A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

The store built in 1925 was located on Main Road just south of Bridge Street (present day No. 820 Main Road). An extension was added to the right in 1939. The store was built in late 1925 at the same time as Mr C. Nicholls’s new store was constructed. Both were considered modern shops, and an improvement on most, business establishments of the time. Mr. Nicholls’s store included alongside it a modern, weatherboard villa residence. Mr. Burgoyne’s store incorporated the post and telegraph office, which was operated by John Neville Burgoyne’s half-aunt, Miss Anne Hunniford until her death in 1928 at which time J.N. Burgoyne became postmaster. The unsealed footpath in front is reasonably extensive as not visible is a concrete kerb and channel which was laid from the Post Office to John Street during Nov-Dec 1926. Footpath construction in front of Burgoyne’s store commenced August 1942. The extension to the right of the store was erected in 1939 for a new telephone exchange adjacent to the store and post office. A continuous telephone service operated by Mr Burgoyne and his family commenced operation 18 November 1939. Approximately 70 extensions were routed through the new exchange, 40 of which were transferred from the Greensborough Exchange. Entry to the exchange was via a separate door on Main Road or via the shop. The public telephone was initially mounted on the wall but later moved to the street. Cross Ref: 0701 of the store c.1934This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, burgoyne's shop, eltham, main road, post office, shops

796.1 - Crown Land Sale by auction in the township of Mallacoota on Wednesday January 1920 at 2pm. 796.2 - Snowy River farms , 630 acres of river flat land at Orbost on Wednesday April 28, 1909 at 2.30pm. 796.3 - Famous Orbost Flats - "Important Sale of Snowy River Land" , 900 acres subdivided into 13 choice farms on Wednesday 1st December 1920 at 2.30pm. 796.4 - "Second Great Sale in James' Subdivision", adjoining town of Orbost on 16th May, 1919 at 2pm. 796.5 - "Subdivisional Sale Brooklands Estate", 5 rich Snowy River farms on Wednesday 23rd February at 2.30 at Orbost on account of James Hossack Esq. 796.6 - "Subdivisional sale of Splendid Residence Sites and Handy Small Paddocks" adjoining the progressive town of Orbost on 5th March 1915 at 11am at the rooms of H.James & Co. 796.7 - This is a contract drawing on waxed paper. Crossing near Harbecks Cunninghame Signed and traced N. Anderson 17/11/00. 796.8 - A plan and specification on waxed paper. Shire of Orbost Cunninghame Road - signed by the shire engineer. 796.9 - This is a hand drawn map of Orbost Cunninghame Road, November 1896. 796.10 - This is a hand drawn cross-section of a culvert on the Orbost Cunninghame Road. 796.11 - This is a plan of a culvert on Tabbara Road, 13th January 1899 796.12 - This is a poster for an "Important Subdivisional Sale' for land near Orbost Bridge, on Wednesday 16th March 1921 at the rooms of H. James & Co. These documents are an important part of Orbost history in that they show how the town and surrounding areas were subdivided for farming and residential settlement.A set of twelve maps, plans and land sale posters .orbost-land-1900s maps posters h.james

The bulk of World War One soldiers from Koroit were Protestant. It was a traumatic and divisive time for the Koroit Community based on religion, which was put behind them after the conclusion of the war. The Koroit War Memorial was not built until 1928. HONOR AVENUE AT KOROIT. Last year one side of Albert-street, Koroit was planted with plane trees, with strong guards, in honor of the men who had gone to the front from Koroit and district. The trees were planted rather late in the season, but fortunately there were only two failures, and the remainder are now higher than the guards. This year, the committee appointed decided to do the work earlier, and the King's birthday was set apart for it. On Saturday afternoon, states our correspondent; a lot of the preliminary work was done and on Monday some 30 residents assembled and went to work and by tea time the whole of the 52 trees and the guards were finished. There are 52 trees on each side of the street planted at intervals of 15 yards so that the avenue is about 800 yards long, running from the Botanical Gardens to the Lake Bank, and in a few years, when the trees are well grown, there will the a magnificent avenue. The weather was beautiful, and during the afternoon number of ladies were present. The ladies brought baskets of good things, and afternoon tea was provided at Mr. W. J. Stevenson's residence, which is situated about mid-way in the avenue. A suggestion has been made that the name of the street should be changed to "Anzac Avenue."' (Warrnambool Standard, 6 June 1918.) The Koroit War Memorial on the edge of the Koroit Botanical Gardens.world war one, world war two, world war, koroit, koroit war memorial, koroit botanical gardens, cenotaph

