Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Richard Kottek 1988 Entrant No. 16 Ref: Series 34, Items 6, 50, 51 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, richard kottek, eltham town park, film - kodak ga 100 5095, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Chris Gregory 1988 (9 yr old) Entrant No. 25 Ref: Series 34, Items 9, 56, 57 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, chris gregory, eltham town park, film - kodak ga 100 5095, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, eltham town park, film - kodak gb 200 5096, nicholas west, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, eltham town park, film - kodak gb 200 5096, nicholas west, scan - 35mm negative

View looking east along present-day Wingrove Park Trail towards Dalton Street and Main Road. Mathew Wakefield 1988 Entrant No. 40 Ref: Series 34, Items 87, 88 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, dalton street, film - fuji 100, main road, mathew wakefield, scan - 35mm negative, wiingrove park trail

Roycroft Antiquarian Booksellers run by Lloyd Hollyoak and specialising in old, rare and out of print books was located at 1026 Main Road, Eltham next to present-day Flight Centre. In the early 1990s the store relocated to Kew and is now known as Abra Card Abra Roycroft. Michael Ridley 1988 Entrant No. 20 Ref: Series 34, Items 7, 8, 52-55 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 35, eltham shops, film - ilford fp4, main road, michael ridley, roycroft antiquarian booksellers, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Chris Gregory 1988 (9 yr old) Entrant No. 25 Ref: Series 34, Items 9, 56, 57 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 35, alistair knox park, chris gregory, eltham town park, film - kodak ga 100 5095, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Wendy Price 1988 Entrant No. 147 Ref: Series 34, Items 35, 36, 107, 108 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham community photographic survey, alistair knox park, artist, eltham town park, film - kodak ga 100 5095, scan - 35mm negative, series 35, wendy price

Open House 2022: "Like many Melburnians, Ying-Lan Dann has long been fascinated by the Mission to Seafarers, in Docklands. When she was invited to create a work in response to a building as part of this year’s Open House Melbourne, she knew immediately which it would be. Taking a peek behind the closed doors of some of Melbourne’s finest and most interesting buildings is a core premise of the weekend event, now in its 15th year. During that time, the program has grown from half a dozen buildings to a 200-plus strong list that extends to Ballarat and Bendigo. “[It’s] much more expansive and citizen-led,” says Fleur Watson, Open House Melbourne’s executive director. “As a public festival, it has always had a spirit of generosity, this gesture of opening up and allowing visitors to come and look and experience things.” Swinging open their doors at the end of the month will be some of the city’s finest mansions, including Villa Alba in Kew and Brighton’s Billilla, the Cairo flats in Fitzroy, the newly renovated Jewish Museum designed by Kerstin Thompson, the Melbourne Quakers Centre, the Albanian Mosque in Carlton North and many more. Considering how to approach the event this year, held remotely for the past two, Watson decided to explore beyond the traditional, with associate professor and director of curatorial practice at Monash University Tara McDowell. The two have co-curated an exhibition of works to run concurrently with the Open House program, called Take Hold of the Clouds. That’s where Dann’s work, Circular Temporalities, comes in, one of seven commissions around town in which local and international artists respond to chosen buildings or sites. A lecturer in interior design at RMIT as well as an artist, she is interested in time and finding different mediums to show things in flux and, having grown up on Phillip Island, she often uses water as a theme. When she started spending time at the Mission, Dann found there was an oculus at the top of the dome, known as the Norla Dome. She thought about how that small but significant opening related to where sailors spent so many months of the year, the sky being the only thing they would see much of the time, stars guiding the way in times gone by, and of the recent stories she’d heard about sailors being trapped at sea during COVID. Built in the Arts and Craft style between 1916 and 1919 and designed by architect Walter Butler, the Mission includes a chapel, clubroom, Chaplain’s house, a small cottage and the Norla Dome, which was apparently inspired by the Pantheon. The Mission was funded by the government and the Ladies Harbour Lights Guild, who Dann was also intrigued by. “One of the things those women identified is that life at sea is very dangerous [and they] wanted to give them a space of sanctuary and support,” she says, adding that for many years, the dome was used as a gymnasium. Her work inside the dome includes a 35-minute loop film, recorded from the ferry during the crossing from Queenscliff to Sorrento. The horizon takes up about a third of the shot and moves as the waves rise and fall, mirroring the journeys made by the sailors who found refuge at the mission over the years; it will be projected onto a gauze-like fabric, allowing glimpses of the building behind. Dann also plans to activate the site over the course of the weekend and will read a poem by Justin Clemens.The articles gives an insight of the création of the artwork by Ying-Lan Dann. digital copy of an article with photographs published in the Ageopen house melbourne, 2022, ying-lan dann, take hold of the clouds, norla dome, exhibition, the age, cultural events

