Known for its distinctive ‘boo-book’ sound which gives it its name, the Southern Boobook owl inhabits a variety of environments, including woodland, rural, open desert and dense forest. It is found on mainland Australia as well as Tasmania and other costal islands. Some similar species can be located in New Zealand, New Guinea and Indonesia. Young Boobooks’ plumage is mostly off white, and there are slight variations in subspecies based on location - the Cape York rainforest owls are a larger, darker brown bird while the Tasmanian Boobooks are smaller and often have more white flecks on their plumage. Southern Boobooks hunt and eat nocturnally and, like most owls, their diet consists of smaller animals including smaller mammals and insects. While elements of this particular specimen are representative of the actual bird, the form and structuring of this specimen’s neck area appears to be somewhat out of shape in comparison to images of the actual bird, which present a distinct head structure. The eyes on this specimen are also problematic, as they are solely black - not aligning with accurate representations of this species that have a distinct golden yellow outer ring in their eyes around a large black pupil. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.One of the most commonly found Australian species of owl, the Southern Boobook, or Mopoke as it is also known, is also Australia’s smallest owl. With a coating of dark chocolate brown coloured plumage on its wings, dorsal area, continuing onto the top of the head and around its eyes, the owl’s breast plumage is flecked with hazelnut brown and white feathers. Its chin and nose areas are a soft creamy white, and the owl’s beak is a darker grey. Traditionally, the eyes are yellow as are the legs and taloned feet. This particular specimen stands upon a wooden perch and an identifying tag hangs from its right leg.Swing-tag appears to read: '39. Boobook Owl / Catalogue page 53.' The 2 digit number at the beginning of the label could also be '3a'. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, southern boobook, mopoke, australia, boobook, nocturnal, ninox novaeseelandiae, owl

Mrs Sheila Parkinson was born in Wagga in 1916 and came to Beechworth as a young woman around 1938. Sheila trained as a psychiatric nurse at Mayday Hills hospital prior to the second World War. At that time, unmarried women were accommodated and received nursing training on-site. Shiela was obliged to cease professional training and employment when she married in 1941, which disrupted completion of her final nursing examinations. Following post-war changes to the law that allowed married women to work, Sheila returned to Mayday Hills. Sheila's husband, Don, returned to Beechworth after four years abroad as a serviceman in the Australian Air Force. Beechworth's institutions were a major source of local employment throughout the twentieth century. As well as providing limited employment opportunities to young women like Shiela, post-war European migrants from Bonegilla Migrant camp found at Mayday Hills, encouraging European migrant settlement in the district. Mayday Hills was renamed several times since its establishment in 1867. At the peak of operations, it comprised sixty-seven buildings housing over twelve hundred patients patients and five hundred staff. The hospital officially closed in 1998. Today, the decommissioned two-storey Italianate style main building stands on eleven hectares of botanical gardens under National Trust protection. The site remains a popular cultural heritage destination for visitors. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. The cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Employed as a psychiatric nurse at one of Beechworth's large welfare institutions, Mayday Hills, Mrs Sheila Parkinson recalls the conditions faced by staff and patients at the hospital, which cared for chronically ill people from the Ovens region and patients from the Yarra Bend Asylum, Melbourne, which closed in 1925. When Sheila first began her nurse training, Mayday Hills suffered from a lack of resources and rudimentary facilities and patients frequently suffered from the cold due to poor heating and inadequate clothing and bedding. However, as the twentieth century progressed, Sheila recalls how conditions and treatments improved as a result of increased government funding of services and advances in psychiatry and pharmaceutical medicine. Mrs Sheila Parkinson's oral history recording is historically and socially significant for its witness to life in Beechworth in the pre- and post-WWII period. Sheila's story enriches our understanding of processes of modernisation with regard to psychiatric and welfare services, while the course of Sheila's professional training and employment brings attention to systemic and socio-economic barriers faced by women, as well as the valuable contribution women and migrants make in the delivery of care and ancillary services. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the twentieth century, many of which would have been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs Sheila Parkinson /twentieth century beechworth, mayday hills, psychiatric care, benevolent asylums, nursing, wwii, psychiatric treatment, country women, psychiatric hostpital, beechworth's institutions, local employment, government institutions, listen to what they say, oral history, burke museum, sheila parkinson, beechworth lunatic asylum, beechworth mental hospital, beechworth hospital for the insane, the kerferd clinic, bonegilla migrant camp, working women, white australia policy

Grace Mitchell, a talented artist in later life and baker, managed a pastry shop business near the corner of Mount Pleasant and Main roads, Eltham in the 1950s. Shortly after her marriage to Arthur Mitchell in 1948, Arthur incurred a head injury from an accident and was unable to work. Grace realised she needed to be home to care for her husband as well as earn an income. She managed the bureaucracy of council permits, and made modifications to her home with savings to get the business off the ground without having to borrow money. Grace and Arthur were avid gardeners and would grow, wash and mince vegetables for pasties while Grace handmade and rolled the pastry. They cooked and minced their own meat for the pies and the fruit for the sweet pies came from their orchard at the rear of the property. She also baked scones and cakes. With weekend visitors travelling to Eltham on the train for days trips, her reputation grew as the spot for afternoon tea. Grace’s daughter Jenni mentions the visit of dancer, Robert Helpmann and U.S. actress Katherine Hepburn in her Grace Mitchell: a short history [2012]. Reminiscences in We did open a school in Little Eltham: Eltham Primary School 209, 1856-2006 a history [2006] include a mention of Grace’s famous pastry shop and the Sunday afternoon visit by Helpmann and Hepburn. Grace operated her pastry shop for over 16 years. She supported the Shillinglaw Cottage Preservation Campaign to preserve the cottage through its Flavour of Eltham community cookbook published in 1964 and hosted cooking classes in the new Living and Learning Centre. Grace Mitchell passed away aged 95 years in 2011. In memory of John Arthur Mitchell 1905 – 1975 And Grace Mitchell 1916 – 2011 Loving parents of Jennifer MitchellBorn Digitaleltham cemetery, gravestones, grace mitchell, john arthur mitchell

