Built in 1860, the Eltham Courthouse is the oldest public building remaining in Eltham. In its early days the building was used as the meeting place and office of the Eltham District Road Board and as an overflow classroom for the local school. The Eltham Courthouse ceased operational duties in 1984 and is now used by various community groups including Eltham District Historical Society. It was listed on the Victorian Heritage Register (Number H0784) in 1982. The building is of architectural significance because it retains intact early features. These include use of handmade bricks, simple decoration, roof trusses, timber ceiling boards, original windows, doors and associated hardware and a collection of court furniture. Additions to the court house have been done in a manner which did not interfere with the fabric of the original building. It is a fundamental asset in the Eltham Justice Precinct and is being fully restored in 2021 thanks to Nillumbik Shire Council.35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Meltham, eltham courthouse, main road

Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart

A history of early country life in AustraliaHardcover. Front cover has a series of various photographs of country life in old Australia. Back cover has photographs as well as the blurb describing this book.Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779country, life, australia, history

The Bills Cement Trough consists of two parts a large horse trough and a smaller dog,trough which was donated by Annis and George Bills. It is not known whether this trough was donated and installed prior to or after the death of George Bills in 1927. The installation was under taken by The Metropolitan Drinking and Cattle Trough Association which had been set up in England by an English Organisations in 1859 to provide water facilities for both drivers and animals. The Bills drinking trough, corner of Walker and Rennie Streets, Lara, is significant as it forms part of the Annis and George Bills Estate., which was established to provide watering facilities for horses after George's death in 1927. The concrete structure is also a legacy of the days of horse drawn vehicles before cars were introduced.The Billa concrete trough is associated with Annis and George from 1927 who establish a fund in the early 20th century to provide adequate watering facilities for horses and dogs. It is just one of over more than one troughs throughout Australia and the United States.

In the early 1880s the Ballarat School of Mines Council introduced a three year course of training under the professors to qualify students in the following professions: 1. Mining Engineering 2. Metallurgy 3. Geology 4. Electricity [45] Each of these courses had an additional, but optional, fourth year of study. The prescribed subjects of study for an Associateship was set out in the Calendar of the Ballarat School of Mines in each year. Any student who passed the prescribed examinations in any of the above courses was issued with a Certificate of Competency, and conferred with the distinction of Associate. By the 1890s the professorial staff had drawn up a curriculum leading to an Associateship of the Ballarat School of Mines. The first two years work was to be common to all courses, but in the third and subsequent years the student wold be devoted to a specialised branch of study. The Associateship was to be conferred in one of another of the following Courses: Agriculture, Civil Engineering, Electrical Engineering, [Geology], Metallurgy and Mining Engineering. All were three year courses except for Agriculture which was two years. Each course was conducted in accordance with a prescribed curriculum and syllabus. During the 1910s there was an expectation that candidates for the Associate course should have attained the age of sixteen, and have received preparatory training equivalent to University Matriculation at least in the subjects of Elementary Mathematics, English Grammar and Composition, or have passed through Junior Technical School. In 1960 an new procedure for admission to graduate status as Associates was introduced to the Ballarat School of Mines where Associateship would be conferred at a public ceremony. After 01 July 1976 graduates of Ballarat College of Advanced Education and Ballarat College of Advanced Education were admitted in major studies relating to mining for Australian accreditation and overseas purposes. Ballarat School of Mines Associates could ascribe ASMB after their name.Black and white photograph of Associatedsof the Ballarat School of Mines from 1951-1957.Associates of the Ballarat School of Mines :Lists names 1989-1964ballarat school of mines, smb campus, electrical engineering 1958, brian w. schreenan civil engineering 1958, clifford j. restarick metallurgy 1958, john t h. clelland metallurgy 1958, donald c. stevens mining engineering 1958, john g. wolfe civil engineering 1959, james e. mcneil electrical engineering 1959, patrick h. nally civil engineering 1959, graham j. willey metallurgy 1959, stanley p. kisler civil engineering 1959, donald j. overall electrical engineering 1959, brian j. mclennan civil engineering 1959, philip j. davis art 1959, bruce v. mcdougall mining engineering 1959, lancelot j. matthews mechanical engineering 1959, alan w. wilson mechanical engineering 1959, alan w. wilson electrical engineering 1959, george a r. lewis art 1959, noel e. meagher electrical engineering 1960, john l. collier mining engineering 1960, john l. collier civil engineering 1960, frank andrewartha mechanical engineering 1960, norman leckie art 1960, lansell j. groat civil engineering 1960, boon thiam lu mining engineering 1960, oswyn n. hails civil engineering 1960, john a. watts applied chemistry 1960, thomas b. gallagher civil engineering 1960, brian a. bellingham civil engineering 1961, alan c leviston applied chemistry 1961, walter j wynd civil engineering 1961, francis d benjamin civil engineering 1961, leonard e fox mechanical engineering 1961, yan kai chung applied chemistry 1961, george d mcgrath mechanical engineering 1961, john r sawyer mechanical engineering 1961, ronald horgan applied chemistry 1961, douglas j vendy civil engineering 1961, john a barnes electrical engineering 1961, brian w smith metallurgy 1961, william r carlyon metallurgy 1961, chris p livitsanos metallurgy 1961, lawrence g trevan civil engineering 1961, richard g dunlop mechanical engineering 1961, ronald m ingleton mechanical engineering 1961, peter m robinson mechanical engineering 1961, david j jelbart mechanical engineering 1961, john g hollway mechanical engineering 1961, george m hetherington civil engineering 1961, david w brown mechanical engineering 1961, john r gowan civil engineering 1961, geoffrey a christian civil engineering 1961, arthur c burrow mechanical engineering 1961, john n mcarthur applied chemistry 1961, graeme r bromley mechanical engineering 1961, william davison civil engineering 1961, ben a johnson electrical engineering 1961, ben a johnson civil engineering 1961, allan j tinney civil engineering 1961, thomas h j coad applied chemistry 1961, brian h duthie civil engineering 1961, basil c bautovich mechanical engineering 1961, reece pullen electrical engineering 1961, john d carmichael electrical engineering 1961, william j spencer civil engineering 1961, neil a brogden civil engineering 1961, michael villani civil engineering 1961, ralph j hepburn mechanical engineering 1961, peter w linaker mechanical engineering 1961, peter j matthews mechanical engineering 1961, edgar mca bartrop mining engineering 1961, donald j stewart, brian schreenan