Until the closure 40 years ago, the Myrtlebank Guesthouse near Halls Gap in the Grampians was a thriving family - run business. In 1962, all that changed when the government of the day purchased the land on which the guesthouse stood and some neighbouring farms and houses. For almost 40 Years, the remains of the buildings have been submered under the man made reservoir known as Lake Bellfield. Due to drought, the eater levels have dropped steadily and, in the past month, the memories underneath Lake Bellfield have come to the surface. Local resident Don warren 70, has been to have a look. His grandmother Anne Flower Warren, was 56 when she opened the guesthouse in 1916. Widowed, the year before after a horse kicked her farmer husband, Mrs Flower needed to provide for their large family. "She had 13 children - seven daughters. I think she built it to look after the girls," Mr Warren says, "The whole think was built on a 500 acre farm." With the guesthouse sited in the centre of the farm, the land was divided between two of her sons- Mr Warren's uncle working one side and his father taking the other. For Mr Warren, the grounds of the two-storey guesthouse were an extension of a huge rural playground in what he remembers as an idyllic childhood. "I used to get taken over there and I'd sit there and watch her make all the toast for the guests. It was quite full all the time - maybe 40 or 50 people. It was a great big place - very grand. In the bedrooms I can remember the great big bowls full of water to wash your face in. There was a big dining room, too. My grandmother was a great cook." By the time of Mrs Warren's death in 1936, her eldest daughter also Anne, had officially taken over the running of the business. "It was in the family right until the last bit. The youngest daughter, Auntie Hilda, took it over right at the end. they got a notice to say that's it - it's over There was no way out of that one." Mrs Ida Stanton, 78, is the historian for the Halls Gap and Grampians Historical Society. Can she remember it when it all happened? "Of course" she says "It's only 40 years ago" Her memories of Myrtlebank are of a place popular with honeymooners, who would often return year after year, bringing their families with them. "There was a lovely ballroom where they used to invite the Gap people and the tourists in to have balls. During the war it was one means of making money to send stuff over to the soldiers." Seeing just the stumps of the guesthouse and what had been his family home, Mr Warren says the bitterness is still there. "The hardest part was poor old dad. He was 70 years old when he got turfed out. Dad had been a farmer all his life - 214 acres, he had, and he got 22,000 quid. Had to move into town" Also showing beneath the drying lake is the concrete slab of the new home Mr Warren planned after his marriage to wife Anne in 1955. Another lost dream. " I was the only child, I was going to take over the farm, but that all changed. You can't take it over when it's full of water.Newspaper clipping of history of Myrtlebank by Don Warren and photo of Don at old site of pooland guest House photo Article by Claire Halliday from newspaper 2002accommodation, guesthouses, myrtlebank

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

Various news articles pertaining to the January 1962 Victorian bushfires in the Dandenong and Healesville districts which by the third day had encompassed large areas of the State. Specific Eltham Shire districts mentioned include Warrandyte on page 1, St. Andrews and Smith’s Gully on page 2, St. Andrews on page 3 and 43, Panton Hill and Warrandyte on p23 and Hurstbridge on page 44 • It's Now Safe in Fire Areas; Death Toll Reaches 8, p1 (Illust.) • How they died, pp1-2 • It was “heaven” in the bush … Boys stayed on . . . to die, pp1-2 (Illust.) • Towns take stock as danger drops, p2 • £5400 to the relief fund, p2 • Fire now threat to Otways, p2 • Pensioners lose all, p2 • “…If Only The Rain Had Come” … and then it came to town, p3 (Illust.) • Our best rain since May • It halted at Grandma’s front gate, p5 (Illust.) • Now that the rain has come; It’s time for the clean-up, p6 • Wisps of smoke where flames danced, p7 • Charitry’s a loser, p7 • War Service homes claim, p7 • Help’s on way, p7 (Illust.) • Came with their gifts …, p7 • Fire summons for youth; “sparked the rest”, p9 • Three gaoled, p9 • They had to camp out at Wye River, p9 (Illust.) • “Probe Fires” – Stoneham, p9 • The Fourth Day: Scorched Earth!, pp22-23 (Illust.) • This home was saved but - , p22 (Illust.) • Relief Centre, p23 (Illust.) • Homeless, p23 (Illust.) • So little was left, p43 (Illust.) • Tommy saved his cat, p43 (Illust.) • Some were lucky … and some were tired, p44 (Illust.) tom fielding collection, victorian bushfires - 1962, victorian bushfires – 1962, ronald ockwell, geoffrey ockwell, woori yallock, william ockwell, leslie ockwell, linda may ockwell, black friday, victorian bushfires – 1939, warrandyte, arthur brown, harold vernon betton, bloom road, william smith, olinda, bushfire relief fund, yarra glen, healesville, railway line, st. andrews, smith’s gully, otway ranges, eric watts, edith varty, inverness road, mt. evelyn, wye river, panton hil, heather sullivan, warrandyte hall, montrose, kalorama, mrs e. tucker, shirley tucker, margaret tucker, joane tucker, roger tucker, trevor tucker, ann quinton, tom dunstan, hurstbridge hall