The Eltham Hotel was opened in 1854 situated on the south east corner of Main Road (Maria Street) and Pitt Street. Post card dated Eltham 2.1.1908 sent to Mr C. Watson "Malvale" Mardan Inscribed "Wishing you a Brigt and Happy New Year from Florrie" Most likley sent by Florence May Shillinglaw to sister Carrie Watson and new brother-in-law Christopher Watson - The Watsons married in 1907 View looking south on Main Road towards Pitt Street and Watson's Eltham Hotel on left. At this time, the hotel was run by Christopher Watson Jnr. Carrie Shillinglaw had recently married his son, Christopher. Ultimately the hotel would pass to his youngest son, Herbert James (Jim) Watson who demolished the original building in 1925 and erected a new modern building on the same site that remains in present time though modified several times over the years. See also EDHS_00133 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, eltham hotel, florence may bunker (nee shillinglaw) (1886-1969), main road, pitt street, caroline (carrie) watson (nee shillinglaw 1876-1956), christopher watson, 1908

Published: "The Melbourne Post" page 369, 22 November 1866. Reproduced Page 76 "Pioneers and Painters" One wet and miserable October night in 1866 a well-spoken young Irish braggart, who was wearing a poncho or riding cloak, knocked on the door of the home of Mrs. James Russell (nee Haughton) in Russell Road, Warrandyte. Realising that he was weary and hungry, Mrs. Russell gave the young visitor food and a bed in a hut up the back yard. The next morning she found he had gone as Harry Houghton had obligingly rowed him across the river in a mining punt. The man was Robert Burke (aka Bourke but real name Clusky), a known bushranger, who was being hunted by the police. Burke went to Kangaroo Ground where he stayed at Wellers Hotel before moving onto Hurstbridge. At Hurstbridge some hours later, he was eating breakfast given him by Miss Ellen Hurst, whose suspicions were aroused when she noticed a pistol in his pocket. Hastily she informed her brother, who loaded a shot gun and confronted Burke, an argument broke out and Burke produced a pistol. Hurst fired his shotgun, but missed. The two scuffled and during the scuffle, the pistol fired, wounding both Hurst and Burke. Burke was over-powered by some station hands and placed under arrest. Hurst, unfortunately, died later that day. Poor young boastful Burke - he was found guilty of murder and hanged, despite a strong recommendation for mercy and a large petition signed by Melbourne citizens claiming that he reacted in self defence. Edited extract from ‘Warrandyte a Brief History’ by Bruce Bence 1991. (Posted to Warrandyte Historical Society Facebook page 27/01/2021)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 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 Print 16.5 x 22 cmhurstbridge, illustration, robert burke, fight, bushranger burke, other areas, pioneers and painters, sepp, shire of eltham pioneers photograph collection, bushranger

This nameplate is a reproduction of the Ross & Duncan nameplate and was displayed on the Rowitta vessel activation at Flagstaff Hill. Ross & Duncan of Glasgow manufactured marine engines and boilers from the time it was established in 1860 and growing to employ 450-500 workers by 1911. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. It was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. It was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, it was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so it was restored back to its original configuration. The vessel represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of ongoing repairs. The vessel had given over 100 years of service and pleasure to those who knew her. The nameplate was reproduced to represent the Glasow marine engineers and boilermakers, Ross & Duncan, that were the makers of the engine for the exhibition steam ferry Rowitta. The Tasmanian-built vessel had a long career in Tasmania and Victoria. The nameplate is significant for its connection with the Rowitta, representing the importance of coastal traders to transport, trade and communication in Australia in conjunction with the new rail and motor vehicles. The nameplate is a record of an exhibit at Flagstaff Hill Maritime Village from its early beginnings. Maker's brass nameplate; brass, with embossed text and a hole in each corner. The background is painted red. There are five rows of text; the top row is arranged in an arc. On the bottom row is a number. The nameplate is a replica that was once displayed on the Rowitta vessel at Flagstaff Hill. The reproduction nameplate is for the company Ross & Duncan of Glasgow."ROSS & DUNCAN / ENGINEERS / WHITEFIELD WORKS GLASGOW / NO. 779" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, steamer, steam ferry, ross & duncan, marine engineers, marine boilers, glasgow engineers, whitefield works, reproduction, scotland, steamer engine, rowitta, sorrento, ss rowitta, navigation, marine technology, steam power, hobart, tasmania, devonport, tasmanian-built, ferry, 1909, early 20th century vessel, passenger vessel, tamar trading company, tamar river, launceston, george town, tarkarri, speculant, peter mcgennan, p j mcgennan & co. port phillip ferries pty ltd, melbourne, coastal trader, timber steamer, huon, karri, freighter, supply ship, charter ferry, floating restaurant, prawn boat, lakes entrance

Transcription of plaque: Not Just a Pretty Place acknowledges the cultural significance of this site for residnets of the Nillumbik Shire and for the Wurundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place and landmark. The oval shape of a coolamun (Wurundjeri dish or basket) is referenced in the sculpture as a reminder of the indigenous heritage and as a gesture to reconciliation Danko describes the work as a contemporary message stick or sign, that can be read as a merker of time, nature and human existance. 2000 Nillumbik Art in Public Places Award. Heritage Excursion - Saturday 1st July - Eltham Lower Park - Walk and Talk Eltham Lower Park has played an important part in the history of our area since the early days of European settlement when it was used by local residents as an informal racecourse. Prior to that its location at the junction of the Diamond Creek and the Yarra River made it an important meeting place for the Wurundjeri people. The park combines formal elements and sporting facilities with remnant bushland that is of environmental significance. It is home to sporting and horse riding clubs, popular play spaces and the Diamond Valley Miniature Railway, which attracts large numbers of visitors. The park will be the venue for our July excursion which will comprise a walk of about 3.5 km around the park and adjacent areas. Along the way we will discuss the history and natural history of the area. The path along the creek and the river provides a pleasant and scenic walk. This walk on Saturday 1st July is about 3.5 km in length and will take 2 to 2.5 hours. It will start at 2pm at the Main Road car park at the front of the park. (Melway ref 21 H 10). From Newsletter No., 234, June 2017 Born Digitalelection day, heritage excursion, activities, eltham district historical society, eltham lower park, not just a pretty place, public art, plaque