Promoting the Graphic Design/Multimedia program being offered by the University of Ballarat at the Mt Helen Campus. Promoted course as "one of the smallest and arguably the best three year programs of its kind in Australia and the South Pacific region." The brochure lists student awards received including Platinum and Gold in the AGFA International Young Designer Contest, 1999; two meritorious awards in The Art Directors Club Student Awards, New York, USA 1999; Graphis New Talent 1999; two Gold in Souther Cross Packaging Awards, 1998. At time of publication, the School of Arts, Visual Arts reportedly had 210 students with majors in Graphic Design/Multimedia, Ceramics/3D, Painting, Drawing, and Multidiscipline. Minors studies included Printmaking, Photography, 3D, 2D, and Graphic Communication. ___ Course aimed to train "independent, flexible thinkers". The course promised to "Promote creativity, originality and imaginative thinking; Develop self-directed learners, displaying initiative in the formation of ideas and the confidence to construct personal responses; Develop appropriate conceptual, technical and professional skills; Develop the student's critical process: ability to undertake research, and to make informed decisions; Clarify thinking, concepts and understanding and deep knowledge, attitudes and skills enabling the designer to respond to community needs." Studio and working environment described as "one open space with working facilities for approximately 75 students across 3 year levels. The area is divided up into work stations where 1st, 2nd and 3rd year students intermix, allowing a natural interaction. These workstations are configurations of six, consisting of two students from each year level. This reinforces the area's ongoing development with an open ethos and cross-level delivery and learning. This maximises the use of information in order for it to be applied throughout all levels of the learning process, whilst allowing a natural mentor arrangment to be developed for all first year students, " "The open ethos approach also encourages students and staff to freely express their opinions in relation to design via cross-level critiques, whilst allowing for a liberal arts approach and structure to the development of the creative process." "Emphasis is placed on experimentation, innovation, expression and the development of the individual's design philosophies, concepts and style." Also notes the 24 hour access Macintosh laboratory, with 34 Power Macintosh computers, ratio of one for every 2.5 students. Each with a Fujitsu Dyna Magneto Optical drive for file storage and transport. Two Sharp scanners, Phaser Dye-Sublimation Extra Tabloid colour printer and Ricoh A3 colour printer. Two large format printers. Digital and video cameras. Software: Adobe Photoshop, Illustrator, Acrobat; QuarkXpress; Macromedia Freehand; Pagemaker; Premier; Director; 3D Extreme; Sound Eidt, Shockwave, Infinite 3D and After Effects. Approx 4.5 staff, "all of whom are practicing designers. They have a full understanding of industry requirements and trends which assists in the development of industrial contacts when specialists are required." Prospective students interviewed in late Nov/ early Dec, face to face. Present a "comprehensive folio of work", academic records, references. "Selection is determined by the perceived potential of the student, their motivation and reason for study within the field as well as their previous experience in the Visual Arts. Folio work should be representative of the individual's ideas and abilities. Qualities of importance are: originality, innovation, imagination, experimentation and a competent display of the basic skills associated with visual arts [evidence of drawing skills should be included]." Demonstration of GD/MM computer skills an advantage. Students also asked to bring sketch books. Promotional brochure for prospective students. 8pp Double fold brochureuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree

This machine was made in Baden, Germany, for the Ward Brothers of Melbourne, who imported machines from various manufacturers and had them branded with their Ward Brothers decals. This machine is most likely dated before 1911, when the Ward Brothers became two separate businesses, as one of the decals appears to have been deliberately removed. The case is made in an attractive design and the machine itself has decorations that are pleasant to the eye. Even the metal cover of the folding handle has a swirling design on it. The machine has the added bonus of a ruler along the front base. Many sewing machine manufacturers in Germany produced their machines specifically for export. A company could mass-produce its machines and give the same product several different brand names, according to their overseas buyers. There was a huge market for domestic machines as it enabled tailored clothing to be made in households at a fraction of the retail prices. Ward Brothers began in Australia in the late 1890s and early sewing machines sold by them had the three brothers on their decals. In 1911 the brothers divided into two separate firms, one operating on his own, the other two remaining together, and all still operating in Melbourne and at first still using the name Ward Brothers.This sewing machine is one of two hand-operated Ward Brothers machines in our collection that were made in Baden, Germany, and the only one that has had the three Ward Brothers on its decal, and that has front and rear slide plates. This machine represents the early domestic market for sewing machines, making it possible for the everyday homemaker to produce fashionable garments and linen ware that was affordable. The owner of this machine could work at more than one location as it was portable and did not require a large space to set up. The machine is associated with the well-known Ward Brothers of Melbourne, who sold imported sewing machines that were branded with their own name. Sewing machine, hand operated, in wooden case. The machine is painted black with gold decals, and front and rear slide plates. The wooden base of the machine has an inlaid ruler. The case has curved sides and shaped ends, decorative woodwork on corners, an inlaid diamond pattern on top, and a folding metal handle. Accessories are included. The decals include doves, inscriptions and swirls, and there is a map of Australia with two portraits of men. The machine was made in Baden, Germany, for Ward Brothers, Melbourne. Images: Map of Australia with States marked, and with portraits of two men. [A portrait-sized area on the left of the men has had the image removed.] Text in printed script: "Specially / Made in Baden" "WARD BROTHERS / MELBOURNE" " with a Logo is a map of Australia,flagstaff hill, warrnambool, great ocean road, sewing machine, hand operated, pre-1911, domestic sewing, homemade clothing, fashion, ward brothers, made in germany, baden, front and rear slide plates, crank handle, hand crank sewing machine

This type of large, brass tap is typical of the plumbing fittings manufactured in the late 19th and early 20th centuries. The tap has encrustations and concretion inside, showing that it had been in the sea for quite some time. The pipe leading to the spout is squashed, nicked and appears to have been sawn or broken off. It could have once been part of the plumbing from a ship, perhaps from one of the boilers used in the kitchen, for bathing or for laundry or cleaning. The name “BEST” on the tap signifies that it could have been made by Robert Best who began his Birmingham brass foundry c. 1840, and even though The information from the donor is that tap was given to her father (1906-1982) who lived in the Warrnambool district. It was likely given by a cray fisherman or diver, who said that the tap came from the Loch Ard shipwreck, wrecked on Mutton Bird Island, east of Port Campbell, Victoria, on 1st June 1878. This could easily be the case but there is no provenance for it. ROBERT BEST, BRASS FOUNDRY Circa 1840 Robert Best founded his brass foundry business and was referred to as a Brass Chandelier of Birmingham”. In 1864 an advertisement in the Journal of Gas Lighting, Water Supply, & Sanitary Improvement announces Best and Hobson, late Robert Best, 100 Charlotte Street Birmingham, manufacturers of Chandeliers, Brass and iron fittings, Steam and Water-cocks etc. gas apparatus of every description, Plumber's brass foundry, with works at Birmingham and Great Bridge, Staffordshire. In 1867 Best & Lloyd was formed, after Best and Hobson went into liquidation, manufacturing at the Cambray Works of Wattville Road, Handsworth. It was a light industrial engineering works and one of the owners was Robert Dudley Best’s father. Robert Dudley Best (1892-1984) later took over the business of Best & Lloyd. The company is still in business at Downing Street, Smethwick, Birmingham. In 1878, brass ship furniture and bell fittings stamped “BEST” was made by William Udal & Co., who advertised as manufacturers of BEST cast and stamped brass foundry goods. This large brass tap is typical of industrial tapware of the mid-late 19th ancenturies 20th century. The location of the tap when found is associated with the Warrnambool district and could have easily been from a shipwreck due to the encrustation found inside the tap. Due to its design and manufacturer, the tap is associated with the mid-late 19th and early 20th-century manufacture of plumbing fittings. Tap, brass, heavy-duty, with butterfly handle. The design and style are typical of the plumbing of the late 1800s. Inscription pressed into the handle, within rectangular border "BEST". Encrustation and concretion are inside the tap spout. “BEST” on one side of the tap handle (Also, a label from the donor attached to the tap “from the wreckage of the LOCH ARD")flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, robert best brass foundry, best and hobson, best & llyod, birmingham brass foundry, brass tap, best brand tap, heavy duty brass tap, industrial brass tap, boiler tap, 19th century plumbing, 19th century tapware, 19th century plumbing fitting, tap with butterfly handle, tap salvaged from shipwreck, brass fittings, steam engine fittings, water-cock fitting