Red cardboard hard cover book with red paper outer sleeve. 55 pages : color illustrations, color map ; 31 cmnon-fiction"In connection with the SG50 celebrations in Singapore, Mission RASI (Row Around Singapore Island) will see a team of Singaporeans join hands with friends from overseas in a test of endurance and teamwork, to raise funds to further the Mission's work in promoting good shipping practices and a safe working environment for seafarers"--Page 4.mission to seafarers, worldwide, charity, volunteers, singapore, nigel porteous, andrea fleming, london, rasi, row around singapore island, 2015, fundraising, reverend andrew wright, mts london, mts singapore, rowing

A spring cart is a two-wheeled, one-horse cart, often with the driver standing up to drive it, and otherwise seated on a simple seat. Carts like this one had springs to make the ride smoother. It is a lighter version of a farm dray and is sometimes called a spring dray. Spring carts were often used on farms for carrying loads. In the towns, some businesses used a spring cart for deliveries of bread, milk and other goods. The carts would be used for travel and for families going on outings and picnics. Visitors to Flagstaff Hill Maritime Village from 1986 to 1992 would enjoy watching a Clydesdale horse named Duke as he worked around the village with his driver Pat McGowan. He would be hitched to a wagon or to this lightweight spring cart or sometimes he would pull the wagon with the cart attached as a trailer. The cart was used for maintenance, carting loads of timber or stone around the site or from town to Flagstaff Hill. Sometimes Duke and the cart would take visitors for cart rides around the Village. Pat McGowan was known for his restoration of horse-drawn vehicles including this spring cart. He already had 40 years of horse handling experience when he began looking after Duke, feeding and harnessing him and driving the horse and cart around the Village. Pat’s dog ‘Yabbie’ would often join them. In August 1992 Duke had to be put down. Warrnambool Veterinary Clinic and other fund-raisers began well-supported appeals and the beloved horse was replaced by a Clydesdale also named Duke (the second), who began work in late October 1992. He, like his predecessor, had a quiet temperament and was comfortable in the traffic. The spring card is an example of vehicles used on farms, for business delivery and for domestic transport in the late-19th and early-20th century. This cart is of note for being associated with the Clydesdale horse Duke which pulled the cart around Flagstaff Hills in the 1980s and 1990s, representing transport of that period.Spring cart; two-wheeled cart with shallow box tray and plank seat bolted across the front. Wheels have metal rims and fourteen (14) wooden spokes. A plank is bolted from side to side. A decorative metal step is on the cart's left and has acorn cut-out shapes in the plate. Both wheels have a brake block that is operated by a lever on the cart's right. The cart has eight-leaf suspension from front to back. The box tray is painted blue and has decorative pale yellow detail. Each shaft pole has has a handle fitting on it. (Horse equipment with the cart is a leather covered, straw filled collar.) flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, springcart, spring cart, jingle, horse-drawn cart, one horse cart, two-wheeled cart, dray, spring dray, wagon, transportation, travel, cart, duke, clydesdale, pat mcgowan, delivery cart, yabbie, cartwright, horse-drawn vehicle, transport, horse cart

The Museum of the Ballarat School of Mines was established in 1872. The curator in 1882 was Ferdinand Krause. Prefatory Notice by James Oddie). The want of a guide through the technical collections of The School Mines has long been felt by visitors and students - a guide, not so much to those who merely 'look' at the various exhibits in the Museum, but an instructor to those who desire to take away with them some practical information on the natural occurrence and economical value of the objects exhibited. This want is being filled by the labour of Mr. Krause, whose first installment - 'A Descriptive Catalogue of the Minerals' - is herewith represented to the visiting public." Introduction to the catalogue: " The collection is still in its early growth, and far from being a complete representation of the Mineral Kingdom; many varieties, species, and even whole groups are absent. This state of incompleteness will, no doubt, be adjusted in the sequence, and progressive lists issued from time to time. 'Ad interin' the present catalogue will, be found useful to students and visitors of the School. As far as practicable, the classifications of the minerals accords with that adopted at the Royal School of Mines, London. The numbers prefixed to the species in the catalogue agree with those on the descriptive labels which accompany each specimen, and also with those attached to the specimens themselves. On the descriptive labels the chemical composition of the minerals is expressed in formulae usually employed in standard mineralogical works. Students who have note paid attention to mineralogical chemistry will note that each dot over a symbol is equivalent to one atom of oxygen, .... A bar through a symbol denotes a double atom of the base, .... " In 1882 the collection was housed in 33 cases. The catalogue outlines the specimen types housed in each case. Brown soft covered book of 94 pages with gold lettering on the front. The book includes a plan of the museum layout, plan of the grounds and buildings of the Ballarat School of Mines and a prefatory notice by James Oddie. It also includes handwritten notes by Curator Ferdinand Krause. .2) Business card of I.H. Barbery, engraver with F.W. Niven. The lithography of the plan of the Ballarat School of Mines at the back of the catalogue was undertaken by F.W. Niven.Handwritten inclusion of extra entries (probably by Ferdinand Krause).ballarat school of mines, ballarat school of mines museum, museum, krause, ferdinand krause, fm krause, oddie, james oddie, geology, mineralogy, charles boyd, royal school of mines london, london school of mines, classification