This Bosun's char was part of the equipment on the vessel 'Reginald M. It is typical of items included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The REGINALD M - 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. The vessel had many owners and adventures over the years until it was purchased by Flagstaff Hill Maritime Museum & Village in 1975 from the Melbourne Ferry Company at auction. It was then used as an active display until 2016. Visitors could go aboard, turn the ship's wheel, go below deck and get the feel of the captain's quarters, sailors' quarters and the storage space available. The Reginald M was a popular exhibit for young and old, until 2016.This bosun's chair is significant for its connection to the maritime history. It has been used for rigging, painting, maintenance and importantly for life saving and safety. The bonus's chair is also significant because of its connection to the history of the vessel REGINALD M, the coastal trading ketch from South Australia built in 1922 and in existence until 2016. Its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. The Reginald M is listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Bosun's chair; seat is a rectangular plank of wood with a hole drilled in each corner and three reinforcing wood lengths attached below the plank. The ends of two looped thick ropes have been threaded through the holes in the plank, crossed over then spliced together. The loops of rope above the plank have been tied with light rope. A roughly made wire hook is attached at the base of one length of rope. Top surface reveals indents where the bottom wooden pieces are joined to the top and some of the metal fixtures can be seen along the edge. There are remnants of white paint on the top.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

This remote-controlled ship model was made by the blacksmith at Flagstaff Hill Maritime Village in the likeness of the Village's display passenger ferry, the S.S. Rowitta. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australian times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of ongoing repairs. She had given over 100 years of service and pleasure to those who knew her. The remote-controlled model of the S.S. Rowitta is significant for its association with the Tasmanian early to mid-1900s passenger ferry, the wooden screw steamer Rowitta. It is is connected to the history of the Rowitta, that was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The display was used as an aid to maritime education. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Model of the wooden steam ferry "S.S. Rowitta". This is a radio-controlled model built by the Flagstaff Hill blacksmith.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ship model, remote controlled steam ship model, s.s. rowitta, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, tasmanian passenger ferry, vessel, charles street wharf launceston, sorrento, remote control boat, rowitta model, remote-controlled model

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This satchel was used by Junior Postal Workers in Bendigo to carry telegrams which were delivered by bicycle in the early years and is part of the postal collection donated by the Rankins family in memory of Ted. Small, dark coloured rectangle, leather satchel with attached belt and ornate buckle. Satchel is made of four pieces of leather: two side pieces, one piece which is folded to create the front, bottom, back and flap and one piece for the central strap. The central strap has a single hole through which a metal toggle is inserted to secure the flap closed. Stitching is evident around the side seams, around the metal toggle and inside flap where strap is attached and has been reinforced. Satchel has four metal tabs to secure the top front to the top sides and an internal pocket on inside. The leather belt is attached to the back outside of the satchel with four metal press studs. The left side buckle also has reinforced stitching. Both sides of the buckle have decorative elements with the words Post Office / Communications/ Australia on the left side around outer circular edge. Underside of right side of buckle end has the words AROS pressed into it. Inside flap of satchel; Australia / Post / Telegram / Boys written in marker. Buckle; Post Office / Communications / Australia. Underside of right side of buckle end; AROS Internal; Gold address sticker with Ted Rankins contact details.ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This satchel was used by Junior Postal Workers in Bendigo to carry telegrams which were delivered by bicycle in the early years. Small, rectangle, leather satchel with attached shoulder strap and buckle. Satchel is made of five pieces of leather: two side pieces, one piece which is folded to create the front, bottom, back and flap and two small pieces to hold strap ring. The flap has a single hole through which a metal toggle is inserted to secure the flap closed. Satchel has four metal tabs to secure the top front to the top sides and an internal pocket on inside. The leather strap is attached to the top of the side seams of the satchel with circular metal rings and two metal press studs. Inside flap: Sticker with '540B'bendigo post office, bendigo tourism, city of greater bendigo tourism, making a nation exhibition, post office collection

When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility the nation's mail and telephone services fell on local Post Offices. The Bendigo Post Office was designed by Public Works architect George W Watson and constructed between 1883 and 1887. The two story brick structure with basement has unpainted rendered facades and a 43m high clock tower complete with 6 bell carillon. The facades are elaborately decorated with Corinthian pilasters, balustrading, lions' heads and the state mansard roof with cast iron ridging and finials. (VHR #4739). Situated on Pall Mall it has always been called the Bendigo Post Office even though it was not until 1891 that the name Bendigo was given to the town. The Bendigo Post Office housed much more than just postal services and the building contained many early government departments and services needed for a growing district. The building celebrated its centenary on the 30th September 1987 to much fan fare with Ted Rankins, the then Postal Manager planning many of the week long events including tours of the post office, a grand parade with cake and staff in period costume, a ball at the Shamrock and a barbeque in Rosalind Park. The Post Office ceased providing postal services in 1997 after the privitisation Australia Post and Telstra but continues to play a central role for the community, providing important services to visitors and locals alike. Currently it is occupied by Bendigo Tourism and includes two exhibition spaces including the Living Arts Space and Djaa Djuwima a dedicated and permanent First Nations Gallery. Activities at the Post Office are supported by City of Greater Bendigo staff and a dedicated group of volunteers. These items are part of the postal collection donated by the Rankins family in memory of the last postal manager at the Bendigo Post Office, Ted Rankins. 0364.1: Single sided printed 'Order of Proceedings' flyer; Outlines the running of events for the celebrations on Wednesday 30 September, 1987 at the Post Office with the centenary logo centre top in crimson ink. 0364.2: Single sided, four-colour printed, DL size invitation for celebrations marking the centenary of the Post Office on Wednesday 30 September, 1987. 0364.3,.4,.5,.6,.7: Printed cake bag with centenary logo and image of Bendigo Post Office printed on front in crimson ink. 0364.8,.9,.10,.11: Square note paper with centenary logo and border printed in crimson ink. 0364.12 Envelope: Australia Post envelope with Bendigo 100th anniversary images. Date stamped and addressed to Mr Edmondston Postmaster, Elmore. bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection, ted rankins collection, city of greater bendigo volunteers