Stoves of this design are used for heating domestic places and were available in many designs and shapes. They commonly used wood as fuel and were not only used for heating but cooking as well. This stove was part of the original furnishings of the 1922 vessel 'Reginald M a South Australian costal trader it was made from material and fittings obtained from salvage yards. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew labored for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald M”. The donor’s family lived on the Your Peninsular and dispatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. In 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His or Her Majesty’s Customs). The stove is significant as it represents the heating and cooking appliances used in late 19th and early 20th century, both on board vessels as well as for domestic purposes. The stove has additional significant for its association with the vessel "REGINALD M" a coastal trading ketch from South Australia built in 1922 at Largs Bay. It is one of very few sailing coastal trading vessels built in Australia with its flat bottom, single chine shape designed for navigating shallow water. See additional comments in the Production section this documents under Comments for further information regards the stove. Stove a cast-iron, rectangular, four-legged stove with a hinged front door. This stove was part of the original furnishings of the vessel 'Reginald M', built in Adelaide 1922. Image of a log cabin with an illegible inscription below it.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, coastal trader, trading vessel, vessel reginald m, ketch, john murch ship builder, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale, port adelaide vessel reginald m, macquarie training vessel, grenfell studio port lincoln, stove, domestic heating, domestic cooking, heater, cooking unit, wood fired stove, wood stove, wood-burning stove

This picture was produced affordably for domestic decoration in the early to the mid-20th century. The picture is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Picture of cattle, ducks and woman pouring milk in barn. Colour print on grainy paper covered by glass with decorative gilt frame. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, print, wall decoration, art, farm scene

This food safe is a mass-produced item made for domestic use by Willow Manufacturing in Australia fin the mid-20th century. Willow started a business in 1887 as a metalworking company based in Melbourne Australia, making tinned biscuit and tea canisters. In the First World War, the company began manufacturing armaments and essential packaging for the war effort. In the early 1920s, Willow produced domestic kitchen bakeware such as tin-plated canisters and baking pans labelled with the well-known Willow brand. Other items at this time include billies, boilers, basins and Coolgardie safes. In the late 1950s, the company ventured into plastics production. and in 1965, the name changed to Willow Ware Pty Ltd, to be more closely linked to its Willow brand. Willow Ware is still in business today.The Australian food safe is an example of domestic food storage and preservation in Australian homes from the mid-19th century and early 20th centuries. It is part of the evolution of food preservation methods leading up to our modern electric appliances. The maker, Willow, has a name associated with practical and reliable domestic products.Metal kitchen safe with two shelves, a hinged door and latch and a small swivel wire handle at the top. Painted light green. Airflow holes have been formed in each side panel. Made by Willow, Australia.Marked "Made in Australia" "Willow"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, food storage, food preservation, willow, willow manufacturing, willow australia, kitchen storage, food care, 19th century, 20th century, willow ware, domestic item, coolgardie meat safe, meat safe, food safe, coolgardie