In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” The purpose of a doily case was to hold embroidered or crocheted doilies or small mats, which were used on plates to serve cakes and similar items. This case was designed and made by Daisy Elvena Dale, born on 27 October 1899, the youngest child of Ellis and Anne (nee Lees) Dale, of Latrigg, Wangoom, Warrnambool. The doilies in the case are a mixed collection sewn by children, which my mother collected over the years. Daisy Dale made this doily case before her marriage in 1922; it was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. A skilled dressmaker, Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily Case made by Daisy Dale. Two green fabric-covered circles with white cord edge trip. The front has a motif of a tulip flower and bud embroidered on it. The circles are secured shut by a knot and loop. From the 'Chamberlain Dale Lees Collection'.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, daisy dale, wangoom, dressmaker, fashion, 1920's, doily, miss a. e. emery, glory box, embroidery, handmade, needlework, doily case

Prior to its demolition in 1979, the St Kilda Municipal Depot occupied a 1.2 hectare site at 33 Inkerman Street St Kilda. The land was initially purchased by the Council in 1867 as a site for a permanent market, which ceased to operate in about 1882. In October 1923, the Council discontinued the practice of disposing garbage by burial in tips when it opened a garbage incinerator at the Depot. After thirty years this incinerator had become both obsolete and objectionable to health and was replaced in March 1953 by American-designed Monohearth Garbage Destructor Units. According to the Council, these Destructor Units were the only ones of their kind in Australia and they removed all the objectionable features of garbage disposal (particularly for the employees). They were expected to serve St. Kilda's requirements for the next 80-100 years. In 1957 the Council said that the Destructor Units had 'enabled substantial economies to be effected in the annual costs and have proved a very successful venture. The Council now destroys the garbage from the City of Brighton, which pays for the privilege, and it is anticipated that other Municipalities will also take advantage of ihe benefits of this modern and, in Australia.' See 'City of St Kilda 1857-1957 A Brief Outline of Progress and Development' [82] In 1994, as a result of the local government amalgamation process combining the former Cities of Port Melbourne, South Melbourne and St.Kilda, the new City of Port Phillip owned three municipal depots. The St. Kilda municipal depot site became surplus to requirements and, in 1996, the City of Port Phillip resolved to use the site for a community housing project under the City of Port Phillip Housing Program. Colour photographCouncil Yards before demolition 1979st kilda, st kilda municipal depot, inkerman street, council depot, destructor

The Reverend Doug Dargaville, Anglican clergyman and former General Secretary of the Victorian Council of Churches from 1966 – 1982, and again for a time in 1995, passed away on 19 March 2013. "The death of Rev. Doug Dargaville at Bacchus Marsh in Victoria, Australia has been announced, and his funeral is to take place on March 28th. Doug was one of the great pioneers of the ecumenical and interfaith movements, especially in his role as executive secretary of the Victorian Council of Churches from 1966 to 1982. Perhaps more than anyone else, he laid the foundations for the organizational structure of the ecumenical movement here in Victoria and across Australia. A small man with a big vision, he brought his inclusive Anglican spirituality to the tasks at hand. With his retirement to the country town of Bacchus Marsh outside Melbourne with his beloved Lucy, his life’s work was not yet complete. He devoted three years of his life during the 2000s to being the general secretary of Religions for Peace Australia, and was always a strong supporter of the interfaith movement, not least during the Parliament of the World’s Religions, held in Melbourne in December, 2009. He was an efficient and prudent administrator, never seeking the limelight yet everything was done with an ironic and disarming humor and a certain impish and whole-hearted spirit. He was, in every sense of the word, a good man whose life was completely devoted to overcoming barriers and forging unity between the different churches and different faith traditions. We pray that he will find rest and eternal peace with the God whom he served so well and so faithfully for so long." Professor Des Cahill, Chair, Religions for Peace Australia.B & W photograph of Rev Anderson Douglas Dargaville discussing ecumenical material with another man.dargaville, douglas, victorian council of churches

