Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street

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

Rear view of Eltham Library showing loading dock and ramp to the front of the building. Designed by multi-award winning architect, Gregory Burgess, for which he won the 1995 Royal Australian Insitute of architects (Vic.) Merit Award in the New Institutional category. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p183 Award-winning Eltham Library, with its earthy tones blending into the nearby parklands, celebrates some of the best of Eltham’s spirit. Designed by multi-award winning architect, Gregory Burgess, the library at Panther Place, won him the 1995 Royal Australian Institute of Architects (Vic) Merit Award in the New Institutional category.1 The design is typical of Burgess’ work, emphasising natural materials and forms, and the integration of building and site.2 In its distinctive architectural character, Burgess celebrated the spirit of Eltham’s artist/architect Justus Jörgenson and mud-brick builder Alistair Knox. However this library, which opened in 1994, follows decades of efforts to acquire a suitable library for local residents. It was only in 1971 that Eltham acquired its first purpose-built library. In the 1930s books were borrowed from a mobile library run by Mr Foster of Bible Street. From the 1930s to the early 1950s, adults borrowed books from the newsagency and general store in Main Road (still a newsagency) near Arthur Street. As late as the 1950s, adults borrowed books in the shire office foyer, then in Main Road near the corner of Arthur Street.3 In the early 1950s the ratepayers voted for lower rates rather than a library, in a referendum to build a public library financed by higher rates. Children depended on volunteers for their library service until 1966. In 1946 the inaugural meeting of the Eltham War Memorial Trust’s Women’s Auxiliary, decided to support the Trust by raising funds to buy land and build a Children’s Library, Baby Health Centre and other facilities. The auxiliary formed the Children’s Library Committee, which included Mrs Morrison, Mrs Bow and Mrs Currie. They ran a library service in the stage area of the Eltham Hall, at the corner of Arthur Street and Main Road. In 1952 the books were relocated to a room in the newly opened Baby Health Centre on Main Road. Then in 1961, the Children’s Library received its own hall beside the Eltham Pre-School Centre on Main Road. From there, each month, volunteers delivered books to every school in the shire. In 1966 the Children’s Library closed after 17 years of service, following the transfer of the Trust land and buildings to the Shire of Eltham. The books were donated to nine schools in the shire and to Community Aid Abroad. An important boost to the library service came in 1965, when the Heidelberg Regional Library Service was formed by the City of Heidelberg with the Shires of Eltham and Diamond Valley. Its first library service for Eltham Shire was a bookmobile van. Books for children and adults were finally housed in one building in 1966, when the shire converted the Brinkkotter house in Dudley Street, into a library. At last in 1971, the Eltham Library moved to new premises attached to the shire offices near Panther Place. However these were demolished in 1996, by State Government appointed commissioners during council amalgamations. Meanwhile the Heidelberg Regional Library Service was disbanded in 1985 and the Yarra Plenty Regional Library Service was established. The burgeoning population brought pressure for a bigger library. Eltham was one of several municipalities in the 1970s and 1980s, battling with the State Government for adequate funding for public libraries. Funds were so tight, that in 1987 Eltham councillors threatened to close the library. However public petitions persuaded them to set aside funds to replace the cramped library facilities. In 1992 the Federal Government gave $887,496 towards the $3 million cost of the 1560 square metre library.4 The result is a light and spacious building with surrounding verandas, made of sustainable natural materials including earth and recycled and radially sawn timbers. It includes a gallery and function areas. In 2004 Mr Burgess won Australian architecture’s highest accolade: the Royal Australian Institute of Architects Gold Medal. He has received more than forty professional and community awards.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, eltham library, panther place

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.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, st margaret's anglican church, st margaret's church, st margarets church hall, christ church