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This belt buckle was used on the leather satchels used by Junior Postal Workers in Bendigo to carry telegrams which were delivered by bicycle in the early years. The buckle is part of the postal collection donated by the Rankins family in memory of Ted Rankins.Circular belt buckle from telegram delivery satchel belt. Inner buckle depicts the Greek deity Hermes who personifies the transmission of information and was adopted as an allegorical representation of the function of postal services. Outer buckle; Post Office / Communications / Australia. Centre top outer buckle; emu, kangaroo and shield Inner buckle; Hermes (left facing)bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection, ted rankins collection

Program produced as part of the open air play peformed in Hurstbridge twice on the 4th and 12th of October 2024. Contents include: Allwood history - Allwood today - Construction of The Bridge - Cast - Synopsis - Directors - Crew - Hearfelt thanks and tribute to Pam Lawson. The Premiere of the open air play The Bridge performance at Hurstbridge was by members of the Allwood Neighbourhood House and the Hurstbridge Community. To commemorate 100 years of Hurstbridge township, the production was led by local historian David Kerrigan who co-wrote the play with Keira de Hoog. The quiet life of the Diamond Creek district was shattered on the 4th October 1866 when a visitor arrived seeking food and shelter. What followed has become part of the Hurstbridge story. The death of Henry Hurst by the bushranger Robert Burke and the subsequent inquest, trial and execution of Burke captured the attention of the nation. News of the event was reported nationally and in UK newspapers. Rain at sunset on opening night set the scene for the sombre story which opened with clap sticks and imagery as part of the acknowledgement of country. Attention to detail in Act One included the enactment of writing a letter that Ellen Hurst had actually written back to her family in England, days before the incident, which set the scene – and choreography of the “capture” of Burke immediately following the shooting as drawn by the engraver Robert Bruce and published in 1866. The cast, crew and audience moved around the actual physical site the altercation took place till the final act and judgement of Sir Redmond Barry to execute Burke. The souvenir program given to ticket holders includes photos and biographies of the cast taken in costume at Gulf Station, Yarra Glen, together with background information and the narrative of the play. Guests on opening night – 158 years ago to the day of the event included Dianne Switzer, descendent of pioneer Cornelius Hailley and Rob Fergusson, descendent of Henry Hurst. plays, hurstbridge, allwood neighbourhood house

Mary Ena married Keith John Robinson son of Isaac and Henrietta nee Raleigh of Creighton Melton. Mary and her father are photographed beside the Darlingsford house prior to her wedding in February 1930. Mary their first child was born in 1907. In circa 1980 she wrote about her parents and her early life. Page 1 of part of the original hand written script - Mother and father were married at the Methodist Church Melton by the Rev B E Williams on Aug 23rd 1906 and lived in the house beside the chaff mill for some years. [The family left Melton South in 1910. In 1911 they moved to the farm “Darlingsford” near the town of Melton home for their nine children born between 1907 - 1922 They had three daughters and six sons, the second boy died of diphtheria 1916 aged 5 years.] Page 2 Mary writes… Each winter Father would send a 20 ton truck to the Collingwood Central Methodist Mission to be distributed to the needy people in the area. Sr. Faith who was at the mission for many years became a very much loved friend of my parents and the family. I remember her as a prolific writer of childrens stories in the Methodist paper the “Spectator”. I still treasure a book sister Faith gave me for my birthday. Father and Mother gave the first donation of 10 pounds to open the fund to start “Yooralla” for crippled children all because a small boy asked for a bag of sweets for his brother who was crippled and not able to attend kindergarten. Sister Faith who was a small fragile woman with a tremendous spirit was a frequent visitor at our home where she loved the warmth, good food and the loving companionship of the family for many years. Later she ran the Chaucer Library in Collins just below Georges near the Athenaeum Theatre. Mother was an avid reader and many of the books she read came from this library. Page 4 – Mary writes….. Dad was always involved in district affairs ever ready to help someone in need, especially as a J. P. helping young people who may have been in trouble. He was always involved in the care of his [eight] brothers who were in need at times. He was an elder at the Scots Church Melton and Sunday School Superintendant when the Sunday School thrived. The anniversary became a special event with good singing supplemented by good music by Dad’s friends from Footscray saxophone and violin. The church would be packed both Sundays. The family home was open to all and sundry from the little Salvation Army lass from Bacchus Marsh driving a horse and jinker (without any experience) round the district. collecting, came looking for a bed for the night (and later crept into bed with me because she was terrified). The Methodist local preachers regularly spent several night and breakfast while visiting people in the Melton area. They were stationed at Bacchus Marsh and again drove a horse and jinker. One preacher I remember with gratitude was Mr Webster a retired school master and a fine man. Another was Pastor Tuttlebee again with no experience driving a horse and jinker. The first time he called Mother found him taking the winkers off the horse whilst it was still harnessed to the jinker. Another regular visitor was Mr Lister the federal member for Corio, he always stayed with us when he had meeting in this area. Another evening just as dusk another minister and his dear little wife were driving the horse and buggy to a new parish at Ballarat. They had asked at the Mac’s Hotel for accommodation, and their reply was we have no accommodation, go down to Mr and Mrs Barrie they will put you up for the night. They were most grateful to be taken in and cared for, somehow it seemed the most natural thing in the world that they would be welcome. A copy of Mary’s writing was given to her niece Wendy in 1990. Mary Ena Barrie's wedding daylocal identities

