Michael Wilson learnt the craft of Goldsmithing after seeing well known sculptor and silversmith Matcham Skipper working in his studio at Montsalvat in and around 1970. This work is a gift to the Eltham Community in recognition of his twenty five years of developing his goldsmith skills and operating his business within the Shire. Wilson officially opened his commercial premises in 1985. Michael Wilson is a local jewellery maker. His work is influenced directly by the environment in which he lives. This sculpture is representative of his distinctive style of work as a nationally and an internationally recognised Designer and Goldsmith. Made of steel and powdercoated in aluminium with a concrete base. Decorative elements such as the ring encasing the cicada and the cicada's wings are guilded with 24ct gold leaf. The steel rod is burgundy in colour with the cicada painted a dark olive green to represent the 'Green Grocer' variety common in Eltham. The colours used in this sculpture match the surrounding Elm and Ash trees in the landscape. N/Apublic art, cicada, wilson, gold, green grocer, jewellery

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Emma Martin nee Bennett. Photograph taken in early 1900's in a photographic studio. Emma is seated and leaning on a table with her gloved right hand on an open book. A potted plant is prominent beside her on the table. Mrs. Emma Martin nee Bennett -- Studio Portrait. Emma has a long dress with puffed sleeves and decorative collar and hat. Emma (nee Bennett) Martinstawell portrait

From the Chapman family photograph albumPhotograph on card backing. Landscape - House weatherboard miners cottage with brick chimney corrugated iron roof, front door open leading through to back yard - front yard trees and plants. Woman with two children. Woman in long dress one boy in trousers shirt and top. Younger child in dress. Henderson

From the Chapman family photograph albumPhotograph on Card. Ruth Henderson same background an plant. Standing hand in pocket wearing woven hat with band. Long skirt open buttoned jacket, white blouse, bowtie.(G)

From Chapman family album. Sepia Formal Studio Portrait. Bearded male in three piece suit with tie. Holding an open book. Bearded greying and receding hairline.Mr Barrett Coat of Arms

Dr. Drake had TB, but cured himself. He then established an open Air Hospital in what is now the grounds of the Whitefriars Seminary in Park Road Donvale.Black and white studio portrait of Dr. Francis Drake. Well known local Doctor and founder of Open Air TB Hospital on the site of the Whitefriars Seminary in Donvale. See History.drake, francis john dr, tb hospital, donvale, whitefriars seminary, nethercote, john

Group photograph taken on the occasion of the opening of Lilliput Bridge in July 1911. Two individuals are identified on the back of the photograph: Olive Hiskins and her father John Hiskins.Group photograph, mounted on brown cardboard, Photographic studio identified at bottom of cardboard frame on front. Details of event and names of two individuals written on back.On back "Lilliput Bridge, opened July 1911". "Lady in lampshade like hat - Olive Hiskins, man to her right standing out front, her father - John Hiskins" On front "Thalma. Ilsley Opp. P.O. Rutherglen"olive hiskins, john hiskins, lillput bridge

In 1971, Alex Stitt and Bruce Weatherhead left advertising and opened The Jigsaw Factory - a design studio focussed on educational material for kids. The Richmond premises included a store, play space and craft workshop and produced books, games, posters, toys, and more. 'A Dictionary of Magic' was created by the pair while at the Jigsaw factory.Four games in a book about astrology, chiromancy, wizards and toads and other strange things, including a complete set of 78 fortune-telling 'Tarot' cards.graphic design

A framed print of a hand coloured photo detailing open warfare in Peronne during WW1. Image shows frontline soldiers witnessing an explosion in the distance. Mat board is inscribed with the words "OPEN WARFARE BEYOND PERONNE. SEPT 1918""Cotarts Studios Melbourne" inscribed on the right corner of the print. open warfare beyond peronne, 1918, september 1918, ww1, explosion, peronne

The first Kew Congregational Church in Walpole Street, was designed by Charles Vickers, and opened in 1860. The second church on the site, designed by the architect Charles Wharton was demolished in 1970s. Rare photograph of the interior decoration and layout of an important and now demolished church in KewBlack and white photograph, on card, featuring the interior of the Kew Congregational Church. Shows detail of pews, pulpit and ornate brickwork. Front: "The Sears Studio" "Melbourne" [printed on mounting board]. Reverse: "P. Inside of Kew Congregational Church" wapole street - kew (vic), congregational churches - kew (vic), chirch interiors

The Southern Cross Hotel on the corner of Bourke and Exhibition Streets was opened in 1962. It was built on the footprint of the Eastern Market. The hotel was closed in 1995 and demolished in 2003. Ernest 'Nitz' Dorn was a photographer at the hotel with his own studio in the building. Customised packet of Southern Cross Hotel matches faced with a photograph of a woman on the front.Southern Cross Hotel Melbourne, Australia / Photography by Ernest Dorn / 63 8930matches, ernest dorn, southern cross hotel

