From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints. " Collection of 20 prints. Refer cat No. 7300Framed print. Print - colour print on paper. Copy of a poster. Depicts a young soldier in Khaki uniform carrying a pack and holding a rifle with bayonet. Background - top, pink outline map of Australia. Bottom, yellow outline map of the Gallipoli Peninsula. Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink; "RECRUITING POSTER Boys come over here you're wanted,1915” Black print words on Poster "Boys/come over/ here/ you're / wanted." framed accessories, prints, ww1, gallipoli, centenary

The print depicts the evolution from WW2 Commandos to present-day post-WW2 Commandos, to 2005. The print celebrates the formation of the post-WW2 Commandos and their 50th anniversary in 2005.Framed print, showing WW2 and post-WW2 Commandos and the original post-WW2 'Strike Swiftly' beret badge. Limited edition print 12/100.2 commando company- 1st commando regiment- golden jubilee- 50th anniversary- commemorative print- post-ww2 commandos

These betting tickets belonged to Tom Egan, a Warrnambool bookmaker operating in the district before World War Two. He had his own betting tickets printed locally.These cards are of interest as mementoes of horse racing in Warrnambool over 70 years ago. T.Egan Warrnambool Modern Print Warrnamboolwarrnambool racing club, warrnambool bookmakers

From information Book - "Readers Digest'/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints." Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. MAP ANZAC - map scale 1:10,000 elevations in feet. Depicts the line of Australian and New Zealand Front Trenches. Intended as a working document. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "GERALD R. CAMPBELL Anzac: Map of Gallipoli Peninsula, 1916"framed accessories, prints, ww1, gallipoli, centenary

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

MEDIUM: Photographic print. DESCRIPTION: Black and white photography print, no frame. A figurative nude stands against a cracked and splitting wall, the image captures a faceless woman’s body as it curls inward upon itself, her head and chest guarded and held by her arms and hands. A vulnerable moment captured in black and white photography. Signed and dated across bottom of print.photograph, body, print, banda, form

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer to Cat No. 7300.Framed print. Print - colour print on paper. Copy of an original postcard. " Produced as a Gallipoli souvenir" - "Reproduces a poem "Bravo Anzacs" by Willmer. At the top left is a head and shoulders oval portrait of the Anzac Commander Lt.Gen William Birdwood, "a map of the Gallipoli Peninsula and a shield showing the Southern Cross constellation" on right full length photograph of a New Zealand trooper. "The border is an embossed pattern of ivy leaves and roses". Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print in black ink,' "POSTCARD Bravo Anzacs! 1915-1916".framed accessories, prints, ww1, gallipoli, centenary

The photograph was printed for a historic display at the Bulla Primary School. The children in the photograph who were past pupils of the Bulla State School are Eric Lewis Grant, who was born on 10th September in 1889 and died on 26th March 1969 and Harold Bruce Grant, born 2nd December 1891 and died on 21 December 1934. Further information states that they were 'Ossie's uncles', who was also an old Bulla resident. Bulla State School was one of the earliest schools to be established in the nineteenth century. It was closed down in 1996, which caused much disappointment to the residents.A photocopied print of an old photograph of two boys in a garden. It has been pasted on board and has a white surround with information about the people in the photograph printed under the image. SCHOOL DAYS is printed at the top of the photograph. grant, eric lewis., grant, harold bruce., bulla, bulla primary school

From information Book - "Readers Digest/Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300. Framed print. Print - colour print on paper. Copy of an oil painting, depicting colour, the dawn landing of Australian and New Zealand troops at Anzac Cove. Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "CHARLES EDWARD DIXON (1872-1934). The Landing at Anzac. April 25th 1915". 1915. Successful British Maritime Painter.framed accessories, prints, ww1, gallipoli, centenary

From information book - "Readers Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an oil on canvas painting depicting in colour "Australian troops ascending the ridge above Anzac Cove to Plugge's Plateau." Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "CHARLES W LAMBERT (1873-1930) Anzac, the landing 1915, 1920-1922". Official Australian War Artist in 1917.framed accessories, prints, ww1, gallipoli, centenary

