Gold was discovered on One Tree Hill in 1854. The site has been worked intermittently until fairly recent times. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p53 Though still a working mine, One Tree Hill Mine at Smiths Gully, now stands in a tranquil reserve surrounded by bush and native animals - in contrast to its heyday. In the mid 19th century, when the mine was part of the Caledonia Goldfields, hundreds of men in search of their fortune worked the alluvial gold in the Yarra River, its tributaries and the reefs that made up the goldfields. Miner Stan Bone, assisted by Wilfred Haywood, is the last of the independent gold miners in the area and still uses the quartz crushing battery as miners did when gold was first discovered in the area in 1851.1 Stan, who is the last of six generations of miners in his family, was aged 17 when he began mining on his father Alex’ mine, The Golden Crown in Yarrambat. These days, after blasting the gold-bearing rock in Mystery Reef, one of the four reefs at One Tree Hill, Stan transports it around five kilometres by tip truck to the Black Cameron Mine for crushing. There he uses water from the waterlogged mine, (which still contains gold), as the Happy Valley Creek at One Tree Hill is usually dry.2 The One Tree Hill Mine has been worked for close to a century since it opened around the late 1850s.3 The Swedish Reef was its most productive reef and one of the largest in the area. Around 1859, extractions included 204 ounces (5.8kg) of gold, won from 57 pounds (26kg) of stone.4 Then during World War Two, Stan’s uncle, Bill Wallace, and Alex Bone, closed the mine. In 1973, Stan, with his Uncle Bill, reopened the Black Cameron Mine and worked there until 1988. Stan resumed mining One Tree Hill in 1998. As late as the 1920s gold was picked up by chance! When crossing a gully on his way to vote at the St Andrews Primary School, Bill Joyce picked up some quartz containing gold. This site was to become the Black Cameron Mine. The Caledonia Diggings, named after Scotland’s ancient name by local Scots, began around Market Square (now Smiths Gully) and included Queenstown (St Andrews), Kingstown (Panton Hill) and Diamond Creek. There were also poorer bearing fields in Kangaroo Ground and Swipers Gully (now Research). * None of these compared in riches to the Ballarat and Bendigo fields5, but the Caledonia Diggings continued intermittently for close to 100 years. Gold was discovered in Victoria following a bid to stem the disappearance of much needed workmen to the New South Wales diggings. Several businessmen offered a reward of £200, for the discovery of gold within 200 miles (322 km) of Melbourne. Late in June 1851, gold was first discovered at Andersons Creek, Warrandyte. Then in 1854, George Boston and two other men discovered gold at Smiths Gully. Gold transformed the quiet districts, with a constant flow of families and vehicles on the dirt tracks en route to the Caledonia Diggings. Three thousand people worked the gullies in Market Square, including about 1000 Chinese miners. The square established its own police, mining warden, gold battery, school, shops and cemetery and grog flowed. Market Square flourished until the middle 1860s. Bullocks transported quartz from the Caledonia Goldfields to the crushing machinery at the Queenstown/St Andrews Battery, near Smiths Gully Cemetery. It was destroyed by bushfire in 1962. By the late 1850s, most early alluvial fields were in decline, but minor rushes continued until around 1900 and some until the early 1940s. Some miners did well, although most earned little from their hard labour in the harsh and primitive conditions.6 But according to historian, Mick Woiwod, the gold fields helped to democratise society, as individuals from all walks of life were forced to share experiences, and the ability to succeed, depended less on inherited wealth or social rank.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, gold mining, one tree hill mine, smiths gully