Kew Library history: 1860: Kew's first library was the Kew Literary and Scientific Society, which opened on 6 August 1860. 1884: Kew Town Hall was extended and the library transferred to a room on the upper floor. This was not an ideal arrangement as the room was required for Council purposes. 1904: A cottage adjoining Kew Town Hall was purchased for use as a library. 1937: The library was closed for a major overhaul of stock and renovation of the building. It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt.An historically interesting photographic record of investment in public infrastructure and services by municipal councils during the 1950s. Framed photographic collage showing the opening of Extensions to the Kew Municipal Library by The Hon. L.W. Balvin M.L.A. Chief Secretary on 19 August 1954. The photos are in their original mount and frame.[Inscription] "Kew Municipal Library: Opening of Extentions by The Hon. L.W. Balvin M.L.A. Chief Secretary 19.8.1954, with Cr. A.S.C. Stevens J.P. Mayor and Cr. W.D. Vaughan J.P. Chairman Library Council". [Photographer] "Stuart Tompkins Studios."kew library, cr a.s.c. stevens, cr w.d. vaughan, australian photographers - stuart tompkins studio

Arthur Henry Miers, pictured in the photograph played for cricket, football and baseball teams in Kew for a number of decades in the first half of the twentieth century. He was born on 22 November 1901, the son of Rodolph Theophilus Miers (1874-1951) and Margaret Frances (Margaretta) Fry (1875-1958). He had two brothers, Rodolph Cecil Miers (1904-80) and Charles Wilfred Miers (1906-88), and a sister Marjorie Elizabeth Miers (1911-84). Arthur Miers died in Kew on 25 January 1966, and after his body was cremated, his body was interred in the Mausoleum of Boroondara General (Kew) Cemetery.Rare early photograph of the Victorian Junior Cricket Union premiership team of 1931Team photograph, mounted on card, of the Victorian Junior Cricket Union, Eastern Suburbs Premiers Season 1931.VICTORIAN JUNIOR CRICKET UNION / OPEN AGE INTER-ASSOCIATION COMPETITION / EASTERN SUBURBS PREMIERS SEASON 1931 / BACK ROW - W EWENSON; C W MIERS, B B NICHOLSON / CENTRE ROW - L JUDD; L LITTLEFIELD; W GREENWOOD; V GREAVES; A HARDY; H COOK / FRONT ROW - W H JENKINS (PRES,); S DALEY; A MIERS (VICE-CAPT.); C R STOCKS (CAPT.); E TONKIN; A M WILSON; J C WHITE (HON.GEN.SEC.) / GLEN STUDIOS, CARNEGIE Reverse: MR A MIERS, AS VICE CAPTAIN OF THE SUCCESSFUL TEAM, I EXTEND TO YOU MY HEARTIEST CONGRATULATIONS ON YOUR SUCCESS. W H JENKINS 12/5/1931arthur miers, cricket, cricket teams, victorian junior cricket union

This book focuses on the area's history and traces the development through settlement, adaptation and consolidation to the present. It discusses the history of early families, the railway, land boomers, churches and school. Robin da Costa, later Mrs Robin da Costa- Adams, came to live in Balwyn Road, Canterbury and joined the Canterbury History Group.Hardback book of 144 pages, indexed with multiple black and white photos.In Jocelyn Hall's writing: "Donated to Surrey Hills Neighbourhood Centre".(mr) james blackburn, meader's travellers' rest hotel, blackburn hotel, blackburn post office, blackburn railway station, blackburn pioneers, blackburn company, (mr) george augustus goodwin, (mr) thomas r b morton, blackburn brick works, st john's anglican church, blackburn methodist church, blackburn church of christ, blackburn presbyterian church, st thomas the apostle peace memorial church, seagoe common school, the courier blackburn, blackburn library, blackburn primary school, blackburn open-air school, blackburn creek hotel, blackburn college, blackburn kindergarten, newark grammar, blackburn hall, morton park, blackburn lake sanctuary, backhouse's dairy, blackburn lake, wandinong sanctuary, barelli bakehouse, blackburn cool store, blue moon fruit co-operative ltd, 1st blackburn scouts troop, blackburn and district tree preservation society, hotels, (ms) robin da costa

Articles in the annual report include: retirement of Graham Lawrence and appointment of Jon Isaacs, death of Dr Sandy Robertson, pilot Traineeship Access Course for school leavers was developed, library involved in organising IFLA Specialist section meeting, introduction of face to face proofreading for talking books, Dr Max Lang donated his personal collection of optometry books, Maths Braille Code revised with input from Betty Smith and RBS staffers, increase of braille produced through microbraille program, Paul Cullen Centre opened on October 28, 1987 with two levels of care via Burgess Hostel and Roselands Nursing Home, closure of Lighthouse Hostel in Burwood and small cottage style hostels in Enfield and Strathfield, introduction of new lines in manufacturing (skirthanger, Miyata bicycle), Variety Club of Australia continue their support for a national children book collection, 3M Australia sponsored upgrade of studios and Talking Book of the Year award, Jillian Hallam won Sports Girl - for all Women in Sport award and Inge King's 'Awakening' won the Bicentennial RBS Sculpture award.1 volume of text and imagesroyal blind society of new south wales, corporation records