Newspaper Article 1, "Education Week: and you shall tell thy son...", published in The Herald, 12 August 1966. Newspaper Article 2, "Education Week Open Days", published in The Herald, 12 August 1966. Newspaper Article 3, "New Head for Bialik", probably published in The Jewish News, 19 August 1966. Newspaper Article 1: "As in previous years Jewish schools will participate in Education Week which will be held in Victoria from August 14-21, 1966. Most schools have arranged "Open Days" at which parents are expected to attend the school and visitors are cordially invited..." Newspaper Article 2: " The following schools have registered their "open Days" as published hereunder. It is possible that schools which have not informed the Board of Deputies might also have arranged "open Days" and should be contacted as to dates and times etc..." Newspaper Article 3: "Mr. Moshe Meretz arrived in Melbourne on Tuesday to take up his position as Headmaster of Bialik College. Mr. Meretz who is accompanied by his wife and five-year old son, is Israeli born and educated. He is a graduate of Teachers' Seminary institute in Haifa and was a teacher and headmaster of primary and more recently secondary schools in Hafia. Apart from his tecahing qualifications Mr. Meretz has a law degree from Tel Aviv branch of Hebrew University. Mr. Meretz was already at the college on Wednesday and was welcomed by the staff and pupils. Bialik College Council is confident that Mr. Meretz' presence in Melbourne will not only benefit the school but will have an impact on Hebrew education in the community as did that of his predecessor Mr. A. Chowers."shakespeare grove, kindergarten, hebrew school, elc, early learning centre, principal

St Patrick's Day is celebrated on 17 March. A St Patrick's Day March was held in Ballarat. According to the Ballarat Courier of 03 February 1916 a festival was organised in Ballarat to celebrate St Patrick's Day: "ST PATRICK'S DAY FESTIVAL - There was an excellent attendance last night at St. Patrick's Hall to make a rangments for the annual celebration of St. Patrick's Day Festival. Mr A. W. Hager occupied the chair. The date allotted by the V.R.C. committee, Friday, 24th March, was accepted, and the festival will take place on that date, with the usual race meeting on the Miners' Racecourse, and entertainment at Her Majesty's Theatre in the evening. The secretary was instructed to appeal for the hearty co-operation of the different societies, and to ask for a holiday on 24th March. The amount of stakes and the racing programme were left in the hands of racing committee, whose report will be dealt with at the next meeting. The following officials were appointed to carry out the celebrations:--Chairman, Very Rev. Father Kennelly; vice-chairmen, Rev. Father Henneberry, T. J. O'Loughlin, and A. W. Hager; general manager, Mr M. Newton; Secretary; Mr F. T. Kierce; treasurer, Mr William White; collecting secretaries, Revs. Fathers Kennelly and Henneberry; entertainment. Mesers D. J.Ward, J. Morrisey, Fraser Hussy, Chris Hager, Shelly, Dr Spring, Dr Kelly, J.J. Coglan, P. Thornton, Jasper Coghlan, Jas Early; finance committee, Revs. Kennelly, Henneberry, Messrs White, T. Foley, Dr Spring, Brophy, Shelley. All present with power to add wore appointed a general committee. A vote of thanks to the chair concluded the meeting."Black and white photographic reproduction of the 1916 St Patrick's Day March in Sturt Street, Ballarat. A band leads the parade, a horse drawn float carries a banner "Unity of Peace & War" with hundreds following as part of the parade. ballarat irish, st patrick's day, st patrick's day march, ballarat, hager, kennelly, henneberry, o'loughlin, kierce, white, ward, morrisey, fraser, hussy, shelly, kelly, spring, coglan, foley, brophy

Information supplied by Stephen Trembath. Warwick Farm was established by my late grand parents Polly (nee Mary Ann Cole) and George Barratt and their 5 children George Jnr, William, James, John (my maternal Grand Father) and Teddy. Their story is told in a book "The wine of Courage" written in 1977 by N.M. Roberts ISBN 0 7223 1003. Their story started when their bank closed their doors on 13 April 1893 and they lost their cafe business in South Melbourne. Two days later, they were ready to head for a new start in Queensland when they saw in the morning paper that the Dandenong Ranges had been thrown open to land release to people. A few days later, having been granted land they headed to Ferntree Gully. From there they walked to the new holding in what would become Olinda. Then George with his sons help had to build a shelter for the family for the night. They chose to name the property "Warwick Farm". Work on the house started a few days later with help from neighbours Mr. Dodd, Mr Beattie, the O'Sheas and others. Come November, Ruby was born. Then bushfire burnt down the newly built house. Back to a bark hut until another house could be built. The new house became a guest house at the suggestion of a neighbour, when George couldn't sell timber and was waiting for crops. The first guests visited in 1898 and another baby, Percival, was born. ....................................................... It was George's son Jim, who was a skilled carpenter and axeman who extended the home to take from 12 to 30 guests. In 1950 Warwick Farm became the home of distinguished writer and journalist C.E.Sayers for a number of years.Photo Series Pictorial Postcard # 981 showing the property Warwick Farm on Olinda Road.Printed on back: PHOTO SERIES Pictorial Postcards. Published by S. Jamieson Bros. Alphington Vic. Phone Northcote 60warwick farm, olinda, postcard, photo series, olinda road, george barratt, barratt, guest house, guest house

