A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.anne laurence, betty johnson, display panel, eltham peace banner, hiroshima day banner, joan maclagan, laurel eckersall, "as we are" community banner project, banner project, river of life banner, community notice board, jacky talbot

Early in the 1970s a number of people felt the need in the Greensborough community for an Arts Society, Prominent among them were were Ron Reynolds, Digby Watson, Murray Pulford, Roland and Maria Schultz. An article appeared in the Greenhills Community News seeking those interested in participating in such a society. A meeting was held in the home of Ron Reynolds on 15th July 1970 with approx. 20 people attending.Two tone light and dark brown cover with artists palette design on the front and sketch of Greensborough Primary School on rear coverOriginal owner written in pencil as June Hall arts society, ron reynolds, diamond valley art awards, digby watson, roland schultz, maria schultz, murray pulford, jan lowe, diamond valley arts society

Tracey Naughton was the former Shire of Eltham Community Arts Officer and was responsible for developing the 'As We Are' project which encouraged a number of local community groups to develop banners. The Society was keen to be involved and the project was kicked off following a talk to the Society's members by Tracey in April 1986. The banner was completed and displayed with a number of other banners at the Eltham Community Centre in October 1986. It was then carried proudly for the first time in front of the Society's Parade Float in the 1986 Eltham Community Festival Parade and subsequent parades through to 1990. In December 1994 the Shire of Eltham ceased to exist and following council amalgamation and the establishment of the new Shire of Nillumbik, the Society's name (Shire of Eltham Historical Society) had become somewhat irrelevant and it was revised in 1995 to Eltham District Historical Society. The immediate downstream impact of this change was the rendering of the Society's Banner to history after only eight years of use. The banner now hangs proudly in our Local History Centre. The Historical Society Banner: Jud Degan worked with this group. The banner was designed by a male member and sewed by women. Sewing the banner renewed the group's knowledge of the area in an innovative way and, in turn, this has renewed the energy of the members to participate in the Society. The emphasis in this banner was to create a work of high standard which would last as part of the area's future heritage. The women particularly gained a sense of the history of their craft skills, enjoying the combination of hand embroidery and new machine embroidery skills shared by Jud. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, p49)Colour photographactivities, banner project, local history centre

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

'Music '81' (Arts Victoria) - various documents relating to activities in Bendigo (Bendigo Steering Committee) . A. Handwritten book - 'Record of Receipts and Expenditure' (5 pages); b. Financial Report with attached Statement of Receipt and Expenditure; c. collection of various receipts for services, goods etc; d. Reconciliation Statement (to 12/2/1982; e. note to Val Broad re Statement of Account supplied; f. form letter to those receiving donation from Music '81 - letters dated 23/3/182 to Bendigo Chamber Choir, Community Theatre and Arts, Bendigo Symphony Orchestra, Bendigo Operatic Society

Series consists of a large collection (over 1150) of negatives of scenes, activities and staff of the Shire of Eltham. Many of the films were taken for publicity purposes and necessarily cover a broad range of topics. The films or individual strips have been organised into Scenes, Activities and Staff groupings, however there are many overlaps. 1) Scenes includes: Parks and Roads including Alistair Knox Park, Tree Planting, Trees and Flowers, general Shire Scenes. One of the Alistair Knox Park films also contains shots of the Shire President (John Graves?) in the Chambers wearing the Presidential Chain. 375 negatives. 2) Activities documented include: Fire Safety workshop and massage, Leisure Centre activities including pool construction, Living and Learning Centre, Pottery, Netball, Shire Offices, Elderly Citizens, Buildings, Youth Services, Sporting Facilities, Parklands, Community Arts, Childca re, Childrens Week Book Launch 23/ 10/1991 , Environment Week Launch 19/9/1991 , Childrens Services and Activities, Buy A Book Campaign Launch November 1990, Thelma Barkways' Birthday 1990, Engineering activities including Waste Collection, Building and Health Services activities including water testing, examples of new housing, blocks of land, letter box numbers. Also in this section are Shire Office and Handbook shots, nature shots including butterflies (Eltham Copper Butterfly?), wheelchairbound CEO Rodney Roscholler, Community Services Xmas Lunch 1991. 607 negatives. 3) Staff including many groups and individuals to be identified, Rodney Roscholler, Thelma Barkway, Councillors, Shire President Pamela Sladden, Roma O'Callaghan, Irene in the Kitchen/Entertainment Area, also Farm Scenes. 169 negatives.shire of eltham archives, series listing

Twelve pages document titled: ''Theatrical traditions - stage and screen in Bendigo. The document details the history of theatres in Bendigo from the early days. Paragraphs titles are: The Shamrock Hotel, The Criterion Theatre, Abbott's Lyceum, St. James Hall, The Royal Princess Theatre, The Masonic Theatre, Open air picture Theatres, The Lyric Theatre, Plaza Theatre, Eaglehawk pictures. The Golden drive-in Picture Theatres in decline, Contemporary cinemas, Community traditions, Bendigo Regional Arts Centre, Ulumbarra Theatre. The document was prepared for the Post Office Gallery exhibition and is marked Confidential.entertainment, theatre, post office gallery