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Built in 1953, the Rice House was leading Melbourne architect Kevin Borland's first commssion and was one of two houses of its kind. The design of the shell-like structure was inspired by the Arch of Ctesiphon, built in the second century south of Baghdad. Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches covered in hessian. This ctesiphon system was developed in the United Kingdom by engineer J.H. de Waller in 1947. Commissioned in 1951 by Harrie and Lorna Rice, after Harrie, then an art student, met Borland at The Age Small Homes Service. Borland suggested they buy land in Eltham because at that time it was the only council in Melbourne that would grant a permit for such an innovative house. Covered under Victorian Heritage. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p157 Inspired by an ancient arch in Iraq, a house stands on top of a hill in a private position, off Ryans Road, Eltham. One of only two houses of its kind, it was leading Melbourne architect Kevin Borland’s first commissioned house, which he built in 1953. The shell-like structure, partially screened by giant trees and cacti, was inspired by the Arch of Ctesiphon south of Baghdad, built in the second century.1 Cement with a waterproofing agent was applied in layers to a form of regularly spaced timber arches tightly covered by hessian. This ctesiphon system was developed in the United Kingdom by engineer J H de Waller in 1947. This house was the first of three such structures built in Victoria, of which only one other remains, although substantially altered.2 It is the Wood House and supermarket, at the corner of Cleveland Road and High Street Road, Ashwood, designed by Robin Boyd in 1952. The Rice House demonstrates Kevin Borland’s innovative and experimental work. It is an outstanding example of the post-war period of experimentation in domestic architecture in Melbourne – by Robin Boyd, Kevin Borland and others – for The Age Small Homes Service from 1947 to 1953. This was partly an expression of late-Modernism and also necessitated by the post-war shortage of building materials. In Eltham, the post-war shortage of building materials largely resulted in mud-brick houses. Examples of Borland’s public work include contributions to the Olympic Swimming Pool in Melbourne and the Preshil Junior School in Kew. After more than 50 years of living in the house, Harrie and Lorna Rice still love it. Facing north-east with large windows overlooking the garden and two courtyards, it is well lit and benefits from a through breeze. The couple commissioned the extraordinary house after Harrie, then an art student, met Borland in 1951 at The Age Small Homes Service. Harrie was so impressed by the recently graduated Borland’s enthusiasm, that he asked him to design them an interesting house for a low budget.3 The unusual design presented several hurdles for the young couple before they could construct it. Borland suggested that they buy land in Eltham, because at that time it had the only council in Melbourne that would allow such an innovative house. Another hurdle was to gain finance for this remarkable house. The State Savings Bank Manager refused finance on the grounds that it was ‘unliveable’ and a ‘disgrace’. Fortunately, through a family connection, the couple borrowed money from the National Bank. But they discovered years later, that the bank’s evaluation stated the two ‘concrete sheds’ were of no value!4 The house built in off-white concrete, consists of two sections. The main house has four arches supported by brick and concrete walls that create a series of inter-connected rooms. Inside, the ceiling follows the roofline. Originally this section was only ten square metres, because of building restrictions at the time. But in 1973 Borland added two rooms and a carport. The second structure of two arches was originally a garage and a studio for art teacher Harrie Rice. To accommodate the growing family, in the mid 1950s, Borland converted the second structure into two children’s bedrooms, a kitchenette, a bathroom and a living room. The two structures were originally linked by a covered way of suspended draped-concrete, but this collapsed in the 1980s. The design has several maintenance problems. Cracks developed where two halves of the shells were joined. Then the material sprayed over the cracks became brittle, causing leaks. Fortunately Harrie found another material he could use. The valleys between the arches collect water, requiring annual painting with a waterproof material to prevent leaking. Lorna framed the house with native and exotic plants, which provide privacy and as a bonus, the garden attracted the rare Eltham Copper Butterfly.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, rice house, ryans road

The Ballarat Branch Committee and girls of Lucas & Co. raised the money for the memorial window in Good Chapel of Saint Peter which is dedicated to the men of the Jervis Bay and all Merchant seamen who gave their lives in the world wars. To see a picture of the actual window go to VC database Mtsv record 0035.Regionally based support across Victoria provided crucial funds to the Mission for Seafarer welfare, activities and operations. This support was very often sourced either through a country Auxiliary group based in places such as Ballarat, Camperdown, Hamilton, Bendigo and other similar towns or centres. Op shops and CWA, Church Auxiliaries and other similar charities mainly operated by the womenfolk of the respective communities, recognized the vital importance of 19th and 20th C Merchant and Military Naval services to the development of Australia. The cumulative local fundraising efforts helped maintain the work of the Coastal based Mission services to seafarers.Rectangular brass plaque mounted to wood board.This window was erected by the Ballarat Branch of the Victoria Missions to Seamen and the Lucas Girls 1946.ballarat, lucas girls, lucas & co., 1946, window, plaque, ww2, world war 2, textile company, lucas clothing factory