The five types of nails include a stamped steel nail made for wooden flooring; four copper nails used for boat building found at various locations on the island; two steel nails removed from the lantern room door during restoration in 2002 which possibly came with the Chance Bros. lantern room kit delivered in 1862; three galvanised steel nails used to pin the railway track to sleepers and decking on the jetty (the rail track carried a small trolley for unloading stores from supply ships); and a square copper nail found on the rocky shore on Tullaberga Island close to the location of the Monumental City wreck of 1853. The huge American steamer, Monumental City, was wrecked on 15 May 1853. Built in 1850, the ship was the first screw-propulsion steamer to cross the Pacific and was heading back to Sydney after dropping off Californians heading for the Victorian goldfields. Thirty-seven lives were lost, including the owner of the ship, Peter Strobel. A medal was awarded by Sydney residents to Charles Plummer who swam ashore with a line from the wreck. The tragedy renewed the urgency for a lighthouse on Gabo Island, and in 1862 when this was achieved an obelisk was erected as a memorial to those who perished. That year, Victorian PWD architect and designer of the lightstation buildings, Charles Maplestone, gave the following instructions: ‘You may remove the remains of the poor unfortunate shipwrecked of the Monumental City to the site on Gabo you propose but take scrupulous care to collect all the remains and inter them decently under the monument. Pray save any relics’.246 Heritage Victoria has 39 artefacts listed under the Historic Shipwrecks Act (S473) with a clear provenance to the Monumental City. While the copper nail has no documented provenance, it still has contributory significance as part of a diverse assemblage of relics that help to interpret the history of the Gabo Island Lightstation and the numerous shipwrecks that have occurred in its vicinity since the mid nineteenth century..1 Steel nail - flat. Stamped. This type of nail was used for secret nailing of flooring. Source of this nail is unknown. .2 Copper nails. This type of nail was used for boat building. Found at various locations around island. .3 Steel nails. Extracted from lantern room door during restoration 2002. .4 Galvanised steel nails. Used to pin railway track to timber sleepers and decking on jetty. Rail track carried a small trolley used during the unloading of stores from supply ships. .5. Copper nail square. This nail was found on the rocky shore line on Tullaberga Island close to the location of the wreck of the "Monumental City" wrecked May 1853. Nail found in June 2000.

Bonegilla operated as an army base from September 1940 and by 1943 was expanded to 848 buildings, including a general hospital. It provided training for small arms instructors, signallers, transport workers, bomb disposal and gas warfare personnel. In a response to the need to house the growing number of displaced persons coming to Australia, the Bonegilla Reception and Training Centre began operating in 1947. For some time it was a shared facility but the Army withdrew temporarily from Bonegilla in 1949, whilst still retaining ownership of the site. From 1949-65 Bonegilla Reception and Training Centre operated without a military presence. However, in the late 1960s and Australia’s commitments to the Vietnam War and pressed by the need to find accommodation to train men, especially National Servicemen, the Army negotiated with the Department of Immigration to take over several blocks at Bonegilla in 1965. Thirty-five huts were acquired by the Royal Australian Army Ordnance Corps as a Recruit Training Centre in which National Servicemen and recruits could attend 10-week ordnance courses. Shortly afterwards additional huts were acquired by the School of Military Survey, which established field-survey practical training areas and special astronomical observation sites as it began conducting courses in surveying. Instructors and trainees co-located at Bonegilla with migrant reception centre. In 1971 the Reception Centre closed and the site reverted to the Army. Progressively after 1971 the Army undertook a major site redevelopment with the construction of Latchford Barracks as the Army Apprentice School. Later Latchford Barracks was redeveloped into part of the Army Logistic Training Centre. Block 19 of the Mirant Reception Centre later became the Bonegilla Migrant Experience Heritage Park.This item depicts a heritage listed historical site located in the Wodonga district.A large poster size representation of the variety of buildings at Bonegilla, Victoria when it served as the location for the Royal Australian School of Military Survey. The insignia of the Royal Australian Survey Corps is featured in the top left hand corner.Top left corner: Insignia of the Royal Australian Survey Corps At bottom of sketches: "The School of Military Survey, Bonegilla Victoria / January 1966 - December 1982migrant reception centre bonegilla, army at bonegilla, australian military