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.cr pam sladden, eltham, meruka child care co-operative, meruka house, meruka park

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr. peter graham, peter staples, richard allen, sheryl garbutt, bill penrose

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr. john cohen

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, rob hauser

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, irene bogle

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, irene bogle

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr bob manuell, matthew rodscholler

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.eltham, meruka child care co-operative, meruka house, meruka park, cr pam sladden, mandy press

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative, peter staples mhr jaga jaga, cr pamela sladden

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative, peter staples mhr jaga jaga, cr pamela sladden

In 1919 J.B. North, a violinist with the then Melbourne Symphonic Orchestra, and Monsieur Leon Lambert, a French architect, who later designed the Glaciarium Ice Skating Rink, purchased three available farms, Looker's, Wright's and Taylor's, approximately 60 acres, the area running along the creek and being bordered by the present day Ryans Road, Karingal Drive and Sherbourne Road. The farms were used for orchards and market gardens. Leon Lambert designed and built two homes on the farm site, one for the North family, ‘Tralford’, and the other, ‘Glen Ellen’, for himself and his wife. The homes were considered as "brother and sister" and they each included in their design an identical bay window in the main living area. "Glen Ellen" originally comprised kitchen, lounge room, inglenook, dining room, bath room and sleepout. Although the home has been extended over the years, much of the original architecture has been retained including timber panelling and three fireplaces. The land was subdivided in approximately 1966 with "Glen Ellen" retaining approximately one half acre of land fronting Meruka Drive. The property then passed from the Charleston family to Gerald and Margaret Sutton in 1976 and again was sold in 1980 and lastly sold again in 1994. The Norths named their house 'Tralford'. According to Marjorie North, the name Meruka was suggested by Alan Gardner and so was apparently not used by the North family. The name appears to be of Indian origin and its connection with the land is not known. ‘Tralford’ stayed in the North family for many years. Eltham Council acquired the house to create Meruka Park. The house was used for some years by the Council as a community arts facility and as emergency accommodation. It fell into disrepair and was demolished about 1990. The Meruka Child Care Centre has been built on the site and incorporates some of the architectural features of the old house. The Co-op was opened in April 1994. The original drive flanked by large old cypress trees remains. These trees are considered to be of local heritage significance and for this reason Meruka Park is covered by a Heritage Overlay under the Nillumbik Planning Scheme. Part of the park has been preserved as habitat for rare local flora. LL's house, named ‘Glen Ellen’, remains in a well-preserved state and fronts Meruka Drive.shire of eltham archives, child care centres, health & community services, meruka child care co-operative

Luke King’s mixed media artwork Portrait (2023) was shown in the group exhibition Fever’Dreams at the Counihan Gallery in 2023. The group exhibition explored the slippery boundaries between abstract and figurative artwork, showcasing local artists with a strong connection to Merri-bek’s arts community. King uses portraiture to highlight the importance of gesture and facial expression in personal storytelling. Exhibition curator of Fever’Dreams, Mitchel Brannan, writes of King’s work: ‘King explores the profound capacity of the human face to convey emotions within the context of constraint. Through his art, King invites viewers to reflect on the complexities of human expression and the underlying dynamics of restraint within society.’

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

Fred Mitchell 1988 Entrant No. 5 Ref: Series 34, Items 3, 4, 46-49 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, fred mitchell, scan - 35mm negative, film - kodak ga 100 5095

Original West family home, Fabbro's farm, Bell Street, Eltham Karen Hynes 1988 Entrant No. 10 No negative SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, scan - 35mm negative, fabbro's farm, karen hynes, west house

Andrew Peel 1988 Entrant No. 28 Ref: Series 34, Items 11, 60-63 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, andrew peel, film - kodak gb 200 5096, scan - 35mm negative

Leanne Bachman 1988 Entrant No. 29 Ref: Series 34, Items 12, 64, 65 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, film - agfa xr 100 i, leanne bachman, scan - 35mm negative

Nick O'Brien 1988 Entrant No. 41 Ref: Series 34, Items 17, 71-74 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, eltham common, film - ilford fp4, nick o'brien, scan - 35mm negative, shillinglaw cottage

Christina Gomilschak 1988 Entrant No. 42 Ref: Series 34, Items 18, 19, 75 76 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, christina gomilschak, eltham railway station, film - kodak ga 100 5095, scan - 35mm negative

Elizabeth Simkin 1988 Entrant No. 149 Ref: Series 34, Items 39, 111-113 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, elizabeth simkin, film - kodak ga 100 5095, montsalvat, scan - 35mm negative

D.L. Simkin 1988 Entrant No. 48 Ref: Series 34, Items 21, 22, 78, 79 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, d.l. simkin, film - kodak tx 5063, scan - 35mm negative, montsalvat