The Nillumbik Cemetery is of historical, architectural, aesthetic and social significance at a Regional level (North-east Melbourne). The memorial arch is of State significance. Nillumbik Cemetery, which was established in 1867, is of historical and social significance for its association with the early history of Diamond Creek and as a record of the pioneering families of the district. Significant graves include those of the famous writer Alan Marshall, author of 'I Can Jump Puddles', footballer Gordon Coventry, and William Ellis, notable early settler and benefactor. The 1897 Tudor/Gothic revival memorial arch, bequeathed by William Ellis, is a rare design in ornamental gateways and is relatively large for the size of the cemetery. It is unique in Victoria as a cemetery gateway arch. The burial ground has associated structures, such as the hexagonal timber sexton's office, post and wire fence and picket hand gate along Main Street, all probably built in the early twentieth century. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) - Regional significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p83 Entering Nillumbik Cemetery through an ornamental gateway and shaded by the Monterey Cypress hedge helps one leave the busy world outside and contemplate yesterday’s Diamond Creek. The gateway, classified by the National Trust of Australia (Victoria), and inscribed with ‘JANVA VITAE’ (gate of life), was a gift from a distinguished pioneer, William Ellis. Ellis, who was an original trustee of the Nillumbik Cemetery representing the Primitive Methodists and a successful farmer, bequeathed £100 to build the red-brick and carved stone gateway in 1887. In 1867 surveyor Edward Bage had set aside two acres (0.8ha) now 35 Main Street, for this cemetery, in what was then called the village of Nillumbik. Several earlier burials on private lands in the district might have been exhumed and re-interred in the new cemetery. The first burials in the cemetery are thought to be of ‘a Chinaman who hanged himself from a tree behind the Church of England’ and ‘another man who was drowned in a water-hole behind the same church’.1 The 1000 or so graves in the cemetery are grouped into five denominational sections: two Anglican and one each for the Methodist (the largest), Catholic and Presbyterian Churches. It is believed that several unmarked graves are of Aborigines and Chinese miners.2 Perhaps the most famous person buried in the cemetery was author Alan Marshall, who died in 1984 and wrote, among other books, I Can Jump Puddles. Surprisingly his grave is particularly modest consisting of only a grassed plot with a tiny boulder and a simple bronze plaque. It lies about halfway down the main path, at the west and third row back. The first European, interred at the cemetery on July 9, 1869, was Hannah, aged 13 years eight months, daughter of local orchardist John Lawrey and wife Honor.3 Each grave has a story which reflects a rich history. Phillip Cummings, who died in 1884, provided the barn for Diamond Creek’s first school, run by the Primitive Methodist Church. The barn stood at the corner of Phipps Crescent and the main road.4 Former Eltham Shire councillor George Stebbings, who died in 1896, built several prominent buildings in the district, including Shillinglaw Cottage in Eltham.5 The grave of miner James Joseph Whyte, who died in 1908, is a reminder of Diamond Creek’s gold mining history. At age 51, Whyte died from a rock fall in the Diamond Mine, Diamond Creek. Diamond Creek’s first butcher, Patrick Ryan, became President of the Shire of Heidelberg and Chairman of the Eltham Hurstbridge Railway Trust. A former gold miner, he was grandfather of local historian Reverend Jock Ryan. He was buried in an unmarked grave halfway down the central path. His son John Lawrence, who is buried elsewhere, had been a Mayor of the City of Heidelberg. George Martin Pizzey gave a hall, for what was to become The St John’s Anglican Church in Diamond Creek. He was a Crimean War veteran, mason and leather goods manufacturer in Melbourne, who died in 1915. The two world wars took a heavy toll of locals with 54 personnel buried here, two thirds of whom served in World War One. A sporting pioneer was Greensborough District Cricket Club founder, Andrew Webb, who was buried in 1971. Politician Roy Mountford Vale (Monte), who died in 1977, was a Member of the Legislative Assembly of Greensborough, and a founding councillor and president of the Diamond Valley Shire. Modern-day residents are also remembered in this cemetery. The tragic Ash Wednesday bushfires took their toll on the district: William Marsden of Panton Hill CFA died, aged 39, fighting bushfires at Upper Beaconsfield in 1983.6 Several graves tell of those who held distinguished positions overseas, including William Constable, who died in 1989. Constable was artistic director of a ballet company, art director of more than 30 films for London-based film productions, and was awarded best Film Art Director at the Moscow Film Festival in 1960.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, diamond creek, memorial arch, gateway, nillumbik cemetery, william ellis