Originally a race course, the park has brought the community together with a variety of activities. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p45 Once used for horse racing, which attracted visitors from Melbourne, the Eltham Lower Park has brought the community together with a wide range of activities. Horse riding is now enjoyed as a recreation in the park as are other sports. The park also includes the Diamond Valley Railway miniature trains and a sanctuary for the rare and vulnerable Eltham Copper Butterfly. Eltham Lower Park, with other parks, forms an almost continuous green band from Eltham’s centre, along the Diamond Creek to the Yarra River.1 Before European settlement the Wurundjeri people met on this land, particularly at the junction of the Diamond Creek with the Yarra River, which they called Birr-arung. This is commemorated by the sculpture, Not just a Pretty Place by Aleks Danko, winner of the 2000 Nillumbik Art in Public Places Award. The first European to settle here was probably Henry Foley, who in 1841 used it as part of his pastoral run. Foley sold his leasehold to Joseph Wilson in 1845, who soon after sold it to Frederick Falkiner.2 During the 1840s the future park was part of a government square mile (2.6 sqkm) reserve, north of the Yarra, within the Parish of Nillumbik, later named Eltham. Soon the land was used for horse racing after nearby residents cleared ten acres (4ha) in the early 1850s. A three-quarter of a mile (1.2km) race secured the winner the £10 Publican’s Prize. In response to popular demand, the newly formed Eltham District Road Board petitioned the Surveyor General of the Colony of Victoria, in 1856, for 36 acres (14.6ha) of crown land for a racecourse and recreation. By 1858 the Eltham races had become an institution. ‘Many skirmishes occurred and the way home was paved with temptation, with sly-grog for sale.3 In the early 1870s, two jockeys were sons of the police officer in charge of the Eltham Police Station, Miles S Lyons.4 Another ten acres (4ha) was added to the area in 1866 and 12 acres (4.8ha) – Hohnes Hill – in 1870. In 1866, two acres (0.8ha) on the creek banks became an animal pound with William Walsh the pound keeper in 1870, but this was later incorporated into the park. By 1877 the area was called a public park but horse racing and training continued into the 1920s. In the mid-1900s trotters were trained on a circuit road. In 1953 the Eltham Pony Club was established and used a cross-country course on Hohnes Hill. From the mid 1950s the club held the Eltham Easter Fair at the park, later to include a procession along Main Road from the town centre to the park. The park also attracted picnic parties and campers from the inner suburbs as did Wingrove Park, and businesses catering for visitors, sprang up on the opposite side of Main Road. Bus-loads of school children visited the park for Gould League bird days in the 1960s. In 1979 the Eltham Shire Council bought Lenister Farm, linking the park with the Yarra River. The Lenister Farm wetland includes a bird hide, viewing platform and interpretive signs.5 Pioneer Henry Stooke, later Road Board chairman, bought the 11 acres (4.5ha) - later to become Lenister Farm - from the Crown in 1862. Stooke never lived on this site and the two houses at Lenister Farm were built in the 20th century. Since its formation in 1871, the Council has controlled this crown land, which it named Eltham Park. But in the 1920s Eltham Council bought land near the town centre for a park, which it named Eltham Central Park. To avoid confusion the Council renamed Eltham Park, Eltham Lower Park. Since 2004 the Yarra footbridge has linked the park with the Yarra Valley Metropolitan Park and the Main Yarra Trail.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham lower park, eltham park

Barn Owls are the most widely distributed owl species in the world and one of the most widespread of all bird species, including in Australia. Barn Owls are sedentary and prefer open habitats such as grasslands, farmlands, and open woodlands, where they forage and hunt small mammals, particularly rodents, at night. Barn Owls nest in deep hollows in old trees, especially eucalypts, but also in caves, rock cavities, and sometimes cavities in buildings. Barn Owl's have a highly distinctive white heart-shaped face and pale underbelly feathers. They can be seen circling low above grassland areas at dusk or at night, and their drawn-out shrieking, hissing, and 'eerie' rasping sounds have led some rural populations to consider they have magical powers. Barn Owls vary in size but average 330-390mm in length, with wing spans between 800-950mm. Females are larger than males and most are a mix of white, pale brown and shades of grey speckled with fine black tear-shaped spots. They have a distinctive flat heart-shaped facial mask with oversized oblique black eye-slits and black irises. A ridge of feathers sits above the beak resembling a long nose. The feet vary in colour from pink to grey, and beaks can be pale to dark buff, corresponding to general plumage hue. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Barn Owl is medium sized with long wings and a short squarish tail. Its underbelly is pale and speckled with dark spots. The wings and tail feathers are light brown, grey and white with small, dark, tear-shaped speckles on the upper parts. It has a distinctive white heart-shaped facial disc with large black eyes and curved beak. This specimen stands on a wooden perch pedestal and it has metal and paper identification tags attached to its legs. Swing tag: 36. / Barn [torn] / Catalogue [torn] / Metal tag: 4058 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, birds of prey, tyto alba, heart-shaped faced owl, nocturnal birds, predator birds, 'harbingers of misfortune', demon owl, ghost owl, death owl, magical animals, lich owl, birds as omens, barn owl, carnivore, hissing owl

This glass slide captures a scene from a male hospital ward at Mayday Hills Mental Asylum. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors, including daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses and patients at Beechworth Mayday Hills Asylum in the early twentieth century. It is also historically significant as it is representative of the changing style of treatments and attitudes towards mental illness. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: h /lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills hospital, mayday hills asylum, beechworth lunatic asylum, beechworth mental asylum, psychiatric hostpital, beechworth, burke museum, beechworth municipal council, beechworth patients, psychiatric patients, victorian heritage register, 1900, 1900 mayday hills, italianate style, 19th century asylums, asylums victoria, male ward mayday hills