An interesting document outlining the evolution of the tradition of pausing in silence for remembrance on 11 November each year. The account outlines how King George V decreed a two minute silence be held at the first anniversary of the Armistice - originally referred to as Peace Day. The events included a letter written by Edward George Honey, an Australian journalist, proposing the idea on 8 May 1919. In it part of it says: "Should not this be the spirit of at least a fragment of our Peace Day? Communion with the Glorious Dead who won us Peace, and from the communion new strength, hope and faith in the morrow, Church services, too, if you will, but in the street, the home, the theatre, anywhere, indeed, where Englishmen and their women chance to be, surely this five minutes of bitter-sweet silence there will be service enough. Before and afterwards, sing and make merry as we will. Of one thing, I am quite certain, and the tis that our songs will take a deeper, truer note after those five minutes of remembrance We will have gathered from them strength for the morrow. God knows we need it!" The document was produced by a committee that was proposing a memorial to Edward Honey to record his role. It was forwarded too H.G. Brain, presumably a Legatee who could bring this information to Legacy's attention. Items were in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history. (01181 - 01190, 01206 - 01212).A record of a committee approaching Legacy about a memorial to the man who suggested the adoption of silence as a form of remembrance in 1919. Also there was an effort to record historical events by the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190, 01206 - 01212)A thirteen page report typed on buff paper in a dark brown card cover, on a proposed memorial to Edward Honey. Also a letter dated 20 March 1964 from the Memorial Committee to Mr H G Brain that accompanied the report.Handwritten 'S13' in red pen on top left of of the letter which is signed Roy Gordon in blue ink. memorial, remembrance day

Two photos from a book compiled about the Legacy children's residence called Stanhope. One photo shows a reunion in 1959 featuring several past residents, their husbands and children. Faces have small numbers indicating their names which were recorded on the back: 1 Margaret Guy, 2 Greg Guy, 3 and 4 are their children. 5 Bab Thompson 6 his wife, 7 their child. 8 Alice Cameron and 9 her husband (Black) and their four children. 10 is Lois Clark (nee Fitzsimmons) and one child. 11 Doreen Ashworth and 12 is her husband (Closter) and their three children. The other photo shows two children of past residents. Names written on the page it was stuck on were 'Boy Guy' and 'Baby John Frost'. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01836. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Generally, Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of a reunion at Stanhope. A great example of the impact the residence and care had on the lives of the junior legatees that they kept in touch with each other and the home.Black and white photo of a group of people and a photo of a boy and baby at a Stanhope reunion in 1959.residences, reunion, stanhope

This metal travelling trunk belonged to David and Alice Ellis, a young couple married in Dublin in 1855. They left for Australia on the Schomberg clipper ship on October 6 that same year, joining the other passengers for the luxury sailing ship’s first voyage, bound for Melbourne, Australia. The Schomberg was grounded on a sand spit near Peterborough. All passengers and crew were safely rescued. They had been allowed to take something small with them when leaving the sinking vessel, and as such, Alice took a small can basket and coin purse. The metal trunk was also amongst the couple’s possessions, along with a pair of candlesticks and a Bible. Their trunk was later retrieved from the ship’s deck by the crew of a steamer sent from Melbourne. At that time, David was 23 years old (born in Wales, in 1832) and Alice was 26 (born in Ireland, 1829). The couple lived in Tasmania for a short period before settling in the Western Districts of Victoria. David worked as a gardener and, when land in the area was available to purchase, David and Alice claimed a selection on Noorat Road near Terang. They settled there for the remainder of their lives, expanding the property that they named, ‘Allambah’, and had six children. David died in 1911, aged 79, and Alice passed away the following year, aged 83. B, B & B. Brand: - The company was renowned for its strongly constructed and high-quality travel goods. In 1906 the company was sold and renamed Buffalo Trunk Manufacturing Co. Interestingly, the trunk maker’s promise on its printed label is certainly fulfilled: - "B B BRAND. These Goods are manufactured of the best steel sheets, and are guaranteed to give every satisfaction, and will last for years."David and Alice Ellis’s donated possessions have great significance as a group of personal belongings saved from the sinking luxury clipper ship, the Schomberg, in 1855. The strong, well-crafted metal trunk is an example of high-quality travel luggage owned by newlyweds on their journey to a new life across the world. The well-made trunk is a rare shape. It joins Flagstaff Hill’s collection of artefacts from the Schomberg shipwreck, which is listed on the Victorian Heritage Register (VHR S612). The ship has historical significance as a rare example of a large, fast clipper ship on the England to Australia run, built to carry emigrants at the time of the Victorian gold rush. The ship’s design included the technical advances needed to break sailing records between Europe and Australia. The relationship of the objects in Flagstaff Hill’s Schomberg collection allows has potential interpretation of the story of the Schomberg. The collection of objects is archaeologically significant as the remains of an international passenger ship, as it represents aspects of Victoria’s shipping history, in addition to its association with the shipwreck and the ship.Traveller's metal trunk; small brown woodgrain patterned trunk with dark red features and brass lock. This well-made strong and sturdy piece of secure hand luggage has rounded corners and sides, with the ends of the lid slightly bulbous. The lid is reinforced inside across the centre. The lid and sides have dark red metal D-shaped handles that fold down. The two hinges on the lid have their fittings inside the trunk which is hinged across the back. Two dark red painted latches secure the front along with a brass rod and lockable latch in the centre front. The metal is shaped with a group of corrugated ribs on each side of the centre, around the trunk. A white printed and lacquered label is inside the lid and has additional handwritten text. The truck was the luggage of David and Alice Ellis on the sailing ship SCHOMBERG in 1855. Printed on the label: "B B BRAND./ These Goods are manufactured of the best / steel sheets, and are guaranteed to give every / satisfaction, and will last for years." Handwritten on the label: "8/3- 7/-" (possibly meaning Eight shillings and three pence, Seven shillings)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, schomberg, sailing ship, 1855, david and alice ellis, schomberg passengers, b b brand, american made, traveller's trunk, hand luggage, metal trunk, schomberg ship, 1855 shipwreck, peterborough shipwreck, ss queen, david ellis, alice ellis, allambah terang, dublin emigrants, terang presbyterian church, western district victoria, antique trunk, vintage trunk, travel goods, travelling trunk, steel trunk, tin trunk, schomberg trunk, newlyweds, b b & b, boyd boyd & boyd, pittsburgh, rare shape, luggage, vintage luggage, victorian era, travel trunk, three locks, steamer trunk