On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, Clem and Nina Christensen who had a major influence on the literary development of post World War 2 Australia. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p109 On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, who had a major influence on the literary development of post World War Two Australia. In 1946, Clem and Nina Christensen bought the house, which had been designed by Harold Desbrowe Annear, considered to be one of Australia’s most innovative architects in the first quarter of the 20th century.1 That year the stucco building with a metal roof, built in 1910, was extended to the north and south. The main residence was built of jarrah, with stucco walls, floors of Tasmanian hardwood and rooms panelled with Californian redwood (sequoia). The property included a cottage, former stables, a dairy and meat-house. From its beginnings the property has attracted artists and intellectuals. Official World War One artist, Will Longstaff, bought the property – then 15½ acres (6ha) around 1900. Famous for his painting The Ghosts of Menin Gate, now in the Australian War Memorial Canberra, Longstaff was the cousin of another well-known painter, Sir John Longstaff. Several leading artists visited Longstaff at Stanhope including Walter Withers of the Heidelberg School, who lived in Brougham Street, Eltham. In 1919, Theo Handfield, father of author and journalist John Handfield, bought the property from Mrs Longstaff. Then in 1924 the land was subdivided and most of the estate (80 blocks) was auctioned. The next owner was related to novelist Virginia Woolf. Bishop Reginald Stephen, Warden of Trinity College, bought the house and five acres (2 ha) in 1928. He was related to Sir Leslie Stephen, the first editor of the Dictionary of National Biography and Woolf’s father. Novelist and music critic John Harcourt, was the next tenant, while he and his wife Fay, built their mud-brick house Clay Nuneham, at the foot of Stanhope Hill. Dr Clem and Mrs Nina Christensen, lived in the house until their deaths. Clem Christensen – who died aged 91 in 2003 – was a poet, short story writer and painter. However, he is most noted for founding Australia’s foremost literary journal2 Meanjin (originally Meanjin Papers), which he described as ‘democratic left of centre’, in Brisbane in 1940. Clem brought Meanjin to Melbourne in 1945 and remained editor until 1975. Enormously influential, Meanjin spawned and encouraged many of Australia’s best literary talents and it had an international reputation. Meanjin was the first to publish such writers as Judith Wright and David Malouf and it encouraged writers like Patrick White and Peter Carey. Nina Christensen – who died aged 89 in 2001 – was founding Editor of the Melbourne Slavonic Studies Journal and pioneered the study of Russian in Australia. In 1946 she established the Department of Russian Language and Literature at The University of Melbourne, which she led until 1977. Nina’s graduates largely staffed subsequent departments, in other Australian universities.3 However Nina’s Russian heritage and Clem’s outspoken views caused problems. They were forced to defend themselves in the Petrov inspired Royal Commission on Espionage in the 1950s, but were exonerated. The Christensens attracted and hosted many distinguished Australian and foreign writers, artists and academics, including Nobel prize-winning novelist, Patrick White and the world’s then leading cellist, Mstislav Rostropovich.4 Other writers and intellectuals who visited Stanhope were: Vance Palmer, Alan Marshall, A D Hope, Xavier Herbert, Nevil Shute, Geoffrey Dutton, Martin Boyd, Judah Waten, Bruce Grant, Dorothy Hewett and Sir Herbert Read. Painters included: Danila Vassilieff, Arthur Boyd, Albert Tucker, Justus Jörgensen, Robert Hughes and Clifton Pugh. Academics included: Manning Clark, Geoffrey Blainey, W Macmahon Ball, Richard Downing, Geoffrey Serle and scientist Tim Marshall. Politicians included: Jim Cairns, Pauline Toner, Lance Barnard, Sir Paul Hasluck, Sheryl Garbutt and performance artists included: film star Olivia Newton-John, members of the Bolshoi ballet and the Russian State Ballet of Siberia.5 Nina Christensen was honoured in 2006 at the Eltham Living and Learning Centre with the building of an amphitheatre designed by V Sverdlin.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, clem christesen, eltham, nina christesen, peter street, stanhope

