The fifth Eltham Community Festival was held 11-20 August 1979. The theme of the festival was “Along the Main Road” and was the first time the Shire of Eltham Historical Society (forerunner of the Etham District Historical Society) entered a float in the Festival Grand Parade. The Society's participation in this year's Eltham Community Festival was highly successful. We arranged an exhibition in the Eltham Library on the theme of ''Along the Main Road" and our float in the Festival Grand Parade "Pioneers of Eltham" won the prize donated by Pegasus Interiors for the best Eltham theme. The success of the float was due mainly to the efforts of Joh Ebeli. Joh was entirely responsible for the design and artistic work on the float and with help from Geoffery Loftus-Hills and Mark Gough actually constructed it. Society members and friends together with members of the Victorian Folk Music Club completed the picture, riding on and walking with the float in the parade. Mrs. Opal Smith and Mrs. B. Brinkkotter organized many of the costumes for participating members and Mrs. Phyllis Macdonald made the arrangements with the Victorian Folk Music Club. Thanks were also due to Mr. P. Quirke of Research Fruit Supply for the loan of his truck and to Eltham Hardware and Plumbing Supplies for the donation of materials for construction of the float. The $50.00 prize was shared with the Victorian Folk Music Club. Following the success of this event, it was considered that future parades were an important annual event for the society to participate in. 35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotseltham festival, parade, parade floats, pioneers of eltham, eltham district historical society, shire of eltham historical society

Photo taken immediately prior to the demolition of the old baker's shop on the corner of Main Road and York Street, Eltham. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house. The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Publicity at the time was oriented toward moves to preserve the weatherboard building which came from a number of individuals including members of this society. The society had no official connection with any proposal to retain the building or any part of it on any other site. The issues involved were part of a wider consideration of the matter of preservation of historic buildings. In this case the Society and in particular the committee had been aware for some years of the impending demolition. The possibility of the preservation of the building had been canvassed on a number of occasions. The Society’s view was that whilst the baker’s shop was an interesting old building which contributed to the character of Main Road, it was not of sufficient importance to wage an organised campaign for its preservation. It considered that if the building were to be preserved for historical reasons it would be far more feasible to retain it in its present location than to re-build it on another site.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

Photo taken immediately prior to the demolition of the old baker's shop on the corner of Main Road and York Street, Eltham. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house. The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Publicity at the time was oriented toward moves to preserve the weatherboard building which came from a number of individuals including members of this society. The society had no official connection with any proposal to retain the building or any part of it on any other site. The issues involved were part of a wider consideration of the matter of preservation of historic buildings. In this case the Society and in particular the committee had been aware for some years of the impending demolition. The possibility of the preservation of the building had been canvassed on a number of occasions. The Society’s view was that whilst the baker’s shop was an interesting old building which contributed to the character of Main Road, it was not of sufficient importance to wage an organised campaign for its preservation. It considered that if the building were to be preserved for historical reasons it would be far more feasible to retain it in its present location than to re-build it on another site.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

The old weatherboard building, possibly dating from the 1860s, comprised a dwelling with a shop in the front room opening off a timber verandah deck which directly fronted the Main Road footpath. At the rear is a brick building of much later date which was for many years used for the bakery. The buildings were demolished for flat construction. Joh Ebeli and Elwers Howard endeavoured to preserve some parts of the house.35 mm colour positive transparency Mount - Agfachrome Professional black (Germany) 4 dotsmain road, old eltham bakery, york street

Photograph - black and white. Photo looks like professional bike riders getting ready to race. .Cassihello and Bowman.person, group, male cyclists, adult bicycle riders - racing.

