Image 13 David and Joan Armfield Studio House and Pottery Original building commenced by Roger Bell in 1953 Later completed by David and Joan Armfield The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcdavid and joan armfield studio house, david armfield, houses, joan armfield, mud brick construction, roger bell, alistair knox collection

Image 14 David and Claire Newbury House and Artists Studio Commenced 1954 Designed by David Newbury Built by David Newbury, Horrie Judd and others The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcclaire newbury, david and claire newbury house, david newbury, horrie judd, houses, mud brick construction, alistair knox collection

On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, Clem and Nina Christensen who had a major influence on the literary development of post World War 2 Australia. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p109 On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, who had a major influence on the literary development of post World War Two Australia. In 1946, Clem and Nina Christensen bought the house, which had been designed by Harold Desbrowe Annear, considered to be one of Australia’s most innovative architects in the first quarter of the 20th century.1 That year the stucco building with a metal roof, built in 1910, was extended to the north and south. The main residence was built of jarrah, with stucco walls, floors of Tasmanian hardwood and rooms panelled with Californian redwood (sequoia). The property included a cottage, former stables, a dairy and meat-house. From its beginnings the property has attracted artists and intellectuals. Official World War One artist, Will Longstaff, bought the property – then 15½ acres (6ha) around 1900. Famous for his painting The Ghosts of Menin Gate, now in the Australian War Memorial Canberra, Longstaff was the cousin of another well-known painter, Sir John Longstaff. Several leading artists visited Longstaff at Stanhope including Walter Withers of the Heidelberg School, who lived in Brougham Street, Eltham. In 1919, Theo Handfield, father of author and journalist John Handfield, bought the property from Mrs Longstaff. Then in 1924 the land was subdivided and most of the estate (80 blocks) was auctioned. The next owner was related to novelist Virginia Woolf. Bishop Reginald Stephen, Warden of Trinity College, bought the house and five acres (2 ha) in 1928. He was related to Sir Leslie Stephen, the first editor of the Dictionary of National Biography and Woolf’s father. Novelist and music critic John Harcourt, was the next tenant, while he and his wife Fay, built their mud-brick house Clay Nuneham, at the foot of Stanhope Hill. Dr Clem and Mrs Nina Christensen, lived in the house until their deaths. Clem Christensen – who died aged 91 in 2003 – was a poet, short story writer and painter. However, he is most noted for founding Australia’s foremost literary journal2 Meanjin (originally Meanjin Papers), which he described as ‘democratic left of centre’, in Brisbane in 1940. Clem brought Meanjin to Melbourne in 1945 and remained editor until 1975. Enormously influential, Meanjin spawned and encouraged many of Australia’s best literary talents and it had an international reputation. Meanjin was the first to publish such writers as Judith Wright and David Malouf and it encouraged writers like Patrick White and Peter Carey. Nina Christensen – who died aged 89 in 2001 – was founding Editor of the Melbourne Slavonic Studies Journal and pioneered the study of Russian in Australia. In 1946 she established the Department of Russian Language and Literature at The University of Melbourne, which she led until 1977. Nina’s graduates largely staffed subsequent departments, in other Australian universities.3 However Nina’s Russian heritage and Clem’s outspoken views caused problems. They were forced to defend themselves in the Petrov inspired Royal Commission on Espionage in the 1950s, but were exonerated. The Christensens attracted and hosted many distinguished Australian and foreign writers, artists and academics, including Nobel prize-winning novelist, Patrick White and the world’s then leading cellist, Mstislav Rostropovich.4 Other writers and intellectuals who visited Stanhope were: Vance Palmer, Alan Marshall, A D Hope, Xavier Herbert, Nevil Shute, Geoffrey Dutton, Martin Boyd, Judah Waten, Bruce Grant, Dorothy Hewett and Sir Herbert Read. Painters included: Danila Vassilieff, Arthur Boyd, Albert Tucker, Justus Jörgensen, Robert Hughes and Clifton Pugh. Academics included: Manning Clark, Geoffrey Blainey, W Macmahon Ball, Richard Downing, Geoffrey Serle and scientist Tim Marshall. Politicians included: Jim Cairns, Pauline Toner, Lance Barnard, Sir Paul Hasluck, Sheryl Garbutt and performance artists included: film star Olivia Newton-John, members of the Bolshoi ballet and the Russian State Ballet of Siberia.5 Nina Christensen was honoured in 2006 at the Eltham Living and Learning Centre with the building of an amphitheatre designed by V Sverdlin.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, clem christesen, eltham, nina christesen, peter street, stanhope