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

The Rob Roy Hill Climb originated in 1935 on the property of former Heidelberg Mayor, William Clinton, where he reared the Rob Roy breed of miniature ponies. He established Pleasure Grounds on part of the property attracting groups of Sunday visitors from Melbourne's inner suburbs. Visitors enjoyed a picnic area, pony rides, a dance hall and a tap room. Young men would ride their BSA or Harley Davidson motorcycles to the property which led to regular club-organised hillclimb meetings between 1930 and 1936. In 1935 Clinton offered the use of his property to the Light Car Club of Australia for their hillclimbs. The track was sealed that same year and the hillclimb at Clintons Road was one of only three specially designed bitumen surface hillclimbs in the world, the others being Shelsey Walsh and Prescott Hillclimbs in the UK. The first Light Car Club of Australia hillclimb was held at Rob Roy in February 1937. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p133 About six times a year the unlikely sound of car engines emerges from deep in the heart of Christmas Hills.* Usually a quiet retreat, the Hills are home to one of the world’s oldest purpose-built motor sport venues - the Rob Roy Hillclimb. When sealed in 1939, the hillclimb at Clintons Road was one of only three specially designed bitumen surface hillclimbs in the world, the others being Shelsley Walsh and Prescott Hillclimbs in the UK.1 The Rob Roy Hillclimb originated in 1935 on the property of former Heidelberg mayor, William Clinton, where he reared the Rob Roy breed of miniature ponies. Rob Roy was the Scottish folk hero and outlaw. On part of his property Clinton established Pleasure Grounds, attracting Sunday parties from Melbourne’s inner suburbs. Visitors enjoyed a picnic area, pony rides, a dance hall and a tap room.2 Young men riding on their BSA or Harley Davidson bikes led to club-organised regular hillclimb meetings, between 1930 and 1936. In 1935 Clinton offered his property to the Light Car Club of Australia for their hillclimbs. In February 1937, the first Light Car Club of Australia hillclimb meeting was held at Rob Roy. Jack Day achieved the fastest time that day for the 760 yard (695m) track at 36 seconds in a Ford V8 engined Bugatti Special. At first the climb was just a dusty gravel track, but in 1939 it was up-graded and bituminised. Today the 695 metre track begins on a slight incline, proceeds through a sharp right turn, which formerly passed a rusty iron shed, now remembered by the name Tin Shed Corner. The track continues down a slight incline to a level stretch along the top of an embankment holding back a half-acre (0.2ha) dam, then up to a one-in-three gradient. The track then winds uphill through several left turns to the finish line. In 1939 Frank Kleinig reduced the record to 29.72 seconds in an MG Hudson. Throughout World War Two the Rob Roy Hillclimbs were suspended, but were resumed in 1947. The hillclimbs consistently attracted crowds averaging 500 to 600 people, peaking at 2000, until the hillclimb was destroyed by the 1962 bushfires. The meetings included nine Australian Hillclimb Championships, with the first in 1938 won by Peter Whitehead in his ERA. Eight of the Outright and Class record holders were Australian Grand Prix winners including Jack Brabham, who became a triple F1 World Champion. The Light Car Club of Australia held 61 meetings at Rob Roy. Events usually included Touring, Gran Turismo, Production, Sports, Racing and Vintage cars and in the latter years Go-carts. These meets suddenly stopped after the 1962 bushfire destroyed the access bridge on the property leading to the track area, although fortunately Clinton saved his home. The club then established the Lakeland Hillclimb venue close to Lilydale.3 From 1979 to 1987 the MG Car Club ran hill climbs at the Templestowe Hillclimb until the land was to be sub-divided. In 1991 the MGCC approached the Shire of Nillumbik about using the derelict Rob Roy venue. In 1992, after much lobbying, the club signed a ten-year lease from Melbourne Water, which has been renewed. The original track was faithfully reconstructed. Access roads were improved and guard rails were installed on the causeway. Permanent structures were rebuilt and tonnes of rubbish removed. This was made possible by an immense amount of voluntary work by MGCC members and financial support from the newly formed Friends of Rob Roy. In February 1993 the first Return to Rob Roy Historic Meeting was run with a huge spectator attendance of around 1000 enthusiasts. In September 2007, the Nillumbik Shire Council gave the hillclimb heritage protection. This acknowledged the property’s significant contribution to early Australian motor sport with its social connection to William Clinton and the local community.4 *Christmas Hills was named after emancipated convict and shepherd David Christmas, lost in these hills.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, rob roy hill climb, clintons road, light car club of australia, william clinton