This framed print of the Loch Vennachar has been framed as a gift given by McPherson's Ltd. of Melbourne Sydney Brisbane Perth, as per the inscription below the print. Loch Vennachar made many journeys from Britain to Australia and was well-known in Australian ports. On one of its homeward-bound journeys from Australia, the ship sank in the River Thames. Its cargo included 850 tonnes of preserved canned rabbits from Warrnambool's Western Meat Preserving Company. The ship was raised and continued trading for another four years. On 14th June 1905, Loch Vennachar departed Glasgow for Adelaide and Melbourne. The last known sighting of it was on 6th September 1875 when overtaken by the SS Yongala; the captains exchanged the “all well” signals. After that, the ship disappeared with loss of all 27 lives, according to a list that was received by Fremantle through the English mail. The list indicated that there were no passengers on that voyage. Sadly, other Loch Line ships med with similar disasters. The list of lost crew on the Loch Vennachar included Thomas. W. Pearce, apprentice, Southampton. His father was Tom Pearce, one of the two survivors of the Loch Ard, wrecked in 1878. Also, Thomas’ grandfather, James Pearce, was the captain of SS Gothenburg at the time of her wrecking in 1875. Consequently, the wrecking of the Loch Vennachar and the Loc Sloy near the southwest point of Kangaroo Island, a lighthouse was erected, officially opening in June 1907. The northern headland of West Bay was named Vennachar Point in memory of the ship in 1908. The wreck was discovered in 1976 by divers from the Society for Underwater Historical Research, over seventy years after being lost off Kangaroo Island. The Loch Vennachar performed a significant role in Australia’s colonial trade, taking goods between Great Britain and Australia. These goods included locally preserved tinned rabbits processed at a factory in Warrnambool for overseas trade.Print of painting clipper ship Loch Vennachar. (aka Loch Vennacher, as spelled on this print). Print is under glass in white painted timber frame. The vessel was wrecked on Kangaroo Island September 1905 with the loss of all hands. There is an inscription below the print"Loch Vannacher" on right below print, "Compliments from McPherson's Ltd. Melbourne,Sydney, Brisbane, Perth" on left below printflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch vennachar, loch vennacher, loch line ship, glasgow shipping co, mcpherson's ltd. melbourne sydney brisbane perth, loch vennachar image., kangaroo island shipwreck, 1905 shipwreck, mcpherson's ltd. melbourne sydney brisbane perth, canned rabbits, preserved rabbits, western meat preserving company

British painter Howard Jarvis was best known for his maritime landscape paintings. An early member of the Society of Marine Artists (UK), formed in 1939, he went to sea on merchant ships and served in the Royal Navy during World War II. His works were influenced by marine artist Kenneth Shoesmith. Jarvis was commissioned by the Cunard-White Star Cruises to create a stone litho poster, which was quite well known, giving passengers a birds-eye view of a cruise ship.SS Orsova, built in 1954, was a British ocean liner for the Orient Steam Navigation Company until 1960, then P&O Orient Lines between 1960-1966, although the Orient ships retained their corn-coloured hulls and sailed under their own house flag. The colour of the hull on the print indicates it was made between 1954 and 1966. On 24 May 1956, Orsova ran aground off Port Phillip Bay, Melbourne, for twelve hours. In 1966 P&O acquired the balance of the Orient Line shares and all their ships were painted white. In the 1960s, Orsova carried many thousands of emigrants from Greece and Italy to Australia. It was staffed by approximately 600 crew and carried over a 1000 passengers. Maritime Art, Marine artColour printed reproduction of a painting or lithograph print featuring 20th C passenger liner, hull and superstructure primarily painted pale yellow, under steam at sea. Print is mounted glazed with thin gilded and moulded frame.Printed inscription on border of print at lower centre edge: "Orient Line S.S. Orsova / Off San Francisco"s.s. orsova, passengers ships, steamship, emigration, greece, italy, australia, passenger liner, melbourne, port phillip bay, artwork-paintings, w. howard jarvis, orient line, p and o, peninsular and oriental steam navigation company, ocean liner, passengers liners, passenger ships