Jackson Boilers were based in Leeds, manufacturing instantaneous water boilers and later coffee machines for restaurants and canteens. They appear to have still been in business in 1971 but there is scant information available at this time regards the company history or origins. Jacksons became very successful throughout the first half of the twentieth century with showrooms and sales offices in Scotland the Midlands and Southern England they also had an office in Dublin Ireland. In the 1920s they began to supply many shipping lines with catering water boilers for their ships and applied for a USA patent for the tube boiler in 1930 the design for which appears to have been invented in 1926. It is assumed that the company was taken over and amalgamated sometime in the 1970s but the writer has been unable to establish what exactly happened to the company and who had taken it over or when it first started to produce water boilers for commercial sale. it is assumed Jacksons began production of water boilers in the late 19th century. The Jackson boiler was recovered from the Reginald M, a small cargo vessel that was built in Port Adelaide in 1922 and was named after her builder and first owner John Murch. It was launched at Largs Bay South Australia in 1922 to carry cargo around South Australia including guano, barley, wool, horses, cattle, timber, explosives, potatoes, shell grit, and gypsum. It passed through numerous owners over the years and primarily maintained its purpose as a cargo vessel. After it was decommissioned for many years the vessel was purchased in 1975 by Flagstaff Hill Maritime Museum. Restoration efforts were undertaken, but unfortunately, although restoration was maintained for the craft above the waterline, the deterioration below the surface meant that the Reginald M was resting on the bottom of the lake at Flagstaff Hill Maritime Village and unsafe for visitors to board. As a result, it was removed in pieces from Flagstaff Hill in 2018. Flagstaff Hill's collection includes several items from the vessel.The subject item is a tube water boiler designed specifically for use in a ship's restaurant or dining area and patented by Jackson Boilers of Leeds. The item is significant as its patented design illustrates the evolution of commercial and domestic water boilers that have led to many innervations and improvements in today's boilers that are used in heating and in producing hot water for domestic and catering use. It is also significant as it is one of the earlier boilers the Jackson company made in the early 1920s before they applied for a US patent on their revised design in 1926. Water boiler, free standing Jackson's Tube boiler. Tall metal cylindrical stand with metal sphere on top and several pipe fittings on the sides. A brass tap with a lever handle is connected to the front. A plaque with maker's details is attached under the tap, Details are also impressed into the cylinder above the tap.Jackson Boilers Leeds Ltd. "JACKSON'S PATENT" . Other details indecipherable. flagstaff hill museum, ships water boiler, heating, jackson boilers, leeds manufactures, restaurant and café water boiler, commercial kitchen appliance, reginald m, flagstaff hill maritime village, cargo vessel, john murch, tube domestic boiler

A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This book was issued to Junior Postal Workers in Bendigo to guide them in the delivery of telegrams and designed to fit into their delivery satchels and carried while on the job. In the early years telegrams were delivered by bicycle and this manual is part of the postal collection donated by the Rankins family in memory of Ted. Small, blue, vinyl covered manual. Contains thirty printed pages covering all aspects of how to correctly deliver telegrams. Topics include 'Loss of telegram', 'Undelivered Telegram', 'special Delivery' and 'Beware of Dogs'. Bound with two ring metal clip. Front cover; Australian Post Office / Telecommunications Division / Telegram / Delivery / Instructions / Headquarters / 1962 Various annotations and updates throughout. ted rankins collection, bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection

This photo is part of a collection of Wodonga Town Photos donated by Elaine Mann. Elaine was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community. The Terminus Hotel In 1873, James Thompson Hatch built the two-storeyed Terminus Hotel at 79 Sydney Road (later known as High Street), then sold it to George Day and Kenneth McLennan for £1,230. It was first licensed to J. G. Morton in January 1874. In 1879, Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms, after she and her husband, George James Allen, purchased it. He became licensee in 1883. Under the Allens, the Terminus became, ‘a principal rendezvous for visitors to the town.’ September 1888 saw additions to the building that included a billiard room, a dining room, and 18 other rooms. Following the death of her husband in 1889, Annie Allen continued to run the Terminus Hotel. She later married John Haldon and was licensee of the hotel until 1893 when the licence was transferred to William Carkeek. In the early 1900s the Hotel was thoroughly renovated. The Terminus Hotel was for sale by auction on 5th March 1909. It comprised about 50 rooms, a two-storey building built of brick and iron with hot and cold water service and acetylene gas throughout. The principal hotel in Wodonga, was let from 1st January 1909 on a seven years’ lease at a rental of £9 per week. 1935 saw extensive improvements by proprietor W. P. Kinney, while in 1941 further extensive improvements were carried out to make a good hotel better. A pall of shock and disbelief descended over Wodonga’s historic Terminus Hotel on 1st June 1998 when it was destroyed by fire then demolished in 1999. The site was sold for almost $1 million and redeveloped for a medical clinic.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.Terminus Hotel; Gippsland & Northern Co-operative Pty. Ltd.; Graham Bradbury Men's Hairdresser; Patricia Anne Fashions; Australian Mercantile Land and Finance Company (A.M.L. & F). on the west side of High Street. The Terminus Hotel was built C. 1873. and was destroyed by fire in 1998, The Gippsland and Northern Co-operative Co. Ltd was formed in 1905, but the date of its establishment in Wodonga is not confirmed, but they were holding fortnightly sales at the Wodonga sale yards by early 1919.wodonga businesses, high st wodonga, terminus hotel, gippsland & northern