'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

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.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 community and reception centre, mudbrick construction

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a girl patting a dog, the girl is wearing jeans and a pink knitted jumper.front: [printed] 930 / PRICE / CODE / C / VillaWOOL Galaxy / Kwiknit / Designknitting, pattern, fashion, knitwear, women, villawool

Information from "The AIF Project" Lieutenant Reginald Frank Barratt was born in 1879 in Withington, Manchester, Lancashire, England. Regimental number 2166. 3rd Field Artillery Brigade, Military District 3 and Military District 6. Arrived in Australia in 1903 aged 24. Address was Mount Street, Heidelberg, Victoria. Occupation - Farmer. Enlistment date was 17th August 1914. Served with the 68 Battery Royal Field Artillery during the South African War. Rank on enlistment was Sergeant. Embarkation details - Unit embarked from Melbourne, Victoria on board Transport A2 Geelong on 19th September 1914. Rank Lieutenant - Unit 1st Divisional Ammunition Column. Information from the Roll of Honour - Awarded Royal Human Society Medal for saving three lives from drowning in Orange River during South African War. Wounded at Zillebeke, near Ypres, Belgium. Died of wounds 22nd August 1917 at the age of 38. Buried at Bedford House Cemetery, Enclosure No 2, (Plot 1, R0w F, Grave 23), Zillebeke, Belgium. Panel number , Roll of Honour Australian War Memorial British War Medal - The medal was struck by the Royal Mint, is a silver disc 36mm in diameter with a straight clasp suspended without swivel. The obverse shows Sir Bertram Mackennal's bare headed effigy of King George V facing left with the legend 'GEORGIVS V BRITT:OMN:REX ET IND:IMD - "George V, King of all the British Isles & Emperor of India". The reverse, designed by William McMillan, shows St George, naked on horseback and armed with a short sword, an allegory of the physical & mental strength which achieved victory of Prussianism. The horse tramples on the Prussian eagle shield and the emblems of death, a skull and cross bones. In the background are ocean waves and just off centre near the right upper time is the risen sun of victory. The years 1914-1918 appear on the perimeter in the left and right fields respectively. The watered silk ribbon is 32mm wide with 3mm wide royal blue band, 2mm wide black band, 3mm wide white band repeated in reverse order and separated by 16mm wide orange band. Victory Medal - The medal is bronze disc 36mm in diameter with a winged figure of Victory on the obverse. The reverse has the words 'THE GREAT WAR FOR CIVILIZATION 1914-1918', all surrounded by a laurel leaf. The watered silk ribbon is 32mm wided has two rainbow design with the violet from each rainbow on the outside edges, moving through to a central red stripe where both rainbows meet.The recipients name, rank and unit are impressed on the bottom edge of the medals - Lieut F Barratt AIF