From information book: "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints. Collection of 20 prints' refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of a watercolour on paper. Painting depicts a soldier leading a donkey carrying a wounded soldier along a cliff path. Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink; "HORACE MILLICHAMP MOORE - JONES (1868 - 1922) Simpson and his donkey 1918". Enlisted with the New Zealand Expeditionary Force in 1914 and was sent to Gallipoli.framed accessories, prints, ww1, gallipoli, centenary

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints." Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of a "watercolour, gouache, pencil on brown paper". Depicts "soldiers near huts and trenches surrounded by cliffs and a ravine” Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "HORACE MILLICHAMP MOORE-JONES (1868-1922) Anzac Headquarters Gallipoli, 1915." Enlisted with the New Zealand Expeditionary Force in 1914 and was sent to Gallipoli. framed accessories, prints, ww1, gallipoli, centenary

This print was originally hanging in the foyer at the entrance to the Billiard room pre the SMI becoming a Military Museum.A Sister of the Army Nursing Service Maple coloured timber glass front, cardboard back. Coloured print by Ivor Hele with white boarder. Female figure in sitting position in nurses uniform.with steel helmet in left hand. Under the print, “A sister of the Army Nursing service” On label under print. “In Memory of Able Seaman W Haas RAN This print along with the overhead flag display was presented to the Bendigo RSL Sub Branch by Cpl J ROWELL in memory of Able seaman W.HAAS. R.A.N”. brsl, smirsl, ivor hele, nurse

MEDIUM: Screenprint of drawing. DESCRIPTION: Black and white, signed print under glass, black outer frame, white board inner frame.Two figures are central on a light background. A man approaches a woman on a period chair. Signed across bottom of print (proper right).print, boyd, signed, limited, edition

Printed bifold menu of Trans Australian Railways Dining Car Service with signatures of the Ballarat bandsmen travelling to Western Australia to compete in the national band titles 1929 at Perth.Early record of Trans Australian Rail travel and Australian brass band history and activities.bifold card printed menuFront of menu printed Trans Australian Railways Dining Car Service with signatures of the Ballarat bandsmen travelling to Perth for the national band titles in 1929. ballarat, trans continental, railway, menu, bandsmen, national band competitions, perth

From information book; " Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints." Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an original recruiting poster - red and blue print on white background on paper. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "RECRUITING POSTER Expeditionary forces, Recruits wanted c.1916" Details on poster -red ink - "RECRUITS WANTED/ EVERY MAN PHYSICALLY FIT IS WANTED" Blue ink "COMMONWEALTH OF AUSTRALIA/ EXPEDITIONARY FORCES with further headings under "CONDITIONS OF ENLISTMENT" - " Rates of pay per day" - "Separation Allowance" - "Pensions".framed accessories, prints, ww1, gallipoli, centenary

Produced for Montmorency Pharmacy, 45 Were Street Montmorency 3094. Rolls of film were placed in the envelope and sent off to be processed; completed prints were returned to the outlet in the same envelope. Photograph print envelope used by Montmorency Pharmacy; printed in black, blue, red and yellow, both sidesGuardian Family Chemist, serial numbers and bar codes; glossy 10 cm prints marked as ordered, customer telephone number, price and date handwrittenmontmorency pharmacy, photography

From information Book "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/Centenary Commemorative Prints". Collection of 20 Prints' Refer Cat No. 7300. "John Hugh Allen died on 6th June 1915 at Gallipoli, a Lieutenant in the Worcester Regiment." Framed print. Print - colour print on paper. Colour photograph of a stained glass window. Depicts - top - a knight and an angel with the words "War" and "Peace" below figures. Below - battle scene of soldiers on left, on right, university buildings and quadrangle with figure in an academic gown in foreground. Words below - "In Memoriam John Hugh Allen/ Gallipoli 6th June 1915". Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print'- "STAINED GLASS WINDOW War and Peace, All Saint's Anglican Church, Dunedin, New Zealand."framed accessories, prints, ww1, galli[poli, centenary

K. Mawley 1988 Entrant No. 65 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

Craig Price 1988 Entrant No. 148 Ref: Series 34, Items 37, 38, 109, 110 No negative (or missing) 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, craig price, yarra river

1435 Main Rd, Eltham Gravier 1988 Entrant No. 126 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, ballara receptions, gravier