This is a set of 1photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement equipment. They were probably employed in establishing mapping and geodetic control operations or the surveyors may have been in training. The photos were most likely taken in the 1950s and 1960s. Photos .1P to .6P feature personnel setting up geodetic survey chaining equipment to measure distances. The surveyor in Photo .5P is LTCOL Howard Angus Johnson MBE who served from 1936 to 1954. The RA Svy surveyor in photos .7P to .12P were using a theodolite to take angular measurements. They were usually supported by an observer who recording their readings on a booking form. The surveyor in Photo .10P and .11P is LTCOL Jorge Gruszka, who served from 1955 to 1985. He was CO of the Army Survey Regiment from 1982 to 1985. The surveyor in photo .13P is cutting an identification blaze on a tree using a hammer and chisel. The tellurometer in Photos .14P to .16P was a MRA1 microwave Electronic Distance Measuring instrument (EDM) introduced in 1958. It and later models were man-portable systems that improved geodetic survey efficiencies for rapid network extension and densification replacing triangulation with EDM and theodolite traverse sometimes using Bilby Towers to extend line lengths. The surveyor with the slouch hat is Colonel James ‘Jim’ Leslie Stedman, who served from 1941 to 1978. He was Director of Military Survey from 1975 to 1978 and was appointed as Colonel Commandant (honorary appointment, Retd) of the Royal Australian Survey Corps from 1978 to 1983. Jim Stedman is demonstrating EDM equipment.This is a set of 17 photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement (EDM) equipment. c1950s – 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1950s, unidentified personnel using geodetic survey chaining equipment. .2) to .4) - Photo, black & white, c1950s, geodetic survey chaining equipment. .5) – Photo, black & white, c1950s, Jim Stedman using geodetic survey chaining equipment to measure distances. .6) - Photo, black & white, c1950s, Unidentified personnel geodetic survey chaining equipment. .7) – Photo, black & white, mounted on card, c1950s. Unidentified surveyor undertaking observations on a coral reef using a theodolite. .8) – Photo, black & white, c1950, unidentified surveyor undertaking observations with a Tavistock theodolite. .9) – Photo, black & white, mounted on green card, c1950s. Unidentified surveyor undertaking observations using a plane table. .10) – Photo, black & white, c1955, Jorge Gruszka undertaking observations with a theodolite. 7/55 Basic Survey Course Balcombe. .11) – Photo, black & white, c1950s, Jorge Gruszka undertaking observations with a theodolite. .12) – Photo, black & white, c1946-1948, unidentified surveyor undertaking observations with a theodolite to gain control for the mapping of the Snowy Mountain Diversion Scheme. .13) – Photo, black & white, c1950s, unidentified surveyor cutting a blaze in a tree. .14) and .15) – Photo, black & white, c1960s, Jim Stedman demonstrating EDM equipment. .16) – Photo, black & white, c1960s, L to R: Jim Stedman (probably) and unidentified surveyor demonstrating EDM equipment. .17) – Photo, black & white, c1950, unidentified surveyors undertaking observations with a theodolite in extreme conditions..1P on back - First Order Chaining Equipment .2P on back - First Order Chaining Equipment .3P on back - Full catenary 1800 – 1960 replaced by EDM .4P on back - First Order Chaining Equipment .5P on back - H.A. Johnson, Benambra baseline? 1st Order Chaining .6P on back - Chaining .7P on front - Difficult observing conditions especially when the tide is in. The station is sighted (sic) on a coral reef. .8P on back - Tavistock. .10P on back of duplicate in Photo Folder 14 – George (sic) Gruszka 7/55 Basic Survey Course Balcomme (sic) 1955/56 .14P and .15P on back - Jim Stedman demonstrating early EDM equipment.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, surveying