The Mahogany Ship is today regarded as a legend and refers to an ancient wreck that is purported to lie beneath the sand beside Armstrong Bay, several kilometres west of Warrnambool, Its location is currently unknown. For well over a century the mystery of this ship has fascinated Australians because the existence of such a vessel could throw a different light on the earliest phases of exploration of eastern Australia by Europeans. The story is that in January 1836 a party of whalers from Port Fairy travelled to the mouth of the Hopkins River in search of seals. Their boat overturned and one man was drowned. The three survivors were walking the 30 kilometres back to Port Fairy along the coast when, about halfway along, they discovered the wrecked ship in the dunes. It is said that Captain John Mills, who was in charge of the whaling station at Port Fairy promptly visited the wreck with several of his men, including Hugh Donnelly. Donnelly who was the originator of that version of events is now regarded as unreliable. Local history researcher Joan Fawcett believes Donnelly could not have visited the wreck in 1836 because he did not arrive in Victoria until 1841. The "mahogany" description can be traced to a letter from Port Fairy builder, architect and surveyor John Mason and published in the Melbourne Argus in 1876. He said he had seen the hull in 1846 and it "had the appearance of either cedar or mahogany." In 1884 Argus journalist `The Vagabond' wrote that the hull was built of "Spanish mahogany" and six years later Mason wrote another letter saying it might not have been mahogany but red gum or ironbark from New South Wales. He was too late with this new description as the wrecks mahogany tag was here to stay all through the hull was not visible as it had disappeared beneath the shifting sands by 1880. A more reliable account was later presented by the former editor of the Warrnambool Examiner, historian Richard Osburne, who wrote about the wreck in his book History of Warrnambool (published 1887). In it the author remembers to have noticed a wreck in the hummocks between Belfast and Warrnambool, in 1847 or 1848; he stated it was much nearer Warrnambool than Belfast, now known as Port Fairy, going on to state “in fact, it was only two or three miles from the former place, to the west of the big hummock which was supposed to fill Warrnambool Bay with drift sand washed by the Merri River before the cutting was made.” Osburne followed up with a letter to the Port Fairy Gazette on June 25, 1876, during a period of heightened interest in the wreck, although he was unsure of the provenance of the ship he went on to state in his letter. “The old wreck was, in fact, miles away from the Port Fairy beach, and only about four miles from Warrnambool. In the years 1847 and 1848. I have often seen the wreck and I regret to say I do not believe she was a foreign ship at all.”The ship model is significant for its association with the Warrnambool story of what is now referred to as the Mahogany Ship, an ancient shipwreck. The model is significant as it is an interpretation of a Portuguese caravel and possibly associated with the early history and exploration of Southern Australia. The model is a fine example of a hand crafted ship made from plans, not from a kit. Some of the materials used for the model are significant to the Gembrook community in that the timber used is a portion from a 30-meter pine tree that fell onto and destroyed the 120-year-old Gembrook church building. The model is also a dedication to Edward Kermond, who grew up in Warrnambool and claimed to have seen the shipwreck in the dunes when he was a lad in the late 19th century. (See note section of this document for further information on the creator and donation of the subject item).Ship model, an interpretation of a mahogany Portuguese carvel vessel in a glass display case with wood frame and a description plaque. Model is made from dark stained wood. The three masted vessel is fully rigged, with a Portuguese-like flag on mast. Plaque is rectangular, free standing on a pedestal. The model was handmade by Joe Hilder (Senior) in 1999 from flooring obtained from the Gembrook Uniting Church in Victoria. Inscriptions, hand written, under base of case and on plaque.Under base, black felt tip pen “Ship & Case made From / Flooring from Gembrook uniting Church, Flattened in 1999 / By Large Pine Tree.” On plaque, white paint "This interpretation of the Fabled Mahogany Ship was made by Joe Hilder, Gembrook Vic. is displayed in the memory of the late Edward Kermond (Ted) 1887-1973, a Warrnambool son who claimed to have seen the original ship as a child." flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ship model, mahogany ship, mahogany ship story, portuguese caravel, joe hilder, edward kermond, ted kermond, gembrook uniting church, gembrook storm 1999, port fairy whalers, belfast whalers

When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called pan bone and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas This scrimshaw work is done on a sperm whale's tooth. It is one of two pieces by artist Gary Tonkin in Flagstaff Hill’s collection. Sperm whales can live for 60 or even 70 years, so the tooth could be quite old. It came from the whaling station in Albany, Western Australia, which ceased processing whales in 1978 and is now a whaling museum. The two works were commissioned by Flagstaff Hill in the 1980s. Tonkin could spend from a few days to a few months in intensive work on each piece of scrimshaw. He is a world-renowned Master Scrimshander and a Fellow of the Australian Society of Marine Artists (FASMA), and lives in Albany, Western Australia. Gary Tonkin, FASMA – Tonkin was born in 1949 in Portland, Victoria, and grew up there with a history of whaling and related industries. He moved to Albany in southwest WA in 1971 and worked as an Export Meat inspector for the Federal Government. This small town also had a historical connection to whaling. The Cheynes Beach Whaling Station was still operating, and there were even three whaling ‘chaser’ vessels at the old jetty. In 1975, his employment now permanent, Tonkin bought an old cottage near the bay, purchased some whales’ teeth, and began learning the sailors’ art of scrimshaw, combining this with his artistic skills and knowledge of history. His job gave him access to buy as many whale teeth as he could afford, straight from the whaling station. Tonkin gained further marine knowledge as he sailed on the schooner ‘Esperance’ from Fremantle to Mauritius in 1988. He watched the sailors at work and experienced the rough and stormy sea conditions first-hand. Tonkin later visited whaling museums, galleries and libraries in England and America to gather reference materials and information on all aspects of whaling and scrimshaw. In 1993 he was Commissioned to engrave six large whale teeth, from the Albany whaling station, for the USA Gallery at the Australian National Maritime Museum in Sydney. This work is now in the museum’s permanent collection. From that time, Tonkin began working full-time as a Scrimshander. Tonkin’s work is now in galleries and museums in America and Australia, as well as in private collections. He is the founder of the Albany Maritime Heritage Association and was the inaugural President. In the 1990s he actively and successfully campaigned for the preservation of the Cheynes Beach Whaling Station in Albany, which is now Whale World, an open-air whaling museum. His continuing work as a Scrimshander contributes to the preservation of the art of scrimshaw and the history of whaling. This scrimshaw represents the ancient craft of scrimshaw, associated with mariners in the whaling trade in the early 19th century. The work is also Nationally significant for being created by world-renowned Scrimshander, Gary Tonkin, from Albany, Western Australia. Scrimshaw; whale tooth carved with an image of two whaleboats hauling a dead whale back to the mother ship. Inscribed Title and signature of artist Gary Tonkin.Inscribed "Bringing in the whale". Signature "G Tonkin"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, maritime museum, flagstaff hill, perth, whaling, whales, australia, scrimshaw, scrimshander, gary tonkin, g tonkin, bone, tooth, craft, albany, western australia, cheynes beach whaling station, whale world, portland, engraving, maritime art, sperm whale's tooth, albany whaling station, albany whaling museum