'Worlingworth', Eltham, home of noted anthropologist the late Professor Donald Thomson and his wife Dorita Thomson. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p127 Dubbed as ‘Australia’s Lawrence of Arabia’ anthropologist Donald Thomson lived much of his life in Eltham, at Banoon Road. On his retirement as Professor of Anthropology in 1968, The University of Melbourne professorial board compared Thomson to Lawrence of Arabia because of his work for Aborigines and his controversial personality. Although Thomson is now recognised for his huge contribution, during his lifetime he suffered opposition and his life has been described as ‘tragic’.1 Thomson failed to gain the recognition as a scientist that he felt he deserved and he failed to alter government policy towards Aboriginal people. But towards the end of his life in 1970, anthropologists were moving towards the type of research he had done and the movement to grant land rights to Aborigines was strengthening. Thomson is best known for his anthropological fieldwork in Cape York, Arnhem Land and Central Australia, but he is also known for his scholarly contributions to ornithology and ecology. Thomson documented every aspect of the daily and ritual life of the Aboriginal world of Cape York and Arnhem Land in the 1930s and 1940s. The huge collection in Museum Victoria includes 11,000 photographs, 7500 items of material culture, 1000 botanical and zoological specimens and 4500 pages of field-notes.2 The film Ten Canoes used Thomson’s photographs as a source. Thomson bought the Eltham property known as Worlingworth in 1934. The single-storey 60-square house standing by the Yarra River was built in 1922-23. It is one of the last in Eltham to survive with its farm setting intact. It is also one of the few substantial residences built in the Eltham Shire from the late 19th century to the early 20th century, which signalled a major change in the area towards the residential municipality it is today.3 The original section, built in the mid 1860s, of rose pink hand-made bricks and stone quarried on the property, was incorporated in the new red-brick house built in 1922. An immense oak tree by the house grew from an acorn brought by Patrick Armstrong who first bought the land in March 14, 1862. Armstrong named Worlingworth after his forbears’ village in Suffolk, England. Worlingworth saw grand days when Commander Alan A Barlee (R.N.) bought it in 1922 after winning the Calcutta Sweep. The property then included a nine-hole golf course, a tennis court, a bowling green, a boathouse and a boat-ramp.4 For most of his career Thomson, who was born in 1901, was attached to The University of Melbourne. In 1935 he represented the Commonwealth Government at Caledon Bay in east Arnhem Land to investigate and mediate for four Aborigines accused of killing five Japanese and three Europeans. In 1938 Thomson was awarded a PhD in Anthropology at Cambridge University, and during his career, he received several medals from British Societies, who perhaps appreciated his work better than their Australian counterparts. From World War Two, Thomson suffered a string of hardships, beginning with severe wounding in Dutch New Guinea (for his military service in New Guinea he was awarded an OBE) and he was invalided from service in 1944. That year he was diagnosed with diabetes. A fire in 1946 destroyed what Thomson regarded as perhaps the best record he had made of Aboriginal life – the 20,000 feet, (6096m) of film he had shot in Arnhem Land. In 1954 he and wife, Gladys, divorced. The next year he married his technical assistant, Dorita McColl. Several times during his career Thomson had major disagreements. For instance Professor P Elkin constantly opposed his work. He also opposed Thomson when he campaigned vigorously in 1947 against the establishment of a rocket range at Woomera, South Australia, because of the threat it posed Aborigines. Thomson resigned in frustration from the Victorian Aborigines Welfare Board in 1967, after serving for ten years, because he found that his advice was disregarded. His ashes were scattered over Caledon Bay from the air.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, banoon road, donald thomson, dorita thomson, eltham, worlingworth