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

This striking pool party ensemble from Australian swimwear company Watersun was designed by Carmela DiBernado, nee Savino, for the opening of the Sydney Opera House in 1973. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Pool party ensemble consisting of a swimsuit (.1) and robe dress (.2), both black with silver trim. Dress has a crossover front, fastening at side waist, with v-neck at front and plunging back. Swimsuit has a v-neck, with silver trim extending forming an X-shape across the body.Label (identical in both items), blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s, carmela savino, carmela dibernardo, sydney opera house

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s

David Mitchell was born near the town of Forfar, Scotland, became an apprentice to a stone mason and builder, then emigrated to Australia in 1853. In Melbourne, he set up a builder's yard in Burnley St, Richmond and later bought Cave Hill Limestone Quarries in Lilydale and manufactured the cement in Richmond. He became Shire President for Lillydale in 1883. Also he established a brickworks in Burnley St, Richmond. He was responsible for building PLC College in East Melbourne, Menzies Hotel, The Exhibition building and Scots Church. Although he was very wealthy in his own right, he is also known as the father of Dame Nellie Melba. White soft cover booklet with a large drawing of David Mitchell (1901) on the front.

Photograph and associated infomation of Melbourne W1 421decorated as an "illuminated" tramcar for the visit of the Duke and Duchess of York to Victoria April 21 to May 12, 1927 and the opening of Canberra on May 9, 1927, taken at Preston Workshops. Associated Digital images: .2 - extract from the 1926-27 MMTB Annual Report. .3 - image from the David Featherstone collection of the tram being fitted out at Preston Workshops .4 - image of the tram at night, from the Annual Report. Note Tasmania is missing from the map on the side of the tram. Yields information about the decoration of a Melbourne tram for a Royal visit in 1927 Black and White photograph of Melbourne W1 421decorated as an "illuminated" tramcar for the visit of the Duke and Duchess of York 1927illuminated trams, decorated trams, royal visit, duke of york, preston workshops, w1 class, mmtb, tram 421

Black and white photograph of David Rawson in delivery truck with another at Dahlsens Building Centre Whiter Street Lakes Entrancebusinesses, hardware

Black and white photograph of David Fileder of Esso Service Station Princes Highway Lakes Entrance Victoriabusinesses, people

Black and white photograph of David Brown and Wayne Mitchell of Lakes Smash Repairs Whiter Street inspecting a damaged car prior to starting work Lakes Entrance Victoriabusinesses, people

Black and white photograph of Chris Turnbull proprietor of Lakes Map Supplies with artist David Clarke holding illustrated maps of Gippsland ready for the tourist season. Lakes Maps located on the Esplanade Lakes Entrance Victoriabusinesses, commerce

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

What was distinct about the Performing Arts Course at the University of Ballarat is it had students from a wide range of back grounds with an age range from 17 to 53 years. Students are keen to not only act but to write, design, direct, production manage, stage manage, design lighting and sound and create their own theatre. They also take responsibility for a large percentage of the decision making and administration. Artistic Director and Course Co-ordinator was Peter Tulloch. Third Year Exhibition was "Sanctus" written by Chris Dickins. Director was Peter Tulloch. Names of all those involved in the production and publicity are listed. The centre spread shows the 15 scenes and those appearing in each. A student could be involved in both production and performing. Sponsorship provided by a number of local businesses and people. Father Martin Hislop provided Ecclesiastical Advise for the production. Two A3 sheet glossy paper folded in half to make eight pages. Front cover dark blue with white and orange print Symbols of sponsors on back coverperforming arts, write, design, direct, production manage, stage manage, lighting and sound, training, acting credits, skills, peter tulloch, director and co-ordinator, directing, third year exhibition, sanctus, chris dickens, author, sanctus crew, elissa anson, amanda sandwith, renee willner, rocky paul fitzpatrick, john bolger, lara hogg, martin cole, david mashiko, liesl morris, andrew lane, mark wilson, kylie lockwood, katrina hampson, annie kerr, brad flynn, stewart chandler, kirsten marr, father martin hislop, ecclesiastical advisor, kruse collection