This jardinière is one of many 19th and early 20th century items donated to Flagstaff Hill Maritime Village by the Giles Family. It would have been used to contain a pot plant or similar foliage to decorate a room. Donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles this item is associated with Warrnambool and the Giles Family history. Many items have been donated by the family and have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage that were donated by Vera and Aurelin Giles mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. It also represents typical furniture and household goods owned by settlers in the Warrnambool District in the late 19th and early 20th century. The Jardinière is a good example of late Victorian memorabilia that was to be found in many homes of the period.Plant container, brass & copper jardinière flower ornamental pattern with three short paw feet to base. Pressed floral pattern around sides with copper toning's with braised seam joins.Handwritten on white sticker on base $ 85 (Giles Collection)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, emigrants from ireland, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, brass jardinière, plant pot

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

The Great Ocean Road was built by World War 1 returned servicemen. Tolls were collected as sections of the road were completed. The first toll house was at Grassy Creek. It operated from 1922 to 1932 when it was moved to The Springs at Cathedral Rock about 5 km east of Lorne. The thunderbox is believed to have been used here at sometime between 1932 and 1936This is a rare archeological find. Items n this location are often damaged by the action of the sea and salt air. It is intimately associated with the early years of the development of the Great Ocean Road and the daily life of the workers. It is a typical example of the type of toilet used at the time. This reclaimed timber thunder box is enclosed on three sides. There is a circular hole on the top with a wooden handled lid attached by a chain. Inside is a steel can.great ocean road construction, returned sevicemen world war 1, great ocean road toll houses, toilet

This public notice of 1935 warns of the dangers of Infantile Paralysis. It advises scalding dairy products and reporting stock illness, even though the disease was viral (discovered by U.S. researchers in 1908), not bacterial. There was little chance of protecting children against contracting the disease as the Salk vaccine was not available until 1955, although medical research into the development of preventative serum was well advanced in the 1940's. Treatment of the disease was primitive and a cure not possible.Infantile paralysis was a fearful disease increasingly prevalent in the early 20th Century. Children under 3 were especially susceptible. It could be said to be forever associated with this part of the Western District as a result of the celebrated author, Alan Marshall (1902-1984) suffering its effects. He immortalised his childhood, which was profoundly affected by his paralysis, in the autobiograhical novel 'I can jump puddles'. Calico rectangle off white"Shire of Hampden. Recommendations by the Medical Officer of Health. During the last few weeks eighteen cases of INFANTILE PARALYSIS have occurred in this district. PARENTS are advised to seek Medical advice early in any case of sickness. It is not wise while this sickness is about to treat sick people by home remedies for a few days, for the mild fever-headache, &c., may be the early stage of INFANTILE PARALYSIS, and if a doctor is consulted then he has his best chance of protecting the patient from paralysis. All persons in the district are advised to scald all milk and cream used in the home, even that taken by adults. The people in the district may help solve the puzzle of where this disease comes from, by reporting at once to the Stock Inspector any sickness among the animals. SHIRE OFFICE, CAMPERDOWN, 22nd March, 1935. THOS.F.LITTLE, Secretary, Shire of Hampden." disease, infantile paralysis, poliomyelitis, shire of hampden, public health, childhood

Alan John Ely (known as John) was born in Greensborough and was associated with the Greensborough Football Club from an early age. Includes photographs of him as mascot and later trainer with GFC and a selection of his membership tickets, 1949, 1950 and 1958. Information collated by Marilyn Smith in 2019.2 p., photos and information.alan john ely, john ely, greensborough football club, ely family