The Volunteer Air Observers Corps (VAOC) was a civil defence formed on 31st December 1941 as part of the Royal Australian Air Force (RAAF) support during World War II. The VAOC rapidly developed observation posts manned by men and women all over Australia, the main purpose being to identify and report any aircraft movement to an RAAF regional base. During the early days of 1942 the posts were manned 24 hours a day, gradually relaxing as the threat to Australia lessened. All members were continually trained in aircraft identification and provided an invaluable service to the RAAF. The VAOC was disbanded in April 1946. During its operation over 2,600 observations posts were maintained and approximately 25,000 personnel served. These certificates were presented to Mrs. H (Hazel) Penfold and Mr. A. R. (Alexander Rex) Penfold in recognition of 3 years of service during this period. Hazel was the daughter of Mark Ellwood and Rosina Mary Smale and the older sister of Grace, wife of John Hamilton-Smith. The family of Grace and John Hamilton-Smith have donated many items to the Wodonga & District Historical Society. This item commemorates one of the important roles played by civilians on a local, state and national level during WW2 and is attached to a local Wodonga family.2 coloured certificates on cream paper. The design includes 2 aircraft and a man and woman positioned between with the Union Jack and the Australian flag in the top section above the Royal Australian Air Force insignia and the words "For King and Country" Dark cream columns with a pale blue surround frame the details on the certificate. 3 one Years service stickers are attached at the bottom above the insignia of the Volunteer Air Observers Corps.For King and Empire Presented to Mrs H. Penfold by the ROYAL AUSTRALIAN AIR FORCE As a record and in appreciation of patriotic response to the call of country by serving in the VOLUNTEER AIR OBSERVERS CORPS This 20th day of September 1945 signed G. Jones Air Vice Marshall Chief of Air Staff signed ? Unit Commanding Officer volunteer air observers corps, vaoc, civilians in ww2, hamilton-smith collection

Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.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, alistair knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

Alistair Knox Park, an oasis of peace and beauty. Covered under National Trust of Australia (Victoria) Landscape Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p173 It is hard to imagine that the Alistair Knox Park, an oasis of peace and beauty beside busy Main Road, Eltham, was once the township’s rubbish dump. It was only in the 1970s that the tip was transformed into this beautiful six hectare space, which later earned it a National Trust Landscape classification. Before its life as a dump, the area was used for small farms. Thanks largely to the foresight and efforts of local environmental builder Alistair Knox, the park was designed sympathetically with the character of the wider Eltham landscape. Then, appropriately, the park was named after Knox, who was an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. The park designers were four major forces in the urban bush landscape garden –Knox, landscape designer Gordon Ford, artist Peter Glass and landscaper Ivan Stranger. The National Trust citation for the park, originally called Eltham Town Park, includes the Eltham railway trestle bridge and the Shillinglaw Cottage. The citation states ‘the semi-natural setting of the parkland provides a landscape which is evocative of the history of the area’. Manna Gums (Eucalyptus viminalis) and Candlebarks (Eucalyptus rubida) are significant features. Most of the park’s construction was directed by Bob Grant, Superintendent of the Parks and Gardens Department for the Eltham Shire Council. First plantings occurred in Arbour Week in 1973, then the lake and botanic area were completed in 1975, with Federal Government funding, and the toilet block in 1978. Bounded by the Eltham railway line, Panther Place, Main Road, Bridge and Susan Streets, the park is in a valley about a kilometre wide overlooked by steep hills at the east and west. The Diamond Creek flows through it and the picturesque historic timber trestle railway bridge edges the north. Informal plantings of Australian indigenous and native species in open and undulating grassed settings blend with the natural landscape of the Diamond Creek to the west. The bush-style plants, particularly around the creek, balance with open lawns, paths and a cascade flowing from a small lake to another below. A footbridge over the creek leads to the park’s west. The park includes an adventure playground and barbecue areas. The park stands on part of the land bought from the Crown in 1851 by Josiah Holloway, who subdivided it into allotments and which he called Little Eltham. Most of the land was subdivided into residential lots, but the creek valley, on which the park stands, was subdivided into farm-size lots, used mainly for orchards and grazing. One of the earliest owners was John Hicks Petty, who in 1874 bought a plot from Holloway. Other families who owned properties in that area, included Rees, Clark, Waterfall, Graham, Hill and Morant. In 1901 the railway was built through the area. Jock Read, an Eltham resident since around 1920, remembers several farms in the 1920s and ’30s that occupied the site of today’s park. A poultry farm, which extended from present day Panther Place, was owned by the Gahan family. Next to that farm was another for grazing cattle owned by Jack Carrucan. Beside this was land owned by John Lyon. A doctor lived beside this, and at the north-west corner of Bridge Street and Main Road stood a memorial to the soldiers who died in World War One, which was later moved to the RSL site. Mr Read also remembers other farms and orchards west of the creek In the early 1960s the Eltham Council began buying these farms and in the late 1960s turned the areas east of the Diamond Creek into a garbage tip. When this was filled above the creek’s flood plain, the tip was moved to the west of the creek.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, alistair knox park, eltham