Sepia photograph. Two unidentified women standing in front of a Marquee (at Burnley?), probably a professional photographer.women, j.l. provan, special occasion

Photo of Geelong Pengelley No. 16 in Pakington St. Geelong at the junction with the Newtown line. Tram is coming from Chilwell and has the destination of Station. Tracks from Newtown at bottom of photograph. Photo by Hugh Ballment, 25-5-1954. See item 9583 for a print of this image.Yields information about Geelong No. 3 in 1954.Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide."G 13" and "1 -13" in pencil.tramways, trams, geelong, pakington st, chilwell, tram 16

WW1 AIF Training Camp in Egypt prior to deploying to Gallipoli The photograph shows the living conditions (Tents). It also shows the vastness of the site and suggests large numbers of servicemen. These two photographs are historically significant. They demonstrate the conditions that the soldiers in training experienced before they arrived at the front-line. They give the modern viewer some understanding of what it was like in Egypt. It is also very significant because it keeps the memories alive. Professionally framed work, two pictures one above the other. Shows AIF Camp with pyramids in background.Brown frameaif training, gallipoli, 1st australian division, egypt, ww1, australian imperial force

Alexander Wright was born on 25 August, 1898 in Smeaton He was the brother of musician Frank Wright. Alex Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN CARUSO Smeaton Boy's Fame Andre Navarre, who left Australia about three years ago to study opera in Europe, bids fair to take a place among the world's great tenors. A few months ago Navarre sang for Melba for the first time, and she immediately acclaimed him to be a finished artist, describing his voice as the nearest approach to the immortal Caruso she had ever heard, writes the Ballarat "Courier." Andre Navarre is, however, only a stage name adopted by Alexander Wright, a son of Mr. and Mrs. William. Wright, of Armstrong street North, Ballarat, and brother of Mr. Frank Wright and Mrs. William Ritchie, of that city. Born at smeaton 31 years ago, in what may be termed a musical atmosphere; Alex. Wright showed a definite desire to sing at a very early age, and in his boyhood figured as soloist at school concerts, etc. His youth was spent around Smeaton, working at home and at various farms in the district until he was about 19 years of age, when he secured a position at the Dunlop rubber works, Melbourne. Up to this period Wright had no vocal training whatever, but being the possessor of a good resonant baritone voice, was persuaded by some of his friends to "have a go at the stage.'' Securing a position in the chorus of "Maid of the Mountains," which was at that time showing at the Theatre Royal, he soon made his voice heard to advantage, and also commenced to take lessons from Signor Robottaro. It was about this time that Wright was invited by a fellow musician to a musical evening at which a member of Rigo's grand opera company, then performing at " The Playhouse," was also present. Hearing Wright sing, the musician immediately said : ' You're a fool to waste your time in a chorus with that voice. Rigo is looking for a singer like you for the role of 'Figaro' in 'Barber of Seville'." Alex, however, did not take the remark seriously, and it was only after the numerous persuasions of friends who obviously knew the real value of his voice that the modest young man was eventually induced to meet Rigo. The Italian maestro was so delighted with the voice that without hesitation he was given the principle role of "The Barber" to study. Many singers having previously been tried and rejected for the part, Wright was astonished at his success in being chosen, and awakened suddenly to the fact by the maestro that a world voice, if properly trained, would surely develop in the young artist, Alex at once settled down to study, and all day long in his boarding house at St. Kilda could be heard rehearsing his new role. In less than a month he had completely mastered the part, and on the opening night, in the exacting role of "The Barber," he was an outstanding success. Later, he toured Australia with many leading artists, including Elsa Stralia and Harry Lauder, and spent his last two years in Sydney, where he was engaged as soloist in the biggest picture house. Realising that a training in Italy and on the Continent was essential for a successful operatic singer, the young artist decided to go overseas to continue his studies. He did not leave Australia, however, before he gratuitously gave a concert in his little home town to the obvious delight of all his old friends, who flocked from all parts of the district to hear him. The hall was packed to overflowing , and so pleased was Alex with the tumultuous reception he received that he sang fewer than 20 songs. Once in Italy, he lost no time in placing himself under the tuition of Cottone, and it was at the studio of this maestro that he met Toti dal Monte, a former protege of the same master. Two years were spent in Italy, when "Navarre" learned to speak the Italian language fluently, and acquired a wide knowledge of the operas. He sang in Milan about a year ago, and was paid some glowing tributes by the Italian Press critics, who likened his voice to that of Caruso. From Italy he went to Paris, where he met John Brownlee and many other famous singers. The critics on the Continent are unanimous that Andre Navarre-the unassuming Smeaton boy, whom his schoolmates still affectionately call "Hock"--is destined to become one of the luminaries in music history. It is interesting to recall some facts concerning the remarkable family from which this artist springs. Four other members have won championship honors in the musical world. Mr. Frank Wright has the Australasian cornet championship to his credit ; Mr. Norman Wright, of Sydney, has won a tenor championship of New Zealand, and has recorded for the Columbia Gramophone Company ; Mrs. Wm. Ritchie ( formerly Miss Laura Wright) won the A.N.A. contralto championship in Melbourne; whilst the oldest member, Lydia (Mrs. C. Cane, now in N.Z.) won the violin championship at South Street when 17 years of age. Last year Mrs. and Mr. Wright celebrated their golden wedding. Both of the old folk are intensely musical, and it has been said that the voice of the mother, although entirely untrained, showed in her earlier days glimpses of the beautiful quality which made Melba famous. Andre Navarre does not propose leaving the Continent for some time. Recently he was offered a 12 months' contract to sing in London for £2500 but on the advice of Melba and his coach, it was refused on the grounds that yet another 12 months' French study was necessary to ensure absolute perfection. That "Alex " has lost none of his school-boy wit is evinced by his own jocular remark that he has "a top C sharp that will crack every window in the Sydney Town Hall!" (Horsham Times, 20 February 1931) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Black and white image of Smeaton born Alexander Wright whose professional name was Navarre "Prince of Mimics". alexander wright, alec wright, navarre