A 1941 edition of Ginger Meggs comic strips. Ginger Meggs was created in the early 1920s by Jimmy Bancks and first published in the 'Sunbeams" section of the Sydney Sun. Several other cartoonists drew Ginger Meggs strips after Bancks death in 1952. This edition is a "Sunbeams Book". An original 1941 copy of this book, in good condition.Comic book, 32 pages, colour illustrations.ginger meggs, jimmy bancks, sunbeams book, cartoons

Norval Guest-House Aginda and Wettenhall The original Norval The story of Norval begins in 1917 when it was built as a private residence for Mr and Mrs William Thompson. Mrs Thompson was a pioneer of the tourist business, having come from Ballarat to Hall's Gap in 1909 to manage Bellfield Guest-house According to Ida Stanton, in her history of Hall's Gap entitled "Bridging the Gap", Mr Thompson and his wife acquired the six roomed shearers quarters at "Hankelow", on land leased by the Wettenhall family, on the south side of Bellfield. Mr Thompson, she says, completely dismantled the quarters, carefully marking each board, then hired George McKeon to cart the material up to where the original Norval house stood. With great care, the rooms were rebuilt into a home for William and his wife Mathilda. Catherine Good, the daughter of Viola (nee Wettenhall) and niece of Dr Roland, in here "Recollections" entitled "Look to the Mountains - Viola's View 1887-1979", mentions Hankelow. Speaking of her days at Glen Holford, the Wettenhall home at Pomonal, Viola says "Verona and Francie Dennis, my cousins, and I went for one very exciting trip. Father (i.e Dr Roland's father) had bought 300 acres in the Gap to take sheep from Carr's Plains in time of drought, and had a little cottage there with one of the Glen Holford men and his wife in charge. It was called Hankelow. So we three set off over the Range from Glen Holford on foot and leading a pack horse with our night attire and no doubt sponge bags. "We stayed the night at Hankelow with Jim and Minnie. Minnie had been a housemaid at Glen Holford. I was very fond of her. It makes one laugh to think of the excitement of "roughing it"! Minnie gave us a lovely dinner with meringues, and cream, I remember, then early morning tea. After breakfast we were driven in the buggy to the foot of the Goat Rock (since renamed Mt Rosea) and off we went - walking in our long skirts and ankle boots. There was no track of any kind, nor blazed trail - we just made for the top. It was rather frightening at times because we couldn't see where the top was an it always seemed to get further and further away. The last mile was so terribly steep, with a lot of lose shale where you went up twelve inches and slipped back six. Now you motor to about a couple of miles from the top and then have a graded path. Anyway, we got there and back safely and were rewarded with a magnificent view" By a strange coincidence, Hankelow, the source of Norval Guest-house in times past (if the name can be applied to the property as a whole, which seems likely) is in fact also the source of our Wettenhall Campsite! Hankelow was named after a property owned by the Wettenhall family in England. In 1917 William and Mathilda retired to their newly built home (Norval) "to escape from the tourist business" However, so many people made requests to stay with them that they found it necessary to add several more rooms and sleepouts to their home. In this way, early in 1921, the guest-house began to take shape. Mr Thompson, a former librarian of the Mechanics Institute in Ballarat, named the house "Norval". The name "Norval" comes from a quotation from the play 'Douglas" by John Home. Written in the mid-16th century the play is set in the Grampian Mountains of Scotland. The story is of a boy who was parted from this mother during his early childhood, and was given to a shepherd who raised him. Some eighteen years later the mother by chance happens to meet here son, and not knowing his true identity, asks his name. He answers, "My name is Norval; and in the Grampian hills my father feeds his flocks." Perhaps it was simply because "Norval" was associated with the "Grampians" that it was chosen by Mr Thompson. He may also have been conscious of feeding "flocks" of tourists in his expanding, guest-house. Norval Guest-house prospered. It was known for its fine cooking and friendly atmosphere - a tradition which has carried through to the modern Norval! It closed between 1940 and 1949 because of the second world war. In 1949 it was decided to almost completely rebuild the house. Most of the old building (Hankelow plus) was demolished and rebuilt to a much larger and more modern plan. And then, on May 1, 1965, it was purchased by the Committee of Management of the Methodist and Presbyterian Conference Centres. At this time the guest-house was owned and operated by Marjorie and Lachland McLennan, Mrs McLennan being the daughter of William and Mathilda Thompson, the pioneers of the establishment. The McLennans had operated the Guest-house since about 1930.Photocopy 2 pages of article from book titled 'In the Making' title of article Norval guest House the original Norvalaccommodation, guesthouses, norval