A supplement to celebrate 150 since the establishment of the Port Phillip Colony (Victoria).40 page newspaper published to celebrate the Sesquicentenary of Ballarat. Articles include: 1838-the pastoral period begins; First White Settlers arrive (Anderson, Winter, Yuille, Kirkland, Learmonth); Learmonths - Pioneer Settlers; The Rush to Ballarat; Last of the Aborigines; Eureka Affair Gains New Importance; Mining-After the rush; SMB - First Technical School; Clubs Play their Part; Ballarat Yuilles had Wealthy Ancestors; Town, Country Share a Close Relationship; Many Sides to Metals Industry; True Victorian City; Five Severe Recessions; Financiers to the Fore; Ready for War; City Rich in Sport Facilities; Visitors to most exciting place; No Place for a Nervous Lady; Theatres Provide Welcome Diversion for Mines; Might Achievers Among famous Citizens; Life Seemed Different After the War; Ballarat School of Mines Eastern Station Hotel; Memorial (Her Majesty's) Last of Many Theatres; Art Gallery at its Best; Pilgrimage to Yuille Cairn at Sebastopol Images include: Jelbart tractor; Sunshine Harvester; Bailey's Mansion; Pennyweight Hotel; Bridge Mall; Blue Riband Mine, Black Hill, Burrumbeet Shooting party; A wendouree rowing club; Motor Cycle Racing; Women bowlers, Queen Elizabeth; Gong Gong Methodist Church; Arbour day at Waterloo Farm, Smythes Rd; Gold panners (1890s); Ballarat Cricket Team (1902); William Peart; D'Angri's store; Sturt St Advertisements include: Rehfisch and Co.; UFS Dispensaries; Deutscher Mower Sales and Service; Haymes Paint; Cincotta's; Abraham's Sportscene; McK's; McKay Macleod; St John of God Hospital; Benjamins Real Estate; Ballarat Water Board; Cornell's Pharmacy; Laminex Industries; Coltman Mitre 10; Lal Lal Iron Mine; Heinz Bros; Crockers; Frank ford travel; S.J. Weir; Ludbrook Plumbing Service; Mars; Robert Sim Building Supplies, Frank Day; Sectrol Systems; Thornton Richardsballarat, anniversary, sydney abraham, cincotta, eureka, ballarat school of mines, mining, ballarat club, lal lal iron mine, ballarat rangers, victorian rifles, 3rd battalion victorian rifles, ballarat militia, white flat, celia scott, adelphi theatre, victoria theatre, montezuma theatre, charlie napier, juliamatthews, royal theatre, dick richards, henry sutton, eleanor lucus, martin hosking, newington estate, saleyards, g. gay & co, ballarat books, old benev' alleviated distress on goldfields

Set of 28 photographs of the operation of the BTM during the Begonia Festival, including the loading of the Horse Tram for Melbourne on Sunday 10/3/2002, operation in Melbourne on 11/3/2002 and reloading in Bourke St. Taken by Warren Doubleday, on Kodak paper. 2013.1 - Tram 671, Wendouree Parade, 10/3/2002 at Depot Junction .2 - 33 at Loop .3 - 40 and 33 south of the loop, heading for Carlton St. .4 - ditto .5 - 671 returning to the loop from St. Aidans Drive .6 - 40 returning to the loop from Carlton St. .7 - 33 ditto .8 - Loading horse tram at Depot Junction - Alastair Reither .9 - ditto .10 - in St. Kilda Road, 11/3/2002 at about 7.30am .11 - ditto .12 - Tram in Moomba parade, 11/3/2002 - Reg Smith, Len Millar - horse Bear. .13 - ditto .14 - ditto .15 - ditto, after passing with the Ned Kelly's. .16 - ditto - and John Clowes on rear platform .17 - the line up near Bourke St. with V214 behind the horse tram - "Tram Stop Ahead" sign .18 - the line up from Bourke St. with Hawthorn 8 alongside. .19 - Being photographed - Arthur Cook, Roma Cook, Merle Clowes and John Clowes with other visitors .20 - ditto .21 - Malcolm tram, and BTM ten in the background .22 - BTM and Sydney Tramway Museum tent in the City Square area. .23 - Pushing the horse tram across Bourke St. - John Clowes. .24 - Loaded back on the Crane Heavy Haulage (Associated Towing) truck, looking north along Swanston St. .25 - ditto .26 - ditto, general scene in Swanston St. .27 - The towing truck and tram .28 - Hawthorn 8 and Milan 1692 crossing Bourke St. Negatives held on file with documents list.horse trams, depot junction, moomba, gardens loop, swanston st, tram 1, tram 33, tram 40, tram 671, tram 8, tram 214, tram 1692