Souvenir magazine: JACK KRAMER PRESENTS WORLD'S PROFESSIONAL CHAMPIONSHIP TENNIS 1958. Materials: Paper, Inktennis

Souvenir magazine: JACK KRAMER PRESENTS WORLD'S PROFESSIONAL CHAMPIONSHIP TENNIS 1959. Materials: Paper, Inktennis

Tatura club formed during the 1980's. "Meals and Wheels" - holiday workshops for children and District Nursing service just three of our major projects. Not actually a "service club" but B.P.W. joined in many local activities to help promote our town.Metal logo, taken from "Welcome to Tatura" sign, showing visitors the service clubs in our town. Made in the shape of Australia - black metal with silver outline of Australia, with silver capitals of organization.I.F.B.P.W. painted in silver, across "Australia". "International Federation of Business and Professional Women". i f b p w, international federation of business and professional women, meals and wheels, district nursing, tatura service clubs

Black and white photograph of Pearce family orchard at site of present Blackburn High School. Photo taken by photographer from Commonwealth Department of Trade and Commerce using professional models. Photo taken for overseas trade publicity professional models. Photo taken for overseas trade publicitypearce, ronald, harry, edward h., blackburn high school, orchard, australia. department of trade and commerce

A three page document entitled 'Testimonial s of Richard Jones', consisting of a list of references for Dr. Richard Jones and a list of his achievements. Printed by Sword Bros. Walker St. Dandenongperson, receipts, professional, richard jones

Original photograph donated. Tatura Fruit Preserving Cannery located in Brown Street, c.1920. T. Edwards & Manafer E. Quine.Original photograph of Two men standing in front of the Tatura Preserving Cannery building, professionally mounted in B. & W.On back- Tatura Cannery. T.Edwards; E. Quine (Manager).tatura cannery

'The World of Professional Tennis' publication for The Queensland Open and the Australian Indoor Tennis Championships 1990 Materials: Paper, Inktennis

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'.alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'. "Proof only. This proof remains the property of the photographer K Lerfiniere Ross and must be returned No 137-1"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)