Dame Mary Gilmour was an Australian writer who became a patron of the Blind Book Society in New South Wales.Digital image of metal plaque"These studios were opened on August 15th 1958 A date especially chosen to coincide With the celebration of the 93rd anniversary of the birth of Dame Mary Gilmour Patron of The Blind Book Society."royal blind society of new south wales, dame mary gilmour

Radio was a key way of communicating with the blind and low vision community across Victoria, ensuring that news and information could be shared quickly and publicly. Some centres raised funds to develop their own studios, with local content programs, based in AFB offices. Mildura began 3MPH in 1998 as the result of major fundraising for equipment and support from AFB. Additionally a low vision clinic was also officially opened in that same year.3 plastic plaques with black writing on silver background3MPH Major Donors The Association for the Blind wishes to thank the following major donors who contributed towards the establishment of 3MPH Rotary Club of Mildura Deakin Inc Wentworth Shire Council Lions Club of Mildura The H & L Hecht Trust W C F Thomas Charitable Trust Mildara Blass Limited 3MPH Honorary Taskforce Members Shirley Penny, Chairperson, Kevin Ashelford, Lois Beckwith, Rob Duffield, Cr Don McKinnon, Ross Lake, Bruce Penny, Cr Eddie Warhurst This plaque commemorates the official opening of the Mildura Low Vision Clinic by the Chief Executive Officer of the Association for the Blind Mr John Cook, 5th August 1998. This plaque commemorates the official opening of Radio 3MPH 107.5FM by the Mayor of the Mildura Rural City Council, Cr Eddie Warhurst, 12th March 1998.association for the blind, 3mph, mildura

The district of Strathfieldsaye was proclaimed in 1861 and named a Shire on the 17th September in 1866. It remained a shire until amalgamation in 1994 when it became part of the City of Greater Bendigo. The shire was located 8 km to the south- east of Bendigo and covered an area of 601 square kilometres and extended from the Calder Highway to the Coliban and Campaspe Rivers. The shire's administration centre was in Strathfieldsaye until 1972 when new offices were opened in Kennington. Eppalock Ward is one of three wards in the Greater Bendigo municipality which includes the former Strathfieldsaye Shire. Framed black and white head and shoulder portrait with hand coloured detail. Man with profile slightly to right, walrus moustache, image encircled. Photograph is attached to mount card. Hand written title lower centre.Ex. Councillor / F. Orr / Eppalock / The / Yeoman / Studiosshire of strathfieldsaye, councillor orr

Seven Legacy widows enjoying themselves at a widow club function, possibly singing. Their names are unknown. It was the 'Great Tea Party' in June 1992 when the widows rooms were opened after 9 months of renovations. Keesing Photographers took a series of photos on the same day of various ladies. Pg 3 could mean the photo was used in an issue of The Answer. The date is assumed as 1992 due to the reference number from the photographic studio 920609 could mean 9 June 1992.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Black and white photo of 7 Legacy widows around a table and a proof sheet.Label on the back from Keesing Photographic with Reference No: 920609B-2 Pg 3 B in blue pen.widows, widows club, activities

Eight Legacy widows enjoying themselves at a widow function. It was the 'Great Tea Party' in June 1992 when the widows rooms were opened after 9 months of renovations. Keesing Photographers took a series of photos on the same day of various ladies (Ref no 929609). Some of the same ladies are in 00655 and 00656. Their names are unknown. Pg 3 could mean the photo was used in an issue of The Answer. The date is assumed as 1992 due to the reference number from the photographic studio 920609 could mean 9 June 1992.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Black and white photo of 8 Legacy widows around a table and a proof sheet.Label on the back from Keesing Photographic with Reference No: 920609B-9 Pg 3 C in blue pen.widows, widows club, activities

A widows' function at Legacy House. It was the 'Great Tea Party' in June 1992 when the widows rooms were opened after 9 months of renovations. Keesing Photographers took a series of photos on the same day of various ladies. Some of the same ladies are in 00654 and 00656). The two ladies behind the trading table are Vera Lang and Billie Sims. Keesing Photographers took a series of photos on the same day of various ladies. Pg 11 could mean the photo was used in an issue of The Answer. The date is assumed as 1992 due to the reference number from the photographic studio 920609 means 9 June 1992.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Black and white photo of a Legacy widows' function with craft items exhibited on tables and a proof sheet.Label on the back from Keesing Photographic with Reference No: 920609A-10 Pg 11 A in blue pen.widows, widows club, activities

A widows' function, that involved a raffle, (some of the same ladies are in 00654 and 00655). The lady drawing the raffle is Inez Bruce / President, and the lady holding the prize may be Joan Miller. The photo was featured in the July 1992 Widows Newsletter and explains the day was the 'Great Tea Party' in June 1992 when the widows rooms were opened after 9 months of renovations. Cakes were donated by Fergusson Plarre. In the 1990s Legacy was supported by generous donations from Fergusson Plarre Bakehouse with cakes often donated for events and the annual fete. The reference number from the photographic studio 920609 means 9 June 1992.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Black and white photo of a Legacy widow drawing at raffle at Legacy House and a proof sheet.Label on the back from Keesing Photographic with Reference No: 920609A-30. Pg 10 B in blue pen.widows, widows club, activities

The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse

'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