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, great hall, montsalvat

'Fulling', the half-hectare property at Pitt Street, Eltham was the home of landscape designer Gordon Ford and his wife Gwen. Ford bought the property in 1948, originally part of an orchard. The garden encapsulates the major trends of Australian garden design in the second half of the 20th century. The garden design is based on mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informality and attraction to native wildlife. The mud brick house and designed and built by Ford commenced in 1948. Several extensions were added up to 1970 and were built by Graham Rose (Source: information panel for exhibition, n.d.) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p147 A narrow timber gate opens onto a garden that has had a huge impact on natural garden development in Australia since the 1950s.1 Fulling, the half-hectare property at Pitt St, Eltham, was the home of the landscape designer, Gordon Ford, who died in 1999. The garden ‘encapsulates the major trends of Australian garden design in the second half of the 20th century...and epitomises the Eltham style of garden’.2 It in turn, was influenced by several Victorian major landscape designers of the mid 20th century – Ellis Stones, Peter Glass and Edna Walling. The gate opens onto a sandy gravel path, one of several, which wind around dramatic pools and what appear to be natural bush, but on close inspection are carefully integrated native, indigenous and exotic plantings. Retaining walls and steps of rock through the garden link different terrace levels. Lichen-covered boulders serve as steps across a pool, leading to the triple level mud-brick house. Ford bought the property, which was originally part of an orchard, in 1948. As the son of a Presbyterian minister, Ford received a good education, which included learning Latin. This was advantageous when he worked in plant sales for the Forestry Commission, before the Second World War. In the late 1940s, however, Ford turned to building and landscape gardening. He worked on the Busst house, an early mud-brick building designed by Alistair Knox and at the same time, Ford was employed by Ellis Stones. Knox described Ford as, ‘one of the funniest men of the district. ...Rocky’s (Ellis Stones) Depression stories and Gordon’s memory and quick tongue made the jobs the most enjoyable of all those hysterical times that made Eltham the centre of the eternal laugh, between the years of 1945 and 1950’.3 Ford’s house, like so many after the war, was built progressively, as more space was needed and formerly scarce materials became available. It began with an army-shed of timber-lined walls, now used as the kitchen. Ford then built what is now the lounge room, and the house grew ‘like topsy and on a shoestring,’ says his widow Gwen. A lot of second-hand materials such as window frames were used, a style made famous particularly with their extensive use at Montsalvat, the Eltham Artists’ Colony. The house was constructed as a joint venture with friends, including artist Clifton Pugh, who built Ford’s bedroom for £10. The polished floorboards and solomite (compressed straw) ceilings, interspersed with heavy beams, exude warmth. The result is a home of snug spaces, with soft light and garden vistas. Several other mud-brick buildings were constructed as needed, including a studio and units for bed-and-breakfast clients. The garden, which has been part of the Open Garden Scheme since the mid 1980s, is based on a balance of mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informal ethos and attracts native animals. Wattlebirds, scrub wrens, pardalotes, currawongs, owls and even kangaroos, have been seen at Fulling. Gwen, a former English teacher who has worked on the garden since around 1970, urged and helped Ford write his book, The Natural Australian Garden.4 Several of Ford’s favourite trees are in the garden, including the native Casuarina or She-Oak. In spring, the garden is dusted with the purple Orthrosanthus multiflorus or blue native irises and rings with the calls of birds attracted to plants like the callistemons, correas and grevilleas.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, fulling, gordon ford garden, pitt street, eltham mud brick buildings, mud brick house

Sheet of A4 paper with typed poemnon-fiction"For the Fallen" a poem by Laurence Binyon

non-fictionWritten by Bruce Cooke relating to the war in Papua New Guinea.

Red Cross Workers in Bentleigh are preparing stretchers and other convalescent aids for fighting men overseas. In the background wooden crutches are leaning against the shed wall and beach chairs are being repurposed in the front of the image.Black and white image of a group of eight men standing in front of a shed with several of the men wearing work aprons suggesting manual labour with crutches leaning against the shed and beach chairsHand written in red ink enclosed in a circle: A18 / 70%community, world war i, first world war, wwi, manual labour, repurposing, red cross, crutches, bentleigh

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Drawings of a cutting of plant with dark green foliage and eight white flowers. Single drawing on white background with name and signature in lower corners. The work is on white paper mounted in a double matt (grey on gold), unframed and wrapped in plastic.Front: White Correa Correa alba (lower left) (blue pencil) CEWoolcock (lower right) (brown pencil) Olearia speciosa (Netted Daisy-bush) (lower left) (pencil) Back: 23 (upper left) (pen) White Correa (Correa alba) $80. C E Woolcock (sticker, upper left)collin woolcock, botanical, woolcock collection, cema, botanical drawings