Refer Cat No. 7944. Item in the collection of "Arthur E. Tranter", V50166 - VX52843 - 2/29th Bn POW.Certificate - cardboard, off white colour with red, blue and brown print. Illustrated with scroll design: outline map of Australia, with inscription "GOD, KING/ AND/ COUNTRY": Crossed flags on poles and banner with "Shire of McIvor". Lower left corner - embossed red colour seal adhered to certificate. Certificate presented by the Shire of McIvor - "In appreciation of your voluntary enlistment for active service overseas".Handwritten in black ink - "Lieut Arthur E. Tranter/ 30th May 41" Signed by "A.R. Hagan (President) D.R. Thomas (Councillor) ??? (Shire Secretary)certificates, ww2, arthur e tranter

Researched, written and designed by PMHPS members.The cover of the 2024 "Historic Port Melbourne - Dignitaries and Dreadnoughts" produced by members of the Port Melbourne Historical & Preservation Society focuses on visits to Port Melbourne by naval shipping and dignitaries including Royal ambassadors. hmas franklin, armed services - navy, shenandoah, koln, idzumo, yakumo, sawagiri, hamayuki, hms hood, hms delphi, duke of york, duchess of york, royal yacht ophir, hms renown, hmas australia, uss seattle, uss nevada, uss oklahoma, great white fleet, hmas canberra, hmas sydney, hmas yarra, piers and wharves - princes pier, piers and wharves - station pier, duke of gloucester, hms sussex, prince alfred, hmcss victoria, hmas lonsdale, hmas perth, anzac squadron, hms king george v

Set of two Connies collectable type cards produced for the Moomba 2002 parade, "Roads to Melbourne". .1 - No. 899 W7 Islander Tram" designed by Eve Glenn, No. 3 of 4, photo by Matt Irwin. Features a tram with oars out of a window. .2 - No. 1692, Ventoto Milan Tram, No. 4 of 4, Photo by Greg King. .3 - No. 805 - W5 "Silk Road Tram" - card 1 of 4, photo by Matt Irwin .4 - No. 8, Californian Combination tram - card 2 of 4, Photo by Matt Irwin Both have the City of Melbourne logo on the bottom edge.trams, tramways, moomba, milan, city of melbourne, connies, tram 899, tram 1692

