Lightning Ridge (NSW) is renowned for black opal and formerly White Cliffs was a large producer of high quality opal. Boulder opals (opals in concretionary ironstone) are mined in Queensland from numerous localities in a zone extending from the Eulo and Cunnamulla district in the south and northwest for a distance of over 700 km to Kynuna in the north. The towns of Quilpie, Yowah and Winton are the main opal mining and wholesale centres. Opals are considered gemstones and have been used in jewellery for thousands of years.Throughout much of history, opals were actually believed to be good luck. The Romans thought that opals were one of the luckiest gemstones and a symbol of hope. In the Middle Ages, opals were believed to be bestowed with all the positive properties of coloured gemstones due to its rainbow-like play of colour. Finally, there is a superstition that you should not wear an opal unless it is your birthstone otherwise misfortune will befall you. This, of course, is far-fetched, but the notion could have been promoted in the late 19th and early 20th Centuries by diamond traders who were trying to increase sales of diamonds and deter people from buying opals. Possibly related to this is the thought that you should set opal jewellery with diamonds as their powers of good fortune will override any negativity held by the opal. The great majority of opal does not show play of colour and is called common opal or potch however this is not the case with a precious opal. Opal is a precious gemstone, like rubies, emeralds or diamonds. Opal is rare, and it is expensive to prospect and mine for.Silica is one of the most common minerals on the planet, but precious opal is very rare – far more rare than diamonds. Precious opal is rare because the natural processes that create it rarely occur.Most (at least 95%) of the opal found by miners is common opal without gem colour. In Australia we call it potch. It can be white, grey, black or amber coloured. Even when a miner finds gem-coloured opal, most of it can’t be cut into gemstones because it’s too thin, or sandy. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.It is not known where this opal originated, except that it is probably from Victoria, as it has been recorded from many localities in the State. Common Opal is formed from silica-rich water circulating through rocks near the Earth’s surface. It consists of minute spheres of silica arranged in different ways. In common opal, the spheres are of different sizes and randomly arranged, unlike in precious opal where the spheres are of similar size and uniformly arranged in three dimensions. These differences account for common opal generally being translucent to opaque and without the play of colours, or opalescence, displayed by precious opal. Common opal is found in many localities and different geological environments throughout Australia and the world. Precious opal requires special conditions to form and is much less common. Australia produces most to the world’s precious opal. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, precious opal, opal, brazil, mexico, honduras, queensland, coober pedy, gemstones, jewellery, play-of-colour, light blue

This large, leather bound journal was made for the Public Library and Burke Museum in Beechworth by book manufacturer, William Detmold in 1875. It was commissioned by the President of the Library and Burke Museum committee, Dr Antoine Mousse, for the purpose of cataloguing all the items in the collection. The cataloguer was the curator at that time, William Morton, whose hand-writing appears in the journal today. When William Morton first started recording in this journal in 1875, there were already a number of existing items in the institution. The Public Library and Burke Museum in Beechworth had actually been operating since the 1850s; first as a Young Men’s Association in 1856, then as Beechworth Athenaeum in 1858, then as the Beechworth Public Library in 1860. Then in 1861 when news of the death of Beechworth’s former police superintended, Robert O’Hara Burke, reached the town, it was agreed that the Public Library would also become a museum to tribute his legacy, renaming it as the ‘Public Library and Robert O’Hara Burke Memorial Museum, Beechworth’. Many of the items from the early institutions would have been used to form the nucleus of this new organisation. Plus, the additional items that were either collected or donated to develop it into a museum. The catalogue is extensive. There are exactly 461 pages of recorded items, each page detailing the various collections the museum acquired in the late 19th century. Collections recorded in this catalogue include a large collection of geological specimens, that were given to the museum in 1868 by the Geological Survey Department of Victoria. A large collection of taxidermy mounts, that were given to the museum as skins by the Museum of Australia in 1865. An extensive collection of Aboriginal artefacts that were purchased from amateur anthropologist R. E . Johns in 1868. As well as artworks, charts, photographs, machinery, maps etc., all of which have been held in the museum since. This catalogue also details the governance and management of the organisation. There were originally 30 rules that governed the actions for the management committee and, while anyone could read in the free library, only subscribers could borrow two books and one periodical. At first, subscriptions rates were 7/6 a quarter. This was later changed to £1 per annum, paid quarterly in advance. This was a considerable amount; 7/6 per quarter meant that the annual fee was £1.10. This was equivalent to about £650.00 or about $1,182.00AUD today, while the reduced subscription fee of £1 a year was the equivalent to £450.00 or about $818.00AUD today. Membership of the athenaeum would have been the reserve of the town's notable citizens. The vale of the catalogue lies not only in its historical connect with the establishment of the Athenaeum and the current museum, but also in its record of the names and positions of all members of the institution's committees of management from 1875-1876. This is a unique object that contains important records for a notable country town. Large brown leather bound book made in 1875 for the Beechworth library and museum by William Detmond. Inside is a comprehensive and detailed itemised listing of the paintings, drawings, charts, photographs, specimens and books that entered the institution from 1850 -1882. non-fictionCover: RULES / CATALOGUE OF BOOKS / INVENTORY OF PICTURES, DRAWINGS, / MAPS, CHARTS, FURNITURE, SPECIMENS / OF THE / PUBLIC LIBRARY AND BURKE MUSEUM / BEECHWORTHburke museum, beechworth, catalogue, museum catalogue, 1875, william morton, william detmold, exposition universelle, ferdinand von mueller, public library, collection, book, leather bound, restored, digitised, robert o'hara burke, hand-written

Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay

Draft articles for RHSV (Bendigo) Newsletter, May 1972. 1. ''Golden Square Methodist Church'' by Lydia Chancellor - memories of church services, Sunday School and Bible classes. Mention of (Minister?) Mr Robert Saunders. Also - Rev B W Heath; Mr Crump, Rev Henry Worrall; reference to Jubilee of church in 1923. 2. Article submitted by Mrs E M Checcucci re the 'White Works' (clothing factory making underwear at the top of Wattle Street) - visited by Prince of Wales in 1920; 3. Handwritten and typewritten version of ''Extracts from the 'Sandhurst Library Almanac 1858', published by P M Sparkes, Bookseller and Stationer (four doors from Shamrock Hotel). Names listed of officers of the 40th Foot (Captain's detachment); Location of two cemeteries; Municipal Council of 1858 - Chairman and councillors and meeting times and place; Police Department - names listed of officers of department, Sandhurst Municipality, 'The District' and Eaglehawk Township (names for the last being only on the handwritten copy); 4. Article (w Perry) ''Australian Aboriginals on the Bendigo Gold Field’’ reference to ''King Charlie'' and finding of gold by him (reference to this in the Bendigo Advertiser 1856 & 1857). The gold purchased by a Mr Bannerman; 5. Article on introduction of gas in Bendigo (by I Hendry). Ref to ''Spotlight'' article in Advertiser of Oct 13, 1950. Mention of Mr Dondy (first user of gas in Bendigo); early use and price of gar; poor gas pressure in Eaglehawk; 6. Handwritten article submitted by John O'C Hattam re 'Indian Hawkers in Bendigo': with request to members to join him in further researching this interesting project; mention of accommodation in Hopetoun Street in terrace houses of the same design as Specimen Cottage (''now occupied by ' Glover??? Mills - but referred to in printed Newsletter of April/May 1972 as ''a site occupied by a clothing factory''); mention of hawkers by name - Rajah Singh, Mahonett Betth, Mahonett Shang, Rajah Bouth, Mahoety Bux, Abdul Rahman (last hawker)document, names of bendigo pioneers, bendigo advertiser