Part of 'Woolcock Gallery Collection' Exhibition CEMA 1989.Detail of plant stem on left and on right details of pea flowers and stem views. Stem view on right is a long stem with many fine green leaves (long and thin). At top of stem is a cluster of range pea-flowers and buds. On right of page (t-b): view of pea-flower from top, showing orange petals and dark pink and magenta colouration at centre; side view of emergent bud; stem detail with leaves; side views of full bloom flower; rear view of flower. All views are numbered in both pencil and on typed paper affixed to surface of image. Mounted in double matt (white on faun) framed under glass in wooden frame with gold detail.Front: Dillwynia cinerascens (lower left) (pencil). CEW (lower left, in image) (purple pencil). Back: 41 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, botanical drawings

In mid 1941, the MMTB commenced to employ females as Conductresses to alleviate a man power shortage as result of the Second World War. The first 8 commenced training at Hawthorn Depot during August and commenced work on 4 September. See reference for more details on the use of female staff. A MMTB Poster "Melbourne Tramways Past & Present" identifies that the instructor was G. S Boardman and the photo was taken by The Herald.Yields information about the first group to trained as conductresses during 1941.Black and white photograph of 8 women trainee conductresses and Instructor - August 1941tramways, trams, crews, conductors, conductresses, training, world war 2, mmtb

Small round badge, russet colour, bold edging gold printing, gold lion. Badge worn by young Linton people who worked for the war effort during World War II.Badge worn by young Linton people who worked for the war effort during World War II.Small round badge, russet colour, bold edging gold printing, gold lion. Badge worn by young Linton people who worked for the war effort during World War II.Text: ' YOUNG PEOPLE'S GUILD LINTON. 'linton, young people's guild, world war ii, war effort

During surgery under general anaesthetic, these forceps were used to pull the tongue forward to keep the patient's airways clear from obstruction. This tool was in general use from the 1930s onwards in teaching hospitals, and became a standard piece of equipment on all anaesthetic trolleys. In the majority of teaching hospitals, the blades of these forceps were smooth and wide to cause less trauma to the tongue. This particular style of tongue forceps is known as Guy's tongue forceps.Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Pair of metal forceps. Similar in appearance to a pair of scissors, and other surgical forceps, but with rounded teardrop shaped tips. There is also a notch clip for the handle to keep the forceps open. Inner aspect of both forceps blades engraved with the number '3'. The left hand blade is also engraved with a 'P'.anaesthesia

Article written by H H Bell, MMTB Chairman at the time of his retirement - Herald, 28 Sep 1949. Looks at his work on the HTT and the MMTB, achievements, workshops, manufacture of parts and equipment, work during the Second World War, clothing manufacture, Wattle Park and a clock funded by a lady who enjoyed the park. Includes a photo of SW6 883 and the Kew Horse tram. Yields information about Hector Bell MMTB ChairmanDigital image of a photocopy of a newspaper article titled 'The Story of my trams - H H Bell"h h bell, retirement, mmtb, wattle park, world war 2, tram 883

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Stem, flower and leaf details of flowering plant in colour pencil. On left is a stem view depicting a woody central stem with thin leaves and smaller leafed stems ending in clusters of buds or orange pea flowers. On bottom left is a side view of orange pea-flower. On right (t-b): front view of flower; side view of emergent bud; leaf detail; rear view of flower depicting petals and sepals. Mounted in double matt (white on apricot), framed under glass in gold wooden frame. All views numbered in pencil and typed letters and numbers on white paper affixed to paper surface.Front: Dillwynia hispida (lower left) (pencil). 15/?/77 (lower left) (pencil, erased). Back: 40 (top left) (pen)collin woolcock, botanical, woolcock collection, cema

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Colour drawings of flowering stem and detailed leaf and flower views. The largest stem view depicts thin woody stem with small fine green leaves along length of stem. Branching stems at top end in clusters of buds or small orange and yellow pea flowers. At centre left are 3 details of leaves (front, rear and end views). On right are (t-b): top view of yellow pea flower; side view (orange and yellow); rear view (orange) with sepals; sepal detail; side view in full bloom. All views are numbered in pencil and printed on white paper affixed to image surface. Mounted in double matt (white on faun), under glass in wooden frame with gold detail.Front: Pultenaea sub-umbellata (lower right) (pencil). CEW (signature, lower centre in image) (maroon pencil). Back: 37 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Two pen and ink drawings of two daisy plants. On left is stem with fine hairs, large serrated leaves with dark upper side and pale under side, clustered at base of stem, with single flat topped daisy flower at top of stem. To the right is stem view with hairy stem, rippled leaves with dark upper side and pale under side, and three stems at top with 2 daisy flowers in full bloom and one bud. Mounted in a double matt (white on grey), framed under glass in wooden frame with silver detail.Front: O. grandiflora (Mt. Loty Daisy-bush) S.A. O. tomentosa (Toothed Daisy-bush) S.A. (lower left) (pencil). CE Woolcock (signature, lower right) (pencil). Back: 31 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, bontanical drawing

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph at 1st Australian Field Hospital, Vung Tau, South Vietnam, two Dental Technicians work on the construction of sets of false teeth in their well equiped Dental Laboratory. These technicians had the capability to construct any work ordered by the dentist.photograph, 1st australian field hospital, vung tau, dentists, dental laboratory, dental technicians, gibbons collection catalogue

EDHS Newsletter No. 270 June 2023 At our next meeting at 2.00pm on Saturday 10th June 2023 we are pleased to have Dr. Geoffrey Sandy to present to us on the WW1 Soldier Welcome Home Committees, with specific reference to Eltham. Geoffrey is an author, parish historian and parish archivist for St Margaret’s Anglican Church in Eltham. Soldier Welcome Home Committees (SWHC) were established throughout Australia during WW1 by the soldier’s local community - their home. Despite WW1 being a well-researched area of Australian history, little has been published on the SWHCs. The work of these committees is an important part of our war history, and our volunteer history. As women were often well-represented, and active within the SWHCs, it is also important to our history of Australian women. Geoff has undertaken a detailed case study of the Soldier Welcome Home Committee at Eltham (SWHCE). During the WW1 period Eltham can be described a small rural community. What is fortunate is that the Minute Books of the SWHC Eltham meetings are extant and readily accessible, as these are held in the archives of Saint Margaret’s Anglican Church Eltham.1:17:13 duration Digital MP3 file; 26.5MBaudio recording, eltham district historical society, meeting, society meeting, eltham, avenue of honour, dr geoffrey sandy, welcome home committee

This book is dedicated to the 135 Photographers of different nations who are known to have died or to have disappeared while covering the wars in Indochina, Vietnam, Cambodia and Loas. Their lives are remembered through their work here assembled.vietnam war, 1961-1975 - pictorial works, war photographers, indochina, laos, cambodia

This is the story of the development of a highly successful concept of warfare, which was largely the work of one man. In 1965, despite his success, CIA intervention led to Barry Petersen's removal from the highlands, for reasons which remain obscre even to this day. Perhaps his growing power as a cult figure had become a threat to direct US control of the area, or perhaps there were those among the Vietnamese command who themselves resented his influence. 1961-1975 - personal narratives - australian, guerilla warfare, vietnam war, 1961-1975 - participation, montagnard (vietnamese people), 1961-1975 - cia, captain barry petersen

This is the story of the development of a highly successful concept of warfare, which was largely the work of one man. In 1965, despite his success, CIA intervention led to Barry Petersen's removal from the highlands, for reasons which remain obscre even to this day. Perhaps his growing power as a cult figure had become a threat to direct US control of the area, or perhaps there were those among the Vietnamese command who themselves resented his influence. 1961-1975 - personal narratives - australian, vietnam war, 1961-1975 - participation, montagnard (vietnamese people), guerilla warfare, 1961-1975 - cia, captain barry petersen

This is the story of the development of a highly successful concept of warfare, which was largely the work of one man. In 1965, despite his success, CIA intervention led to Barry Petersen's removal from the highlands, for reasons which remain obscre even to this day. Perhaps his growing power as a cult figure had become a threat to direct US control of the area, or perhaps there were those among the Vietnamese command who themselves resented his influence. 1961-1975 - personal narratives - australian, vietnam war, 1961-1975 - participation, montagnard (vietnamese people), guerilla warfare, 1961-1975 - cia, captain barry petersen

This is a work of great value since it is the first time materials both at home and abroad have been collected in a book to describe and explain the significance and relationship of the five Ho Chi Minh trails in support of the liberation war of South Viet Nam as well as in communication between southern and northern Viet Nam.ho chi minh trails, vietnam war