What was distinct about the Performing Arts Course at the University of Ballarat is it had students from a wide range of back grounds with an age range from 17 to 53 years. Students are keen to not only act but to write, design, direct, production manage, stage manage, design lighting and sound and create their own theatre. They also take responsibility for a large percentage of the decision making and administration. Artistic Director and Course Co-ordinator was Peter Tulloch.Small white booklet with black type. Each student has photograph and information over two pages Circular symbol - Season Graduate Company - 93performing arts, student profiles, write, design, direct, production manage, stage manage, lighting and sound, training, acting credits, skills, peter tulloch, director and co-ordinator, directing, theatre, screen, buc, ballarat university college, graduate exhibition, 1993, curtis barnott, john bateman, peta brady, amanda davies, michael gibbins, ruth greenberg, ronald hinkley, rebecca moore, warren muschiali, martin newton, clare o'sullivan, kristian pithie, vicki pollock, simon power, shaun dumbrell, jay strybosch, libby tanner, cristin(tin) schwanker, adam turnbull, david whiteley, kruse collection

A photocopy of the photograph which is in the 'Linton State School - Photos' file has a list with it which identifies many of the children. The photograph is dated 1952 based on school start dates of the younger children as shown in the school register. e.g. Carol Wilkie and Evan Lancaster (at LH & RH ends of front row) both started school in 1952.Copy of original black and white photograph, which shows pupils grouped together in front of the school building. It is possible that not all pupils attending the school at this time are in the photograph.linton state school no. 880, hilton adams, gloria broes, daryl broes, ann chasey, winifred chasey, glenis chasey, john chasey, gwenda ching, cameron ching, daryl dickson, helen hayes, des howard, ethel howell, graeme howell, ron howlett, robert howlett, garry jennings, lyn kerr, kevin knight, john lancaster, wesley lancaster, evan lancaster, verna mark, lorraine mark, margo mark, kevin megee, harold morgan, cheryl morgan, raymond o'beirne, rosemary paddick, don penrice, alan penrice, valma preston, margot reidy, beth reidy, peter reidy, margaret rutherford, perry stevens, ross sutherland, glen sutherland, janet thomas, fay wilkie, gordon wilkie, david wilkie, carol wilkie, billy wright

L to R:- Back Row (standing): - , - , - , Les Warren, ? Ware, Michael Oldfield, Robert Sear, Geoffrey Jones; Middle Row (standing): - , - , - , ? Connevere, - , - , -, - ; Middle Row (seated): - , Barry Moar, - , - , - , Gail Pike, - , - , ? Bradbury, - , David Stokes, Alan Pittman; Front Row (seated): Neil Twyford, - . Digital copy scanned by EDHS from an original held by Barry Moar, of Greensborough, Vic, 17 Jul 2017. Keith and brother Barry Moar moved to Eltham in March 1944 where they attended the State School (elder brother Keith from 1949) in Dalton Street. They lived at 11 York Street in a house rented from Ernie Andrew at a cost of £2/week.Digital copy of black and white photographeltham state school, state school no. 209, 1955, grade v, bradbury, connevere, ware, alan pittman, barry moar, david stokes, gail pike, geoffrey jones, les warren, michael oldfield, neil twyford, robert sear, barry moar collection

1 - Z3 149 at Footscray terminus in Leeds St., route 82. Tram has adverts for 101.1 FM Radio station, and SPC Fruit preservers and a PTC logo 2 - Z3 149 and B2 2112 at Moonee Ponds Junction (Route 82 Footscray) Tram 2112 (Airport West, Route 59) is an all advertising scheme for Nokia phones. Shows the then terminal arrangements.Yields information about the Route 82 terminals.Set of two white with black back plastic colour slides stamped April 99trams, tramways, footscray, moonee ponds junction, route 82, route 59, nokia, z3 class, b2 class, tram 2112, tram 149

View of East Preston Tram depot with B2 2016 (Preston Depot, route 89) on depot fan. Has an advertisement "This is a basic ad" and " Basic Items, Basic Prices"Yields information about the East Preston Tram Depot.Colour slide - black and white plastic date stamped Nov. 2000trams, tramways, b2 class, tram 2016, east preston depot

1 - Z3 157 at East Coburg terminus (route 1) - Has adverts for 101.1FM Radio and Cue. Has the PTC logo on the tram. 2 - Z3 212 and W at Brunswick Depot. The Z3 has an advert for FAI home loans 3 - Swanston Trams scrubber 10W in Cameron St, Brunswick 4 - B2 2091 at Coburg tram terminus, route 19 5 - A1 257 at the Port Melbourne terminus, route 109 6 - Tram departing the Port Melbourne terminus with the former Port Melbourne station building in the background. 7 - A2 280 arriving Port Melbourne 8 - SW6 852 (University route 8) at the Toorak terminus.Yields information about Melbourne tram operations in Sept 1999Set of eight white with black back plastic colour slides stamped Sept 99trams, tramways, z3 class, b2 class, tram 157, east coburg, tram 212, scrubber 10w, route 19, coburg, port melbourne, route 109, tram 280, tram 257, tram 2091, a class

1 - B2 2014 arriving Port Melbourne - showing Exhibition Route 111 - the tram stop is on the north side of the former railway platform at this time. 2- headon photo - shows the undeveloped nature of the background. 3 - W6 996 Spencer St with A2 288 behind - both trams running route 48 - note the Outward Parcels Office building and the VR Head Office. 4 - A2 288 and Z16 - as above 5 - Z16 as above - Route 75, showing East Burwood 6 - Z57 at La Trobe University terminus, route 87 7 - Z3 113 and Z1 9, both running route 86 - Bundoora - in High St 8 - Z3 186 at Bundoora terminus, with many people at the bus stop interchange.Yields information about Melbourne tram operations in Sept 1999Set of eight white / grey plastic slides, marked "CS System" and date stamped 08/89tramways, z3 class, b2 class, port melbourne, route 109, tram 2013, route 111, spencer st, tram 288, tram 996, route 48, w6 class, a2 class, z class, tram 16, route 75, tram 113, tram 9, bundoora, high st, la trobe university, tram 186

1 - W7 1033, South Melbourne / St Kilda terminus in Park St. showing route 10. Has Bank of Melbourne and Estate Mortgage adverts. 2 - B2 2012 (route 96) , Fitzroy Street, St Kilda 3 - SW6 858 (route 16), Fitzroy St St Kilda. Has Bank of Melbourne adverts. 4 - Elizabeth St terminus from Flinders Lane, looking south. 5 - Z3 156 (route 19), arriving Elizabeth St terminus at Flinders St 6 - Z3 176 crossing Park St, Parkville, West Coburg, route 68. 7 - Z3 217 near zoo, about to pass under the railway over bridge - route 68 8 - Z3 129, ditto inbound. Yields information about Melbourne tram operations in Sept 1999Set of eight white / grey plastic slides, marked "CS System" and date stamped 08/89tramways, z3 class, b2 class, park st, south melbourne beach, route 10, w7 class, tram 1033, tram 2012, fitzroy st, tram 858, route 16, route 96, elizabeth street, flinders st, tram 156, route 19, tram 176, parkville, route 68, tram 217, tram 129

1 - Malvern Depot Easter 1993 - with trams 851, 170, 13, 20 in the view. 2 - SW6 855 at the South Melbourne beach terminus in Mills St. Middle Park 3 - Preston Workshops with trams 750, 50 and others. 4 - Z20 leaving Malvern Depot 5 - SW6 935 leaving Malvern depot - for City Route 5.Yields information about Melbourne trams - Easter 1993Set of five white Kodak Kodachrome slides.tramways, z3 class, b2 class, z1 class, malvern depot, tram 20, tram 13, tram 170, tram 851, tram 855, mills st, middle park, tram 750, tram 55, preston workshops, sw5 class, sw6 class, tram 935

Colour slide - Melbourne Tram C1 3010 (Route 109) Port Melbourne Station. Photo shows the tram stop arrangement with the former Port Melbourne station behind. 2-8-2022Yields information about Port Melbourne terminus August 2002.Side - white Kodak KodachromeSlide marked with date and details.tramways, c1 class, tram 3010, port melbourne, route 109