View from Maria Street (Main Road) along Bridge Street, Eltham, looking towards Montmorency. The house on the right at the corner of Susan and Bridge streets was owned for many years by the Hill family until Council bought it in the early 1960s. The house was built in the 1850s or 60s. The house on the left stood on what is now the southwest corner of Susan and Bridge Streets. The Braithwaite family was associated with this house. Orchards in the foreground either side of the Diamond Creek. The line of trees running up the hill to the left represents the Bolton street alignment. Based on hand writing of title on image compared with others, date is estimated at c.1910.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, bolton steet, braithwaite, bridge, bridge street, bridge street bridge, eltham, hill family home, susan street, orchards

This photograph details (early to mid1950s), the Victorian Alpine region when this remote area was part of a "lay back" rural landscape,occasionally visited by recreational adventurers and some wayward tourists. The mountain ranges had provided an adequate barrier against the way-would traveller, but with the opening up of this region by the provision of improved roadways and accommodation facilities, courtesy of the Kiewa Valley Hydro Electricity Scheme, changes such as tourism and its impact upon the "natural" state started to show its side effects (clearing of the land). The expansion of the European immigration numbers (1950s) coming into Australia was increasing after World War II which not only provided increased construction workers to the region but also immigrants who appreciated alpine regions. Some of these immigrants contributed to the expansion of the region and provided for a greater degree of diverse professions and rural related work force.This photograph depicts the borderline in time between an exclusively rural based population and respective activities(early 1900s)to the present (2000 on wards) integrated village, tourist and retiree/holiday area. The time when land was exclusively used in agriculture and Alpine grazing lands is over. The Kiewa Valley is loosing its hiding place and is becoming more and more a source of untapped residential land and winter time recreational adventure lands. The changes brought about by modern technologies involving recreational activities such as hang gliding, gliding (local airstrip), mountain bikes, car rallies and their associated clubs is providing for an increased short term population boost. These together with the attractions for retirees is changing not only the physical nature of the Kiewa valley but also its "soul".This item is a black and white photograph of a section of snow covered catchment area in the Victorian Alps in the mid 1900. It is on 200 gms paper but not on photographic paper and has a white boarder (3 mm).kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth

This is the site of the first roadside art gallery - Hassall's Roadside Gallery created by the artist son of an artist. Ian Hassall was the son of John Hassall who was among and may have been the first of the British poster artists. The gallery opened Saturday July 14, 1962 at 1215 Main road, Eltham by the director of the National Gallery of Victoria, Eric Westbrook. Situated on the left hand side of the main road, about a mile and a half beyond Eltham, towards Research, near Coleman's Corner at the intersection of Wattletree Road. The property has remnants of a stone quarry, probably for the purpose of gaining stone for local road making. Paintings were hung on screens and removed at night for safety. Large pedestals displayed sculpture and jewellery. All types of hand made art work was displayed. Access to the exhibition and grounds was slightly lower than the level of the road. They were encircled by a narrow little moat formed by a small tributary of the Diamond Creek accessed by a small well built stone bridge built by Ian Hassall with local stone. The Gallery later became known as Hassall's Gallery Bazaar antiques, furniture, curios bought and sold. It operated through to the early 1990s. The property has been derelict and neglected for some years. At one stage a shipping container sat near the entrance. This series of ten photographs illustrate the extent of the vegetation which has taken over the land, evidence of rubbish and a possible fire. In July 2017, planning permission was sought from the Shire of Nillumbik for buildings and works to construct a dwelling and associated vegetation removal. (source planningalerts.org.au)Born Digitaleltham, main road, hassall's gallery bazaar

This is the site of the first roadside art gallery - Hassall's Roadside Gallery created by the artist son of an artist. Ian Hassall was the son of John Hassall who was among and may have been the first of the British poster artists. The gallery opened Saturday July 14, 1962 at 1215 Main road, Eltham by the director of the National Gallery of Victoria, Eric Westbrook. Situated on the left hand side of the main road, about a mile and a half beyond Eltham, towards Research, near Coleman's Corner at the intersection of Wattletree Road. The property has remnants of a stone quarry, probably for the purpose of gaining stone for local road making. Paintings were hung on screens and removed at night for safety. Large pedestals displayed sculpture and jewellery. All types of hand made art work was displayed. Access to the exhibition and grounds was slightly lower than the level of the road. They were encircled by a narrow little moat formed by a small tributary of the Diamond Creek accessed by a small well built stone bridge built by Ian Hassall with local stone. The Gallery later became known as Hassall's Gallery Bazaar antiques, furniture, curios bought and sold. It operated through to the early 1990s. The property has been derelict and neglected for some years. At one stage a shipping container sat near the entrance. This series of ten photographs illustrate the extent of the vegetation which has taken over the land, evidence of rubbish and a possible fire. In July 2017, planning permission was sought from the Shire of Nillumbik for buildings and works to construct a dwelling and associated vegetation removal. (source planningalerts.org.au)Born Digitaleltham, main road, hassall's gallery bazaar