Introduction - Jim Fingleton - Outlines history and problem aspects to do with the formulation of the Native Title Act 1993 and subsidiary /? consultative bodies (eg National Native Title Tribunal and Regulations; Native Title Implementation Task Force); Note: Talks &? discussion papers annotated separately by author/?title/?workshop title; SESSION GROUP DISCUSSIONS ONLY annotated here; First Session: Claims - Matters raised in discussion - timing; restraining orders; requirement for claim acceptance; researching claims; disputes; representative bodies; native title /? compensation claims; Second Session: Hearings - "Main matters raised in discussion" - 1.gender issue in hearings; 2.subjective /? objective tests of native title; 3.use of maps; 4.practice directions; 5. mediation; 6. what precision is needed to prove ownership; Third Session: Determinations - "Matters raised in discussion" - 1.what is a community; 2.the legal process for proof of communal title(i-iv); Fourth Session: New Management Regimes - Main matters raised in discussion - 1. need for new development models; 2. need for new administrative models; 3. is self-sufficiency a realistic goal; 4. actve/?passive income; 5. direct funding of Indigenous bodies; 6. towards self-government; Fifth Session: New Management Decisions - Main matters raised in discussion - 1. different models for money management; 2. local government laws and native title; 3. restrictions on the enjoyment of native title rights; 4. need for flexibility in investigating native title; Sixth Session: Conclusions and Recommendations - Papers as requested; discussion; Main New Matters raised by panel in discussion - 1. recommendations from the Aboriginal caucus; 2. requirements for an application; 3. issues for funding; 4. role of representative bodies; 5. double dipping; 6. role of AIATSIS; 7. trustees or agents; 8. land management issues; Annexes: annotated separately under author /? title.tablesnative title, land tenure

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

Australian Policy Activism in Language and Literacy presents the dynamics of language and literacy policy activism in Australia by capturing accounts of many of those most deeply engaged in Australia?s distinctive practice of Language and Literacy policy-making and its effects. This book describes how policy texts came about. 1. From policy to anti-policy: how fear of language rights took policy-making out of community hands /? Joseph Lo Bianco 2. Australia's language /? Paul Brock 3. Politics, activism and processes of policy production: adult literacy in Australia /? Rosie Wickert 4. Although it wasn't broken, it certainly was fixed: interventions in the Australian Adult Migrant English Program 1991-1996 /? Helen Moore 5. Advocating the sustainability of linguistic diversity /? Michael Singh 6. The cost of literacy for some /? Anthea Taylor 7. (E)merging discourses at work: bringing together new and old ways to account for workplace literacy policy /? Geraldine Castleton 8. The melody changes but the dance goes on - tracking adult literacy education in Western Australia from 'learning for life' to 'lifelong learning': policy impacts on practice 1973-1999 /? Margaret McHugh, Jennifer Nevard and Anthea Taylor 9. Sleight of hand: job myths, literacy and social capital /? Ian Falk 10. National literacy benchmarks and the outstreaming of ESL learners /? Penny McKay 11. Open for business: the market, the state and adult literacy in Australia up to and beyond 2000 /? Peter Kell 12. Inventiveness and regression: interpreting/?translating and the vicissitudes of Australian language policy /? Uldis Ozolins 13. Deafness and sign language in government policy documents 1983-1990 /? Des Power 14. Imprisoned by a landmark narrative? Student/?teacher ratios and the making of policy /? Merilyn Childs 15. Ideologies, languages, policies: Australia's ambivalent relationship with learning to communicate in 'other' languages /? Angela Scarino and Leo Papademetre 16. Reconciled to what? Reconciliation and the Norther Territory's bilingual education program, 1973-1998 /? Christine Nicholls 17. Sing out that song: the textual activities of social technologies in an Aboriginal community /? Jack Frawley.language activism, linguistic diversity, adult literacy, education, sign language, reconciliation, esl programs