Field Marshal Viscount Kitchener of Great Britain was invited by Prime Minister Deakin in 1909 to visit Australia and advise on the best way to provide Australia with a land defence. Kitchener’s report echoed the bill, introduced to Parliament in 1909 and supported by the Opposition Labor Party at its 1908 conference, to introduce compulsory military training in peace time (referred to as universal training). On 1 January 1911, the Commonwealth Defence Act 1911 (Cth) was passed as law and all males aged 12 to 26 were required to receive military training. Men were divided according to age, with junior cadets comprising boys 12-14 years of age, senior cadets comprising boys 14-18, and young men aged 18-26 assigned to the home militia defence. The support of schools was vital to the success of the scheme, since the system of cadet training began in the primary schools, with physical training prescribed by military authorities. Junior cadet training was entirely in the hands of school teachers, who had first been trained by military officers. This early training was less military in nature than focused on physical drill and sport. It also acted to inculcate boys with the notions of loyalty to country and empire. At this age, uniforms were not worn, although there were schools with pre-existing uniformed cadet units, who continued to do so. Senior Cadets were organised by Training Areas, administered by Area Officers. If a school had at least 60 senior cadets, they could form their own units. Unlike their junior counterparts, Senior Cadets were issued uniforms, a rifle, and learned the foundations necessary for service in any arm of the defence forces. Boys and men could be exempted from compulsory training if they lived more than five miles from the nearest training site, or were passed medically unfit. Those who failed to register for training were punished with fines or jail sentences, and the severity of this punishment generated some of the strongest opposition to the scheme. While institutions such as the political parties and most churches generally supported universal training, some in the broader labour movement were less enthusiastic, as evidenced in the Daily Herald newspaper’s editorials and letters. Universal military training persisted after the conclusion of World War 1, with the Junior Cadet scheme the first to go, in 1922. Senior cadets and service with the militia was suspended in November 1929. (http://guides.slsa.sa.gov.au/content.php?pid=575383&sid=4788359, accessed 29/10/2015) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Mounted sepia photograph of 21 young males. They are the Ballarat School of Mines Cadets on a training camp at Lake Learmonth. Back row left to right: Harold Wakeling; ? ; T. Wasley; H. Witter; H.V. Maddison (staff); Lieutenant S.J. Proctor, Joe ? ; ? ; B.C. Burrows. Centre left to right: Howard Beanland; ? ; F.N. Gibbs; H. Siemering; P. Riley; ? : E. Adamthwaite. Front row left to right: Albert E. Williams; Francis Davis (RAAF Dec.); A. Miller; W. Shattock; T. Rees From the Ballarat School of Mines Magazine, 1916 "Our Competition Team, 1916 At a parade, held on the 25th August competition teams were called from from the three colleges - Ballarat College, St Patrick's College, and the School of Mines. In each case, a large muster was obtained, twenty-nine volunteering fro the School of Mines. On account of the number in a team being limited to 21, some had to be weeded out. The team decided to have a camp at Learmonth in the vacation for the benefit of training for the coming competitions. The tents, within our baggage, were brought to the Junior Technical School at 10 a.m. on Monday, 11 September. Everything was carted to the station on a lorry, which was very kindly lent by Mr C. Burrow. ... Arriving at our camp, which was in the Park, we first raised the tents. This was done in record time. Three large tents, A.B.C., were pitched one behind the other. We also pitched a smaller one to act as a provisions tent. The provisions supplied by each cadet were placed in this tent. Dinner was ready by 3.30, and was prepared by the three senior non-coms., who also acted as orderlies. Things went alright Monday night, the two senior non-coms. acting as sentries for the first two hours. On Tuesday morning Reville sounded at 7. There was no need for it, however, as nearly all the cadets were up before daylight, owing to their beds being too hard. After physical exercises were gone through we had breakfast. We then had rifle exercises until Messrs A.W. Steane and F.N. King arrived. The former put the team through the table of physical exercises set down for competition work, many valuable points being obtained. The visitors remained for dinner, afterwards returning to Ballarat. Wednesday was uneventful, until the soldiers arrived at about 11 a.m., stopping at the park for lunch. As we handed over the coppers, etc., to them, our lunch was delayed. Two more visitors arrived after lunch, and after taking a few photos returned home. That night we had a "Sing-a-long" in C Tent until "Lights out" sounded at 9.30. After physical exercises ad breakfast on Thursday, we went for a six mile route march round the lake, doing skirmishing on the way. In the afternoon we practised rifle exercises and the march past. A concert was arranged for that night, the chief singers being cadets H. Siemering and W. Shattock. Supper was served at the end of the entertainment. On Friday, Reveille sounded at 6.30 instead of 7, and, as usual, we had physical exercises before breakfast, after which the team went through skirmishing at the reserve. In the afternoon, section drill and the march past were practised. Friday night, being our last night in camp, leave was granted until 10 p.m., "lights out" sounding at 11. Reveille sounded on Saturday at 4.30, the reason being that all kits, tents, etc., had to be packed away ready to catch the 8.15 train to Balalrat. At 7.30 we were all ready to leave for the station. We had a very enjoyable time in the train, each cadet having a chip in at the patriotic songs. On arriving at Ballarat, we found the lorry awaiting us. The luggage was carted to the Junior Technical School, the team following. The team were here dismissed, everyone feeling that he had had a very good time. F.G. Davis"Written in ink on front 'cadet camp at Lake Learmonth about 1916. Training for South Street Competitions. ballarat school of mines, cadets, ballarat school of mines cadets, lake learmonth, world war one, boomerang, camp, cadet camp, h.g. wakeling, harold wakeling, f.g. davis, albert w. steane, f.n. king, h. siermering, w. shattock, francis davis, harold wakeling, t. wasley, h. witter, h.v. maddison, s.j. proctor, b.c. burrows, howard beanland, f.n. gibbs, h. siemering, p. riley, e. adamthwaite, albert e. williams; francis davis, a. miller, w. shattock, t. rees, photography, foto, boxing gloves

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

A woman, an elderly woman and two children pose on the verandah of a Federation style home. On the back of the postcard is written: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills". This family is possibly related to the Rev Wm Green who was associated with St Margaret's Church Eltham at around this time. Evelyn Observer and Bourke East Record, Friday 6 March 1914, page 2 A very pleasant social gathering was held by the Glee Club in the Church of England schoolroom on the evening of last Thursday. An interesting programme of music, varied by a very amusing dialogue by Glee Club members; made an enjoyable evening. After the programme was finished, and before refreshments were served, Mr, Gilsenan, on behalf of the Glee Club and the visitors, expressed their good wishes to Rev. Wim. Green, Mrs. Green, and Miss Mills, who were leaving on the 3rd inst. for a visit to the old country. Mr. Green responded, reciprocating the good wishes expressed. The gathering broke up to the strains of "Auld Lang Syne." Evelyn Observer and Bourke East Record, Friday 11 December 1914, page 2 The Rev. Wm Green, Mrs. Green, and Miss Mills; who have been on a nine months' trip to Europe, returned to Melbourne by the "'Morea" on Monday and out to Eltham the same day. As the rev. gentleman only left England a few weeks since and the continent just before war broke out, he ought to have some reminiscences worth listening to; His return is welcome both to his church, and the community generally, the more so he being the only resident clergyman in the neighbourhood. Evelyn Observer and Bourke East Record , Friday 11 June 1915, page 3 The Rev. Wm. Green, who has been in charge of St. Margaret's Anglican church here for some eleven years, resigned to take charge of the Church of England " Messenger". and work in connection with the ? about Melbourne. He is to be succeeded in Eltham by the Rev, ? Sapsford, of North Brighton. Printed postcard with faded photograph on frontInscribed back: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills" Also inscribed in pencil - "V. Lay" (Vera Lay Greensborough)eltham, 1915, m. mills, mrs green, postcard, v. lay, houses