The coin was discovered by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The coin is a British 1793 George III Gold Spade Guinea. It was already 83 years old when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The coin is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its bent, scratched, buckled, split, dinted and worn condition is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. The GEORGE III GOLD SPADE GUINEA: - The British Guinea was introduced in 1663 and was circulated until 1814. It was made of 22 carat gold, was 25 to 26 cm in diameter and weighed 8.35 grams. It had a value of 21 British shillings. The guinea coin ceased circulation after 1816 and was replaced by the one-pound note. However, the term ‘guinea’ continued to represent 21 shillings. King George (1738-1820) had six gold guinea designs minted during his reign from 1760 and 1820. Each of the six had different obverse portraits, all facing the right. There were three different reverse sides. The Spade Guinea was the fifth issue of the coin, introduced in 1787 and produced until 1799. The reverse shows a royal crown over a flat-topped shield with the Royal Arms of Great Britain, used in Scotland between 1714 and 1800. The shield images are, from left to right, top to bottom, the Arms of England and Scotland, the Arms of France, the Arms of Ireland, and the Arms of the House of Hanover. The Gold Guinea is also part of Australia’s history. It was the first coin mentioned in the announcement of Governor King of New South Wales his Australian Proclamation of a limited variety and denomination of coins accepted for use in the Australian Colony. The historic and decorative George III Spade Guinea has been reproduced for special collections of coins. However, replicas and imitations have also been made as souvenirs for tourists, as gaming tokens and chips for gamblers, and as ‘fake’ coins for profit. These coins differ in many ways; they may be only half the weight of the genuine coin. Often have a small stamp on the obverse with “COPY” or the manufacturer’s name or initials. Some have scalloped edges, some have dates that are different to the original dates of issue, and some even have text in Latin that translates as something very different to the original coin.The King George III Guinea was only produced from 1663 to 1814 and was the first English coin to be mechanically minted. The coin is the fifth edition of the King George III Guinea, the Spade Guinea, was only produced between 1787 and 1799. It is the only edition with this portrait of King George and the only one with the Royal Coat of Arms of Great Britain in Scotland on the reverse side. This edition was also the last guinea in circulation, because the sixth edition was reserved as the Military guinea. This edition of the Guinea is unique; This coin is the only guinea in our collection. It was minted in 1793, so it is now over 230 years old. The Gold Guinea is part of Australia’s history; it was the first coin in the list of coins for use in the Australian Colonies, mentioned by Governor King of New South Wales in his Australian Proclamation speech of 1800. The George III Spade Guinea was included in the Limited Edition Sherwood 12 Coin Collection of Notable Coinage of Australia. This coin is the only known guinea coin recovered from the wreck of the Loch Ard. It was already 85 years old when the ship was wrecked.Gold coin; British. 1793, King George III of the United Kingdom of Great Britain and Ireland (1760-1820), Spade Guinea. Yellow gold coin with gold metal loop mount and a gold ring through the loop. The design is the fifth issue of the George III Gold Guinea. The obverse relief is a portrait of George III facing right. Reverse relief is a crown above the Coats of Arms (1801-1816) of flat top spade-shaped shield divided into four quadrants that depict crowned lions, fleur de lies, a harp. These images are identified as, from left to right, top to bottom, England and Scotland, France, Ireland and Hanover. Inscriptions are minted around the rims of each side. The coin is dated 1793. Its surface has dark areas on both sides and the reed edge and surfaces are well worn. The loop mount is bent and the ring is buckled. The coin was recovered from the wreck of the ship Loch Ard.Obverse text; 'GEORGIVS III DEI GRATIA' (translates to George the Third, by the Grace of God) Obverse relief; (King George III bust, facing right, laurel wreath on head) Reverse text; 'M.B.E.ET.H.REX.F. D.B.ET.L.D. S.R.I.A.T.ET.E' '1793' (translates to: King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire) Reverse relief; a spade-shaped image i.e. (Crown with fleer de lies, above Shield with crowned lions in different postures, a harp, and other details)flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, royal mint, british coin, currency, guinea, military guinea, australian currency, british guinea, gold coin, spade guinea, king george iii, george iii, fifth portrait, arms of england and scotland, arms of france, arms of ireland, arms of the house of hanover, coins, gold coins, gold medallion, georgian era, 1793, numismatics, contamination phenomena, gold corrosion, good luck, lucky charm, pendant, lucky coin, trade, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, guinea coin, gold guinea, shipwreck artefact, relic, julie wilkins

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a man wearing brown shoes, brown corduroy pants and a cream knitted jumper.front: [printed] SIRDAR / Alpaca / Classique / 7430 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing a knitted jumper, corduroy skirt and tights.front: [printed] SIRDAR / Multi Yarns / 7427 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features two images of the same woman dressed in different knitted tops.front: [printed] SIRDAR / Alpaca / Classique / 7431 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing a knitted cardigan.front: [printed] SIRDAR / Multi Yarns / 7426 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Twelve page knitting pattern book featuring black and white text and colour images. The colour cover features an image of a woman wearing long brown boots, tan corduroy pants and a cream knitted jumper.front: [printed] Swift & / Simple / SIRDAR / BOOK 523 / PRICE / CODE / Dfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing a cream shirt and knitted cardigan in tones of brown.front: [printed] SIRDAR / Panache / 7417 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing red stockings, a black skirt and a knitted jumper.front: [printed] SIRDAR / Panache / 7411 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features two images of the same woman wearing different knitted tops.front: [printed] SIRDAR / DOUBLE CREPE / 7424 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing black pants and a knitted jumper.front: [printed] SIRDAR / Alpaca / Classique / 7386 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar