"Victoria the Golden" documents life in Victoria between 1850 and 1862 as viewed by artist William Strutt. Momentous events in the Colony’s history such as Separation Day (1 July 1851), the sitting of the first Legislative Council (13 November 1851), the death of Burke (June 1861) and the Black Thursday bushfires (6 February 1851) are depicted. In 1907 the Premier of Victoria Thomas Bent purchased "Victoria the Golden" from Strutt for £120 and presented it to the Library. The album depicts events in chronological order with what Strutt considered “fidelity to nature and accuracy”, so that present day Victorians may view the sketches “as records of what we may now look upon as the dim past in the rapidly progressive history of Victoria”. Victoria the Golden is celebrated as one of the Parliament’s great treasures. It is a testament to William Strutt’s skill as a draughtsman and contains over 100 assorted images which were executed between the years of 1850-1862. Strutt’s particular talent was to be able to step back and record each event with particular care to detail. Many of the pieces contained within this album are littered with notes, such as the correct resting position of a corporal’s sword or details about the cloth and cut of a subject’s jacket. Strutt also notes in one of his many sketches of the new Legislative Council chamber at Spring Street that the President, Sir James Palmer, is seated ‘a little too high’ (page 30). Throughout the album, Strutt’s illustrations bring to life the diverse nature and peoples of the new colony. His range of subjects is comprehensive and includes parliamentarians, lawyers, wives and daughters, merchants, labourers, police and military officers, indigenous communities, farmers, miners, prisoners and explorers. The everyday and the extraordinary are depicted with each turn of the page. 44 leaves heavy card, approximately 1mm thick. Sketches, watercolours and prints of varying sizes and papers are glued onto the pages. Full leather binding in blue leather with title and decorative border in gold. There are four raised bands on the spine, with gold decoration on the bands and at the head and tail of the spine. Marbled end papers and flyleaves. Gold on the edges of the book block. Card pages have a sheet of mottled blue paper on recto. Album leaf connection is a guarded system with stiff stubs and cloth hinges. Each page has a sheet of glassine paper attached at the binding edge to protect the images. Many pages stamped with "Parliament of Victoria" verso. Printed in gold, recto: "VICTORIA THE GOLDEN/ SCENES,/ SKETCHES,/ AND JOTTINGS FROM NATURE./ BY/ Wm. STRUTT/ MELBOURNE, VICTORIA./ 1850-1862" First pages include handwritten 'introductory remarks' and index of plates.parliament of victoria, colony of victoria, separation day, victorian legislative council, burke and wills expedition, wills, william john, 1834-1861, burke, robert o'hara, 1821-1861, strutt, william, 1825-1915, bent, thomas sir, 1838-1909, native police corps, fawkner, john pascoe, 1792-1869, black thursday bushfires, gold rush, princes bridge, melbourne

Bob Kelly paints landscapes of culturally significant sites along the Mornington Peninsula and depicts these locations as he imagines they originally were before colonisation. Using traditional Western painting techniques, Kelly records the underlying spirit of the Peninsula from a Wathaurong perspective. Chinaman’s Creek in Capel Sound (Rosebud West) was an important watercourse that originally ran from Wonga (Arthur’s Seat) down through Tootgarook Swamp into Port Phillip Bay. It was a great fresh water and food source and home for many Boonwurrung people. Since settlement over 170 years ago, the creek has been drained, blocked, reconstructed and damaged. Kelly depicts a lush green landscape in which the clean creek water winds through the surrounding vegetation of spinifex grasses and gum trees, the background hills are abundant with trees, untouched from man's intervention. Using painstaking detail, Kelly records each blade of grass and ripple on the surface of Chinaman’s Creek. His attention to detail serves to powerfully reimagine this important cultural site, returning it to its former pristine state, and reinvigorating its role as a key place of sustenance for the Indigenous populations of the Peninsula. Chinaman's Creek was a finalist in the 2017 Bayside Acquisitive Art Prize.oil and acrylic on canvaslandscape, creek, trees, chinaman's creek, painting, indigenous, robert kelly, bayside acquisitive art prize, bob kelly, wathaurong, rosebud, arthur's seat, tootgarook swamp, port phillip bay, boonwurrung

As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Arweet sit down 2010, etching, 28 x 19.5 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010. etchingetching, arweet, vicki couzens, carolyn briggs, bayside indigenous coastal trail

As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Paint the Country 2010, etching, 19.5 x 28 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010.etchingetching, vicki couzens, country, indigenous coastal trail, bayside, carolyn briggs

As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Yams and eels 2010, etching, 28 x 19.5 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010. etchingetching, yams, eels, vicki couzens, bayside indigenous coastal trail, carolyn briggs, bayside

As part of the redevelopment of the Indigenous Coastal Trails, this work was commissioned by Bayside City Council as one of four prints produced in a limited edition of ten. This etching was produced in response to stories of the Boon wurrung people as written by Carolyn Briggs, Boon wurrung elder.Vicki Couzens, Women's journey 2010, etching, 28 x 19.5 cm. Bayside City Council Art and Heritage Collection. Commissioned 2010.etchingetching, journey, vicki couzens, yam, eel, bayside indigenous coastal trail, carolyn briggs

F.G.Barnard, writing in 1910, recorded that Ernest Ingle opened a boys' school in a private house in Cotham Road, Kew, in 1872. The school was later moved to larger premises in Charles Street, where suitable school rooms were added. Ingle's career was cut short by a fatal attack of typhoid fever in 1875. The school then passed into the hands of Mr. J. Henning Thompson. Under Thompson's management the school speedily became a strong rival to the neighbouring Hawthorn Grammar School. Barnard also lists in his Jubilee History of Kew, that Dr N.C. Vance [winner of the trophy for the 440 yards running event] was a notable alumnus of Kew High School. It is assumed that N.C. Vance was the son of Rev G.O. Vance who was appointed vicar of Holy Trinity Church, Kew, in 1870. This is a tangible memento of the first Kew High School, awarded to a pupil eight years after the school's establishment. The trophy is historically interesting as it was presented to N.C. Vance by Ann Bon, a notable Kew resident and a supporter of Indigenous People in Victoria, particularly William Barak and his family.Silver plated trophy in the form of a cup on a pedestal with two arms, each surmounted with pine cones. The trophy has a range of design features including convex and concave decorated surfaces created by repoussé (i.e.hammering). Specific decorative aspects include scrolling at the top of the cup and floral sprays at front and the rear of the trophy. There is a single inscription identifying the school, the event, the winner and the identity of the person presenting the trophy. The metal used in the cup section of the trophy is heavier and thicker than that used in the rest of the trophy.There are no compositional or maker marks on the trophy.Inscribed: "Kew High School / Old Boys Cup / Presented by / Mrs John Bon / Won by / N Vance 1880"dr n vance, kew high school -- kew (vic.), private schools -- kew (vic.), sports trophies -- kew (vic.), n.c. vance

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.On the Miller Estate, Myrtle Hill, an immense red gum became known as the 'Canoe Tree' because of the scar in its trunk which was believed to have been caused by the local Indigenous inhabitants of Kew in creating a canoe. Dorothy Rogers (A History of Kew, 1973) records that "the tree, with increasing age became a safety risk, and was at first lopped, but when the land was subdivided some years ago it was removed all together. In Bowyer Avenue, which bears a family name of the Millers, a memorial has been erected which commemorates the tree." There is no date given for its removal.canoe tree, myrtle hill, dorothy rogers, bowyer avenue (kew), first peoples

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Melbourne before history began. The text of five radio programmes presented by Edmund Gill on the prehistory of the Melbourne regionindigenous australians (vic), australian broadcasting commission, first peoples

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

23.0 x 14.0cms, 938 pp. b/w illust dust jacketnon-fictionArgues that Australia's Indigenous people discovered the land, adapted it and mastered its climates, seasons & reserves.habitation - nomadism., demography - palaeodemography - aboriginal settlement of australia., reproduction - infanticide., feuds and warfare., hunting, gathering and fishing., food - plants., trade and exchange - trade routes., australiens (aborign̈es), aborigines, australian -- social life and customs., aboriginal australians -- social life and customs -- northern territory., aboriginal australians -- history., aboriginal australians -- culture -- history., aboriginal australians -- civilization -- history., aboriginal australians -- economic conditions -- history., aboriginal australians -- social life and customs., human ecology -- australia., aboriginal australians., aborigines., australiens (aborigènes), australien., australia -- history., lake mungo /​ walls of china (willandra sw nsw si54-08), tasmania (tas), australia - aborigines, book

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Judy WATSON (1959- ) Born Mundubbera, Queensland. Waanyi people Judy Watson lives and works in Brisbane, Queensland. She is an Indigenous artist whose matrilineal family is from country in North West Queensland. She co-represented Australia in the 1997 Venice Biennale and won the Moet & Chandon Fellowship in 1995. judy watson, gippsland art collection

p.190.fictionCharged with the task of engaging with the indigenous peoples of Nigeria during the colonial period, Sanders takes a no-nonsense approach that, though it may offend the sensibilities of current-day readers, is unquestionably effective. Offering readers an action-packed glimpse into a period of history that is often overlooked. Sanders of the River should be on the must-read list of every action-adventure junkie. england - fiction, african fiction

The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). Annette Xibarras and Bill Nicholson Jnr discuss the indigenous significance of the Truganina Explosives Reserve. At the time of the interview Annette was the manager of the Kulin Nations Cultural Heritage Organisation. Bill, a Wurundjeri Elder, was a Wurundjeri Cultural Officer. They discussed their childhood, aboriginal customs, connection with the land and the locating of aboriginal remains at the Museum of Victoria and the re-burial at the site where they were found. A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018julia jones, princess balam balam, archaeological survey, middens, wurundjeri, kulin nations, coranderrk, braybrook, sacred sites, mt william, bunurong, museum victoria, altona, martha nicholson

The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). As the then President of the Inner West Branch of the National Trust, Hugh was unaware of the Truganina Explosives Reserve until contacted by Nessie Hardy about the proposed sale of the site by the State Government. He was struck by the industrial, environment and indigenous significance of the site A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018nessie hardy, cheetham salt works, migratory birds, explosives reserve, explosives, point gellibrand, national trust, tin fence, sand ridges, altona skipper butterfly, middens, aboriginal occupation, judy hindle

non-fictionThe Murray River is a vital waterway forming most of the border between Victoria and New South Wales, extending for 2671 kilometres. It played a pivotal role in the life of indigenous peoples of the region and continues to have a vital role in the life of all communities along its banks. This book outlines its historical importance as well as its role in agriculture and tourism. It key places and shows the many ways in which the great Murray River contributes to the heritage of Australiamurray river, murray river names, murray river discovery and exploration, australia - tourism

non-fictionThis book relates the history of Albury to what readers can see around them and also focuses on special areas. It was the first history of Albury to explain in detail about the indigenous occupants of the area. It also examines sport, military history, the role of German, Lebanese and other non-English people and the National Growth Centre project up to 1991. The book also seeks to present Albury to the wider world by looking at a range of topics including its role in Federation, its vital wartime role and aviation history. and key figures who have played a role in making Albury what it is today.albury heritage, albury history

non-fictionA history of the Shire of Tallangatta published by Keith Swan for the Tallangatta Shire Council. Traces the history of this area of northeast Victoria from its indigenous people to conflicts with European settlers and its development by pastoralists.dhuduroa / dhudhuruwa people, customs and traditions, history tallangatta

The photograph was taken in The Nook. Terence O'Brien rented the land from Goonawarra from the 1890s to 1905 where he grew cereal crops. The terraces on the hillside were built to grow vines when the property was one of the first vineyards in the area. The men in the image are from L-R: Mr. Heath in the white cutter owned the chaff cutter, John Leyden with hand on fence, Michael Dillon, Terence O'Brien and Phil Ratile are on top of the haystack, Andy Burke standing with hand on hip.The growing and harvesting of cereal crops was an important agricultural industry in the early days of Sunbury's settlement by both the Indigenous People and Europeans.A non-digital photograph black and white photograph of eleven men gathering hay with the aid of a steam traction engine in a wide open valley. A hillside in the distance has been terraced and there is a house on the hill in the distance.the nook, terence o'brien, andy burke, mr. heath, michael dillon, philratile, goonawarra, vineyards

One of eight double-sided interpretation panels on the Moor-rul viewing platform at the War memorial park in Kangaroo Ground highlight the area's indigenous history. Wing feathers of the wedge-tailed Eagle (BUNJIL) Courtesy of the Melbourne Museum. "On a clear day a pair of these magnificent birds might be seen soaring high above this platform on rising thermals" For the Wurundjeri people, Bunjil, the Eaglehawk was seen as being the all powerful Being of the Dreamtime, the all-father who created the centre world and its creatures. After the creation Bunjil with his wives and sons went up intothe “tharingbeik”, the sky, where he remains today as the star Attair. Souce: Document compiled by EDHS in 1997 for a series of historic items for Diamond Valley Public Radio. The Moor-Rul Viewing Platform, part of the Kangaroo Ground War Memorial Park opened in April 2007. Eight double-sided interpretation panels on the Moor-rul viewing platform highlight the area's Aboriginal and European history of the area and also details of local geology, flora and fauna. These panels feature high quality graphic design and professionally written text. The subjects covered are: ''Womin Je Ka" Welcome The Kulin Nation Singing, Dancing, Ceremony, Celebration This Country, My Home The Highland Taken Auld Lang Syne "Same Land Different Views" Working the Land Food from the Earth or "Earth's Harvest" Lest We Forget, "And with the going down of the Sun .... (3 panels) This Black Earth Those other indigenous inhabitants - Kangaroo Ground's Wildlife Silent Witnesses - Kangaroo Ground's White Manna Gums Belonging A Place of Reverence and A Tower of Strength Souce: EDHS Newsletter No 173 March 2007. As part of a program to acknowledge the Anzac Centenary Nillumbik Shire Council partnered with Yarra Plenty Regional Library to provide a bus tour with commentary of local sites of significance: Shire of Nillumbik World War One Memorials tour, 10 August 2016. These included Eltham township, the Shire of Eltham War Memorial at Kangaroo Ground, Christmas Hills war memorial, Hurstbridge memorial recreation park and finshed at Eltham Library to view the Writing the War exhibtion at Eltham Library Community Gallery. Born Digitalshire of nillumbik, kangaroo ground, moor-rul viewing platform, interpretative signage, eagle, feather, interpetation panel, dreamtime, bunjil

These are most likely student works from Koorie Art and Design course, 1994. Please note, scanned images are for archive reference only. Images may appear flipped or rotated, and colours may not be accurate.Series of 11 35mm mounted slides, from Koorie Art and Design classes, 1994. university of ballarat, federation university australia, graphic design, art, koorie, aboriginal art, indigenous art, first peoples, bill, rubina, kylie, abraham

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p101 A sharp turn from busy Wattletree Road by the railway line, brings a surprise. Only 1.4 km from Eltham’s centre, sheep feed, blissfully unaware of the hectic suburban activity so close by. At the entrance to the 5.6ha Edendale Farm is another surprise. A work of art that looks like huge tree trunks transformed into bowler and top-hatted men. The Fences Act 1968 by Tony Trembath with Mark Cain and John Doyle, 1996, is classified by the National Trust of Australia as having Regional Significance. The title refers to a government act on disputes between neighbors over the placement of fences and boundaries. This takes a ‘wry swipe’ at a community divided by trivial squabbles. It also celebrates making do with limited resources.1 Further along on the left, the office wall is decorated with a massive Eltham Copper Butterfly, designed by Robert Tickner and made by school children with used plastic bottles and other waste material. Nillumbik Council runs Edendale as an Environmental Education Centre, to help preserve and enhance the local environment. As early as 1988 the former Eltham Shire Council realised Edendale’s importance in meeting people’s needs, particularly of children, to enjoy farmland. The centre, with the Eltham North Reserve to the north - including remnant bushland and open parkland - makes up the major part of the public open space for this area. The council considers this area will become increasingly important to the local community for recreational use.2 Educational programs aim to encourage community involvement to ensure the long-term rehabilitation and protection of natural bushland areas. Edendale is used by people of all ages - from school children to adults - for environmental programs and workshops, as well as for recreation, to enjoy the domestic animals and to picnic. Edendale is also home to the Environmental Works staff who manage reserves and roadsides and support Nillumbik Friends environmental groups. The Friends propagate plants at the nursery, which grows indigenous plants and sells these to the public.3 The centre demonstrates the sustainable living the farm teaches, with features like solar hot water and drive lighting and for the fireplace, logs of recycled cardboard. Edendale has had a varied history as a dog pound and even as a retreat for Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne. His single-storey weatherboard house built in 1896, which still stands, was grander than most homes in Eltham. Although such buildings were common in many other parts of Melbourne, Eltham’s poverty and remoteness did not encourage such construction. The Victorian rectangular-shaped house, with a corrugated iron roof and veranda, has elegant large rooms, leadlight windows, ceiling roses, two bay windows and ornately carved wooden fireplace surrounds. Cool bought seven acres (2.8ha) from pioneer Eltham farmer Henry Stooke’s 200 acre (81ha) farm, which he had bought from the Crown in 1852. In 1918 Cool bought an extra seven acres (2.8ha) but in 1919 sold the estate to farmer John Cox. In 1933 Cox sold Edendale to Mrs Elizabeth Gaston, after whom the road leading to the centre was named. The property was owned by several Gaston family members, who called it Edendale, then by a police constable, Douglas Mummery, until the Shire of Eltham bought it in 1970. Oddly Edendale was known as Mummery’s for almost 20 years, although Mummery owned it only for a short time.4 The shire used Edendale as a dog pound until amalgamation with other municipalities in 1996. The pound then moved to the Yan Yean Road, Plenty site, which had been used by the former Diamond Valley Shire Council. To the west and north the centre is bounded by Diamond Creek and on the east by the Melbourne-Hurstbridge railway line. Part of the Research creek forms the centre’s southern boundary.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, edendale farm

Fern gullies around Jehosaphat Gully Covered under National Estate. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p125 The magnificent Kinglake National Park, fringing Nillumbik’s north, is the largest national park close to Melbourne. Thanks to the vision and hard work of a band of local people, the park was created from what was rapidly becoming degraded land. Seeing a threat to Kinglake’s indigenous flora and fauna, several prominent local people campaigned for a national park, which was established in 1928.1 Since then, the park has grown through donations and acquisitions of land, from around 13,800 acres of land (5585ha) to 22,360 hectares. The Sugarloaf and Everard Blocks – of almost 8000 hectares – stand in Nillumbik and the park extends into Mitchell and Murrundindi Shires and the City of Whittlesea. Mt Everard commemorates William Hugh Everard, State member for Evelyn when the park was established. Before 1928, European settlers had degraded the Kinglake area, which was named after the celebrated English author and lawyer, Alexander William Kinglake. Remains of gold shafts and diggings in the park are reminders of Kinglake’s first settlers, who hoped to strike it rich at the gold diggings. But like other gold fields in this shire, they proved not very lucrative and soon timber cutting replaced mining in importance. However, before long, the accessible timber supply ran out, so in the 1920s agriculture took over – particularly potatoes and berry fruits – which involved large-scale clearing.2 The park’s instigator was retired Melbourne University Professor of Music, William Laver.3 As chair of the Kinglake Progress Association he began negotiations to have crown lands on the southern scarp of the Great Dividing Range reserved as a national park. Even before the park was proclaimed, from 1927, KPA members cut tracks to the major scenic points. Professor Laver was one of several people who gave land for the park, donating around 50 acres (20ha), including the Jehosaphat Gully.4 Laver chaired the park’s first Committee of Management, which raised money to employ a ranger and provide facilities, including tracks and roads for fire protection vehicles, toilets and shelters. The committee charged fees for firewood collection, some grazing of livestock, and visitor entrance, and obtained small State Government and Eltham Shire grants. In 1957 the State Government provided revenue for national parks. Then, in 1975, the State Government took over the management and the Committee of Management became an advisory committee, which disbanded in 1978. Originally, the park covered crown land in the Shires of Eltham and Whittlesea; then Wombelano Falls in Yea and other areas were added. In 1970 the park extended into the Shires of Eltham, Healesville, Whittlesea and Yea.5 Bush fires have been an ongoing problem. In 1939 hundreds of eucalypts and acacias had to be sown around the Jehosaphat Gully to rejuvenate the forest. To manage bushfires, the Committee of Management, then the State Government, worked closely with the Forestry Commission, shire councils and local fire brigades. Early national parks focussed on recreation. But by the 1980s, conservation, education and scientific research became more important, playing a vital role in preserving representative samples of the natural environment. Each year many thousands of people use the park’s extensive network of walking tracks amongst the protected plant and animal life as well as camping, cycling and horse riding. The park, along the slopes of the Great Dividing Range, has lookouts revealing magnificent views of the Melbourne skyline, Port Phillip Bay, the Yarra Valley and the You Yangs. Vegetation in the Masons Falls area includes messmate forest, Austral grass-trees, ferns and Hazel Pomaderris. In spring, orchids, lilies, everlasting daisies, correas, grevillea and heath appear. Around Jehosaphat Gully are wet and dry forest, fern gullies and banksia. Animal life includes wallabies, kangaroos, koalas, echidnas, possums, gliders and bandicoots. Male lyrebirds can be heard mimicking in the Jehosaphat Gully, particularly in the Everard Block in winter.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, kinglake national park, jehosaphat gully

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

Troy FIREBRACE (c1994-) Country/Language: Yorta Yorta Troy is a Shepparton born Yorta Yorta man, whose career is on the rise after winning the prestigious Federation University Acquisitive Award for Work by a Victorian Regional Artist at the 10th Victorian Indigenous Art Awards. He completed Year Twelve at Shepparton Secondary College in 2010, and in 2015 Troy was studying Creative Arts at La Trobe University, Bendigo where he has pursued his interest in his Aboriginal identity and art. He is largely influenced by the art of his Uncle Chris Firebrace and he enjoys the design aspects of creating a painting. Usually Troyʼs works contain a narrative, or at least hint of a meaning that he would like to convey to people. Influenced by the imagery of his Aboriginal cultural background he works at bringing together references of landscape, environmental processes and concerns, looking at the way in which we as humans relate to the natural world. Troy seeks to find and demonstrate a connection between humanity and the environment, exploring the idea of harmonious co-existence. Artist's statement: "‘Stories are being told and shared like particles in the universe, a constant swirl of words filled with emotions creating a pattern — explosions — smashing into each other creating a layering effect — creating worlds, planets — well nourished and suited to sustain life, and from this life new stories will emerge, to be told, to be shared — a continuous galaxy swirl. I like the idea that we are a part of something bigger — yes, the earth is massive, but we are just a speck of something far beyond the Milky Way itself.” The work was inspired by the work of abstract expressionist painter Jackson Pollock, science and space. This work won the 2015 Victorian Indigenous Art Awards Federation University Acquisitive Award for work by a Victorian regional artist. His canvas 'A Galaxy Swirl' was described by judges as ‘‘a vibrant and dynamic painting that, as the artist explains, epitomises a bringing together of modernism and Aboriginal arts’’.victorian indigenous art awards, troy firebrace, artwork, artist, indigenous, aboriginal, painting, indigenous artist