Four species of quoll occur in Australia: the northern, spotted-tailed, eastern and western quolls. Once, most parts of Australia were inhabited by at least one of the species.Captain Cook collected quolls along the east coast in 1770, and recorded "quoll" as their local Aboriginal name. Quolls were often seen by early settlers, who called them "native cat", "native polecat" and "spotted marten", names based on familiar European animals. Since 1770, all four species have declined dramatically in numbers. This is mainly because of habitat loss or change across Australia, and introduced predators such as foxes and cats. Quolls are carnivorous marsupials with a pointed snout, a long tail and brown to black fur distinctively spotted with white. They are lively, attractive animals, with bright eyes, a moist pink nose and many sharp teeth. Like most Australian mammals, quolls are mainly active at night. Typically, they spend the day in one of their many dens, although spotted-tailed quolls and northern quolls sometimes forage and bask in the sunshine. Their large home ranges can extend for several kilometres in each direction from a smaller core range, and the range of a male quoll often overlaps those of several females. An interesting feature of their behaviour is the use of shared latrine (toilet) sites in open spaces such as rock ledges, for marking their territory and other social functions. Male quolls travel widely during the breeding season, with mating occurring during winter. All four species have a gestation period of 21 days. Because they are marsupial mammals, their young are born tiny and undeveloped and must work their way to the pouch, where they attach themselves to a teat to feed. Only the spotted-tailed quoll has a true pouch. In the other species, the young are protected by shallow folds of skin around the teats. As the pups grow, they dangle from the mother's belly; later, she carries them on her back. Quolls reach sexual maturity at one year. They have a naturally short life span, with smaller quolls living an average of only two years, and the larger spotted-tailed quoll about four to five years. The northern quoll is particularly short-lived. 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 and the National Museum of Victoria, as well as individuals such 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.Average sized quoll with brown fur with white spots on body but absence on the long tail which is furry unlike the smooth body fur. The quoll has a small had with a pointed snout lined with sharp teeth, and thin membraned ears that are slightly covered in fur. The forelegs of the quoll are slightly smaller than the hindlegs, with all four legs featuring sharp clawed paws.On mounting board: BMM5984/ On Catalogue Tag (attached to left hindleg): Native Cat./ Catalogue. Page 50./ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, quoll, native cat, dasyurus

Amy Neville Brown (1882-1974) was a longlife member of the Mission to Seafarers ladies' Committees: 1910 - Amy is first mentioned in our records as LHLG branch secretary for Elsternwick. (from diaries written by her and her sister Beatrice during 1909-1913 and held at the Glen Eira Historical Society, Amy tells she attends “kirk” with Miss Godfrey about once a month and each time they go to the “Institute” afterwards.) 1918 - 1922 sees Amy as “Schools secretary” LHLG. 1933 - Miss A N Brown becomes Honorary Secretary of the LHLG. 1946 – LHLG becomes “Harbour Lights Guild”. 1949 – Dora Simpson is president of HLG & Amy Brown is Honorary Secretary. 1957 – Amy retires as Honorary Secretary of the HLG. Other interests: 1933 - Amy founded the Victorian Aboriginal Group along with Valentine Alexa Leeper (1900-2001). She acted as Hon. Sec. to the VAG for 40 years until its winding up in 1971 8 boxes of papers related to their activities are held at the SLV under Amy’s name (with Val Leeper). 1950 - Amy was a member of the YWCA 1963 – she was president of the Agnes Benson Auxiliary of the YWCA. Amy’s parents were Andrew Howden Brown & Catherine Marianne (Kitty) Wight. She had 2 brothers: Charles John Brown, Edward Byam Brown & 3 sisters: Jean Constance Brown (1884-1973), Catherine Philpott Brown (1886-1980), Grace *Beatrice Brown (1889-1984) who was also a member of the Mission's ladies' committee. None of 4 sisters married, they lived all their lives in Elsternwick. Edward Byam Brown was an academic at Melbourne University rising to become Ass. Prof. of Electrical Engineering by the 1950s. He married Vera Scantlebury in 1926 – they had 2 children. Amy’s maternal grandparents were Edward Byam Wight and Catherine Philpott. Both arrived in Melbourne in the early 1840s. Edward Wight is included on Thomas Chuck’s collage of early Victorian pioneers. Anne Jackson has written a short biography of Catherine’s brother, William Philpott, which includes a paragraph on Edward Wight. Catherine’s youngest son, Neville Wight, became a solicitor living at Woodend. He married Grace Rutherford – Mrs Neville Wight was a member of our Executive Committee from 1929 to 1933. Neville Wight’s obituary states that “he served his articles with … the firm of Moule & Seddon”. The principal of this firm was W H Moule, well known judge and cricketer. His son, also W H Moule, was Honorary Secretary of MtSV Executive Committee for 20 years until his retirement in 1958. was a member of the Harbour Lights Guild ( Honorary General Secretary in the 30s) then the Flying Angel League. She passed away in September 1974. A protege and friend of the Godfreys and Ina Higgins she actively assisted in setting up school branches of LHLG and eventually became a leading member in the 1930s.The window made by Tony Hall along with this plaque were dedicated in 1976. Amy Neville Brown had a lifelong association with the Mission and other philanthropic and social causes. Small plaque mounted on wooded board.In memory of Amy Brown For her lifetime of devoted service to the Mission 26th September, 1974amy brown, plaque, memorial, flying angel club, lhlg, amy neville brown (1882-1974), victoria aboriginal group (1933-1971), vag, val leeper, valentina alexa leeper (1900-2001)

Angus McMillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, north-west of the township. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Black and white image of a man wearing a coat and beret. He is Scottish born Victorian Squatter Angus McMillan of Bushy Park, Gippsland.angus mcmillan, squatter, aboriginal massacre, bushy park, gunai, avon river, pioneer

"The hated Protector" tells for the first time the real story behind the extraordinary experiences of Charles Sievwright, Assistant Aboriginal Protector from 1839-42 in what was then part of the British colony of New South Wales, but is now the Western District of the Australian state of Victoria. Sievwright, an Edinburgh-born former British army officer, lived in the bush with his young family as he tried to save the Aborigines of the District from extinction. In doing so, he would isolate himself from the rest of his fellow whites. The hated Protector tells of this process. The book should appeal to anyone interested in British colonial and Australian history, particularly in the years of first contact between British settlers and the Aborigines. More broadly, it should also appeal to anyone interested a story of one man's battle against overwhelming odds, where the price of failure was numerous deaths. It is a story of hatred, prejudice, courage, determination, and hope. In telling Sievwright's story, Lindsey Arkley draws largely on original archival material, including official reports, journals and letters, found in Melbourne, Sydney, Hobart, Edinburgh and London. Most has never before been published. The archival material is supplemented by contemporary newspaper accounts, and some oral history. Full notes are given to all sources, and the book is indexed and lavishly illustrated with drawings by Joan Bognuda, as well as about 80 paintings and samples of documents. Contents: 1. In the bush 2. "Equal and indiscriminate justice" 3. "A few doses of lead" 4. "A curse to the land" 5. "The most unpopular man" 6. Retaliation 7. A hostage debate 8. Hallucinations 9. A mass escape 10. Possessors of the soil 11. Move to Keilambete 12. Bureaucratic 13. "A hideous pandemonium" 14. Divine visitations 15. Pay backs 16. Explanations 17. A squatter on trial 18. Claptrap and deceit 19. The black cap - 20. To Mt Rouse 21. "The impending evil" 22. In the balance 23. An arrest at Mt Rouse 24. A fair moral name 25. Roger's trial 16. Intensified evidence 27. A declaration of war 28. Mr Cold Morning 29. Holding ranks 30. To rags 31. Fightback 32. Return to London 33. The inquiry 34. Judgement 35. And what remains.maps, document reproductions, b&w photographs, colour photographs, b&w illustrationscharles wightman sievwright, racial policies, british colonial history, race relations, victorian history

[article by Bettina Woodburn in EDHS Newsletter No. 97, July 1994:] THE WARRANDYTE MYSTERY TOUR MAY 29TH 1994 - Members of the Eltham Historical Society met at the Old Post Office, now converted into the Warrandyte Historical Museum, for a picnic lunch on the sunny back verandah overlooking the shimmering Yarra River. Interesting photographs and artefacts filled various rooms outlining the history of this area, and told tales of Aboriginal and more recent neighbours of the Eltham Shire. The weather was calm, cloudy mostly with only occasional sunny patches, but it wasn't cold, although the autumnal leaf colours had changed to wintry brown. "All Aboard" and we set off in the Warrandyte Community Bus (with the School Bus sign displayed at the rear) to learn about local places of "Pride and Joy” from Bruce our guide and Tom the driver. Almost directly opposite we entered Whipstick Gully to explore the first of the district's hidden treasures - the Victory, one of the largest of the six or so major mines, past the old quarry now used for abseiling practice. By torchlight we entered the rocky hillside and saw the seams of quartz the miners had followed in their search for gold. Stamping batteries, and there was one in this gully, converted discarded rock into 'road metal'. Warrandyte is proud to be the first declared Goldfield in 1851, and one of the longest surviving, into the 1920s. A pleasant drive across the Bridge and along Bradley's Lane to Norman's Reserve brought us to see another Tunnel at Pound Bend through which the Yarra was diverted to allow about three miles of river-bed to be used for prospecting for alluvial gold. Still on this side of the river we visited the Old Slab Hut in Castles Road. This remnant of miners' housing is preserved because it had been incorporated into a weatherboard house, and saved from the bulldozers - a last minute reprieve, for preservation, by the National Trust. Devastating bush fires have destroyed other old cottages built of wattle and daub, with bark roofs and stone fire-places. The Cairn commemorating the disclosure of Gold Discovery at Warrandyte on June 30th 1851 beside Anderson's Creek Road was our next point of historical interest. We drove on to South Warrandyte and circled back to above the ford on Anderson's Creek to the entrance of the 4th Hill Mine. Again we crept along with our torches, careful of the low roof-rock, and side shafts. At a junction in a large cavity we were able to stand, look up a long air-vent which some 'cavers' climb down, and marvel at, and experience an aspect of a miner's life. Outside we heard the same bird songs, the trills and bell-pealing, saw the same straggly eucalypts, and a silver leafed wattle in flower, native grasses and ferns, and the neat present day houses, often of Warrandyte stone, perhaps veneered only. The day ended pleasantly, seeing more of the Yarra from Everard Drive, and the water rushing out of the Tunnel at Pound Bend, before returning to afternoon tea or coffee at the Museum. A great day for all concerned - many thanks to the Organisers.Colour photographslab hut, warrandyte, "warrandyte miner's cottage"

[article by Bettina Woodburn in EDHS Newsletter No. 97, July 1994:] THE WARRANDYTE MYSTERY TOUR MAY 29TH 1994 - Members of the Eltham Historical Society met at the Old Post Office, now converted into the Warrandyte Historical Museum, for a picnic lunch on the sunny back verandah overlooking the shimmering Yarra River. Interesting photographs and artefacts filled various rooms outlining the history of this area, and told tales of Aboriginal and more recent neighbours of the Eltham Shire. The weather was calm, cloudy mostly with only occasional sunny patches, but it wasn't cold, although the autumnal leaf colours had changed to wintry brown. "All Aboard" and we set off in the Warrandyte Community Bus (with the School Bus sign displayed at the rear) to learn about local places of "Pride and Joy” from Bruce our guide and Tom the driver. Almost directly opposite we entered Whipstick Gully to explore the first of the district's hidden treasures - the Victory, one of the largest of the six or so major mines, past the old quarry now used for abseiling practice. By torchlight we entered the rocky hillside and saw the seams of quartz the miners had followed in their search for gold. Stamping batteries, and there was one in this gully, converted discarded rock into 'road metal'. Warrandyte is proud to be the first declared Goldfield in 1851, and one of the longest surviving, into the 1920s. A pleasant drive across the Bridge and along Bradley's Lane to Norman's Reserve brought us to see another Tunnel at Pound Bend through which the Yarra was diverted to allow about three miles of river-bed to be used for prospecting for alluvial gold. Still on this side of the river we visited the Old Slab Hut in Castles Road. This remnant of miners' housing is preserved because it had been incorporated into a weatherboard house, and saved from the bulldozers - a last minute reprieve, for preservation, by the National Trust. Devastating bush fires have destroyed other old cottages built of wattle and daub, with bark roofs and stone fire-places. The Cairn commemorating the disclosure of Gold Discovery at Warrandyte on June 30th 1851 beside Anderson's Creek Road was our next point of historical interest. We drove on to South Warrandyte and circled back to above the ford on Anderson's Creek to the entrance of the 4th Hill Mine. Again we crept along with our torches, careful of the low roof-rock, and side shafts. At a junction in a large cavity we were able to stand, look up a long air-vent which some 'cavers' climb down, and marvel at, and experience an aspect of a miner's life. Outside we heard the same bird songs, the trills and bell-pealing, saw the same straggly eucalypts, and a silver leafed wattle in flower, native grasses and ferns, and the neat present day houses, often of Warrandyte stone, perhaps veneered only. The day ended pleasantly, seeing more of the Yarra from Everard Drive, and the water rushing out of the Tunnel at Pound Bend, before returning to afternoon tea or coffee at the Museum. A great day for all concerned - many thanks to the Organisers.Two colour photographswarrandyte, activities, pound bend

OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008fay bridge collection, garden hill, kangaroo ground, memorial park, moor-rul viewing platform

Early stages - no display panels installed. OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008 Black and white inkjet print on paper 14 x 21 cmmoor-rul viewing platform, garden hill, kangaroo ground, memorial park

Angus McMillan was born in 1810 at Glenbrittle in the Isle of Skye. He was one of fourteens sons of Ewan McMillan. Angus McMillan arried i New South Wales in January 1839, and became an overseer for Captai nLachlan Macalister. I n 1839 Angus McMillan travelled south. He settled for a time on Jame MacFarlane's statin at Currawong. IOn 28 May 1839 Angus MacMillan stated travelling southward toward the coast. Angus Macmillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, near Maffra. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Photographs of the remains of a timber home used by squatter Angus McMillan at his "Bushy Park" property on the Avon River. angus mcmillan, bushy park, avon river, squater

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.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, landscape, lavender park road, percy leason, new street

The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council stoungroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 4 x 5 inch black and white negative of original colour sketchculla hill, sweeey's cottage

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.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, kangaroo ground-warrandyte road, north warrandyte, the robins

A quarry was transformed into the Blue Lake. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p179 The dramatic steep-sided Plenty Gorge lies along the divide of two geological areas, and separates the Nillumbik Shire and the City of Whittlesea. On the Nillumbik side are undulating hills and sedimentary rock, and in Whittlesea, lies a basalt plain formed by volcanic action up to two million years ago. This provides the Plenty Gorge Park with diverse vegetation and habitats, making it one of Greater Melbourne’s most important refuges for threatened and significant species. The park, established in 1986, consists of around 1350 hectares, and extends 11 kilometres along the Plenty River, from Greensborough to Mernda. It provides a wildlife corridor for around 500 native plant and 280 animal species.1 The area’s plentiful food and water attracted the Wurundjeri Aboriginal people and then European settlers. By 1837 squatters had claimed large runs of land for their sheep and cattle. The Plenty Valley was among the first in the Port Phillip District to be settled - mainly in the less heavily timbered west - and was proclaimed a settled district in 1841.2 But by the late 1880s, the settlers’ extensive land clearing for animal grazing, then agriculture, depleted the Wurundjeri’s traditional food sources, which helped to drive them away. Many Wurundjeri artefacts remain (now government protected), and so far 57 sites have been identified in the park, including scarred trees, burial areas and stone artefacts. Pioneer life could be very hard because of isolation, flooding, bushfires and bushrangers. Following the Black Thursday bushfires of 1851, basalt was quarried to build more fire-resistant homes. Gold discoveries in the early 1850s swelled the population, particularly around Smugglers Gully; but food production made more of an impact. In the late 1850s wheat production supplanted grazing. In the 1860s the government made small holdings available to poorer settlers. These had the greatest effect on the district, particularly in Doreen and Yarrambat, where orchards were established from the 1880s to 1914. Links with a prominent early family are the remains of Stuchbery Farm, by the river’s edge bounded by Smugglers Gully to the north and La Trobe Road, Yarrambat, to the east. The Stuchberys moved to the valley in 1890, and the family still lives in the area. In 1890, Alfred and Ada first lived in a tent where four children were born, then Alfred built the house and outbuildings around 1896. They planted an orchard, then a market garden, and developed a dairy. The family belonged to the local Methodist and tennis communities. Their grandson Walter, opened the Flying Scotsman Model Railway Museum in Yarrambat, which his widow, Vi, continues to run. Wal was also the Yarrambat CFA Captain for 22 years until 1987. Walter sold 24 hectares in 1976 for development - now Vista Court - and in 1990, the remaining 22.6 hectares for the park. Remaining are an early stone dairy and remnants of a stone barn, a pig sty and a well.3 Until it was destroyed by fire in 2003, a slab hut stood on the Happy Hollow Farm site, at the southern end of the park. The hut is thought to have been built in the Depression around 1893. This was a rare and late example of a slab hut with a domestic orchard close to Melbourne. Emmet Watmough and his family first occupied the hut, followed by a succession of families, until the Bell family bought it around 1948. There they led a subsistence lifestyle for 50 years, despite encroaching Melbourne suburbia.4 The Yellow Gum Recreation Area includes the Blue Lake, coloured turquoise at certain times of the year. Following the 1957 bushfires, this area was quarried by Reid Quarries Pty Ltd for Melbourne’s first skyscrapers, then by Boral Australia. However in the early 1970s water began seeping into the quarry forming the Blue Lake and the quarry was closed. The State Government bought the site in 1997 and opened it as a park in 1999.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, blue lake, plenty gorge park

Hawthorn hedges are important reminders of Kangaroo Ground's Scottish heritage. They are Registered on the Victorian Heritage Register. They are "historically significant because the planting of hawthorn hedges reflects the adoption of Eurorpean farming techniques by the Kangaroo Ground population in the period following settlement and because the grid pattern of paddocks that the Hawthorn hedges define is very different to today's farm landscapes." Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p21 Hawthorn hedges bordering Kangaroo Ground’s gently rolling farmlands are important reminders of its Scottish heritage and are rare so close to Melbourne.1 As early as the 1840s newly arrived farmers from Scotland planted hawthorn hedges around their properties, to protect crops from the numerous kangaroos and wallabies. Many of these hedges survive today. These farmers had the good fortune to settle some of the most fertile land available for cropping in the Colony of Victoria. At that time the black volcanic soil could sustain an amazing two crops a year. By the mid 1850s, 500 acres (202ha) of wheat were growing in Kangaroo Ground. But the crops were threatened by kangaroos, which were so plentiful, that Surveyor-General, Robert Hoddle, named the district Kangaroo Ground in 1838. As post-and-rail fences proved inadequate barriers for the bounding kangaroos, the Scots planted hawthorn hedgerows as they had done in Scotland. Some also used the hedges to net birds, presumably for the table. Interestingly the farmers in the bordering townships of Panton Hill and Christmas Hills, did not plant hawthorn hedges around their properties. Perhaps it was because by the time they settled in the 1860s and 1870s most of the wildlife had been gunned down by residents.2 The canny Scots planted the hedges on public land outside their own farms, as the hedgerows could spread to about five yards (five m) in width. With this impenetrable barrier Kangaroo Ground’s industrious farmers flourished to gain the economic power that saw the Shire of Eltham governed from Kangaroo Ground for 79 years (1858-1937). The Scots jealously guarded their land, so hard to get in Scotland. That is why they refused to release any of it ‘for local roads to follow easier grades as was the case in surrounding districts where roads generally followed ridgelines or streams’.3 Instead the roads were built in accordance with the magnetic bearings of their first survey in 1847 whether that suited the steep topography or not. This could force traffic to diverge when wet through Greensborough and Diamond Creek. Until 1921, the Eltham-Yarra Glen Road beside Wellers Restaurant, ‘dipped down into the upper reaches of Stony Creek’.4 Later some corners were compulsorily cut for the increasing motor traffic. As late as the 1960s, corners were cut to form sweeping curves above and alongside the Kangaroo Ground Cemetery and opposite the Emergency Operations Centre. In the latter case, the farmers – understanding their hedgerows as important heritage – insisted upon their reinstatement to conform to the altered road alignment. Kangaroo Ground’s ancient manna gums also point to the district’s history and to that of the hedgerows. The Aboriginal people had transformed the original forests into grasslands with the fires they lit to attract kangaroos, (which the Scots were to exclude by planting hedgerows). But the Wurundjeri hunters left the gums (Eucalyptus vimminalis cygnetensis), on the grasslands as ‘stalking trees’ to hunt kangaroos. The hawthorn hedges in Kangaroo Ground were neglected for around 60 years from about the middle of the 20th century. Bushfires had created gaps and the hedgerows were not trimmed. Then in late 2005, local historian Mick Woiwod, formed a group to lobby the Nillumbik Shire to restore the hedges, which could last for many centuries. Some hedges in parts of Britain date back to AD 800.5 Although the original Scottish farmers have gone, the hedges are a reminder of when they flourished in the district, which has changed little in 150 years.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham-yarra glen road, hawthorn hedgerow, kangaroo ground