Christ Church was constructed in 1854-57 and designed in Decorated Gothic style by Albert Purchase & Charles Swyer. It was enlarged in 1874 and 1881 to the designs of Sydney W Smith. It is one of four main buildings constructed on land granted to the Church of England in 1855 and named Church Square. The other buildings are the bishop's residence, vicarage and parish hall. Heritage Victoria describes it as a 'rare and significant square in the history of town planning in Victoria which demonstrates the importance of the church to the community'. It is built from rarely used undressed random coursed sandstone from Point King Sorrento. It is located at 14 Acland Street, St Kilda. The triangular rose window is said to have been modelled on Lichfield Cathedral and shows outstanding craftsmanship. According to Heritage Victoria, the only other known example in Victoria is at St Georges Presbyterian Church in East St Kilda, designed by the same architect, Albert Purchas. The Church has a varied collection of stained glass, including work by leading stained glass firms and artists in Victoria in the nineteenth and early twentieth century: Ferguson & Urie, William Montgomery and Brooks Robinson. The 'shipwreck window,' north west transept, is an historically significant memorial window dedicated to Miles and William Dalzell Nicholson, the second and third sons of the Hon. William Nicholson, M.L.A, a Lord Mayor of Melbourne and Premier of Victoria in the 1850s. Miles, died in England on 27 April 1874. His younger brother William died in the wreck of the ‘British Admiral’ off King Island on 23 May 1874. The images show the condition of the church at the time they were taken (c 2012). Signs of deterioration can be seen. The bell is not rung any more because of damage to the stonework.There has been some remedial work since and the National Trust of Australia conducted a heritage restoration appeal.churches, acland street, purchase, swyer, st kilda, christ church

On 1 June 1901, the Australian Town and Country Journal reported that: "A few couples found time to marry during, or just after, the Royal visit. A pretty double wedding took place at Ivy Grange, Kew, the residence of the bride's father, on May 15, when Mr. Samuel Howell, eldest son of the late Richard Howell, of Chocolyn, Camperdown, became the husband of Miss Olive Wilhelmina Beath, fourth daughter of Mr. David Beath, and Mr. William Elder, second son of Mr. Nairne G. Elder, of Rokewood, espoused Miss Endora Anne Beath, fifth daughter of Mr. David Beath. The brides were dressed alike in white satin duchesse, with gathered satin and chiffon, transparent yokes and sleeves of chiffon, embroidered tulle veils, with coronet of orange blossom. The happy couples vary wisely chose different districts for their honeymoon trips, Mr. and Mrs. Howell visiting Lorne, while Mr. and Mrs. W Elder went off to the Blue Mountains, N.S.W. The two brides were attended by six bridesmaids, all dressed alike in gowns of white Indian lawn, with tucks and insertions of Valenciennes lace, sashes of white satin and instead of hats wore on their hair pretty wreaths of Parma violets, and carried shower bouquets of Parma violets tied with heliotrope ribbons." (Source: Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), Saturday 1 June 1901, page 43)This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Photograph and article from Punch (May 23 1901) of a double wedding at Ivy Grange of Olive Wilhelmina Beath and Endora Anne Beath. ivy grange, beath family

Gwyn HANSSEN PIGOTT (1935 - 11 July 2013) Born Ballarat Gwyn Hanssen-Pigott completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. As a teenager she was taught to through by Neville Bunning, Ceramics lecturer at the Ballarat Technical Art School (a division of the Ballarat School of Mines). Between 1958 and 1965 Gwyn Hanssen-Piggott worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen-Piggott visited the Ballarat School of Mines Ceramics students, under the direction if lecturers Neville French and Prue Venables In 1994 she was artist in residence at the Ballarat School of Mines for six months. Gwyn Hanson Piggott received the Order of Australia Medal in 2002. Born Gwynion Lawrie John at Ballarat on 01 January 1935, Gwyn Hanssen Piggott died in London on 11 July 2018 London where she was for a solo exhibition of her new work. It is believed this work was presented at the time of Gwyn Hanssen Piggott's residencey in Ballarat.. It is part of the Federation University Art Collection which features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Australian Studio CeramicsA bottle and two tumblers by renowned ceramicist Gwyn Hanssen-Piggott. art, artwork, ceramics, bowl, ballarat, gwyn john, ballarat school of mines, gwyn hanssen pigott

The two‐door cabinet with a bench top is a simply made nineteenth century utilitarian cupboard. It is similar in style to cupboards that were built into spaces either side of fireplaces in keepers’ quarters. All have two doors simply framed around recessed central panels, which are sometimes bevelled. They are opened with a key, or by a basic knob made of metal or turned wood. Most also are made from a light‐coloured wood, which in this case is possibly Huon pine. Some are painted, others show evidence of paint which has since been removed in an effort to restore the surface, and a few retain their original wood finish. This cabinet, which has plain recessed unbevelled panels, has one internal shelf and stands on the floor without a plinth base. The bench top has basic squared edges, and a low backing with curved ends extends around one side. These features suggest the cabinet was fixed and originally built into a corner. The Cape Nelson CMP identified a similar but slightly different cabinet in one of the assistant keepers’ quarters which is shown with shelves added to the top. Other similar two‐door, benchtop cupboards that were probably built‐in include those at Cape Otway and Cape Schanck , which have since been moved out of the residences. Built‐in cabinets were standard fittings in lightkeeper quarters as illustrated by the Point Hicks Lightstation CMP, which shows a built cupboard beside a fireplace. The Cape Nelson cabinet, an original domestic furnishing provided by the Public Works Department, has first level contributory significance for its historic values and provenance to the lightstation.Two‐door cabinet with a bench top. The doors are simply framed around recessed central panels.Light coloured wood.

A photocopy of an article in the 'Victorian Historical Magazine', 149th Issue August 1967. It was an account of a speech by Legatee Ian Anderson to the Historical Society on 23 May 1967. Legatee Anderson was president of Melbourne Legacy Club in 1964. This is a very good quality account of details of Legacy up to the 1960s. The article outlines the key figures and events in the creation of Legacy in 1923. He mentions 8 of the members at the founding meeting in September 1923 were from the 24th Battalion. The name 'Legacy' was suggested by L/ Frank Selleck. Also the first two years of Legacy focused on the rehabilitation of returned servicemen and finding them work. It was L/ Frank Doolan that proposed the 'real field for the movement's work lay in the care, guidance and encouragement of the families of those comrades who, through death, were themselves no longer there to give those benefits, and that as the children of deceased ex-servicemen were growing up, the cases were increasing in which some deputy was needed to take up among them the work for their deceased fathers, and to act virtually as a guardian or sponsor with the help and advice our dead comrade would have given.' It mentions the Central Liaison Committee, the Co-ordinating Council, the dates of the formation of other clubs, the Code of Legacy, the residences, the annual demonstrations, also the camps and classes provided for children. He quotes L/ Stan Savige in a speech to the Annual Conference in 1950 and also part of the speech given to farewell L/ Savige after his death. The notation H51 in blue pen shows that it was part of the archive project that was trying to capture the history of Legacy. A highly detailed account of the formation and evolution of Legacy between 1923 and 1967.White A4 photocopy of an article about Legacy published in the Victorian Historical Magazine x 6 pages.Handwritten H51 in blue pen. Typed 'Extract from Victorian Historical Magazine, 149th Issue - August 1967' on top of first page.history, speech, founding legatee

Certificate is of the pledge that the brigade made to His Royal Highness the Duke of Edinburugh at a dinner that the Duke attended at the Ballarat Fire Station on 10th December 1867 during a royal visit to the district. White timber framed pledge from the Ballarat Fire Brigade to His Royal Highness the Duke of Edinburugh during his royal visit in December 1867. Pledge is on white paper with a coat of arms near the centre at the top of the page. Lettering is mainly in black ink with some red coloured letters being used. Certificate has a light brown coloured border around it with a hand drawn scrolled decorative edge made in gold colour. To His Royal Higness / The Duke of Edinburugh / May It Please Your Royal Highness / We Othe fficers and Members of the Ballaarat Fire Brigade, an institution based upon pure philanthropic / principles, our motto being "We Strive to Save" bear to approach your Royal / Highness with feelings of devotion and attachment, and deep felt gratitude to the Almighty, for this / opportunity of envicingour loyalty to Her Most Gracious Majesty Queen Victoria, your Royal / Mother: and, of tendering a hearty Firemans welcome to Your Royal Highness, in the land of our / adoption, and the good town of Ballaarat East, our residence. / We are deeply impressed with the great honor and importance of your Royal Higness's visit to the / Australian Colonies, and beg to express our fervent wishes for your Royal Highness's safe return / to our mother country. / We have the privilege and honor, to subscribe ourselves your Royal Higness's most obedient and humble / servants. / On behalf of the Brigade / Charles Dunn, Captain Carl Franz, Lieutenant / R. Geilhofer, Hon. Secretary / Ballaarat, December, 1867ballarat fire brigade, queen victoria, his royal higness, the duke of edinburugh, december 1867, 1867, captain charles dunn, captain dunn, lieutenant carl franz, lieutenant franz, honourary secretary r geilhofer, his royal highness the duke of edinburugh

Ballarat University College was affiliated with the University of Melbourne. It was previously Ballarat College of Advanced Education, and later became the University of Ballarat. John Sharpham was the Director of the Ballarat College of Advanced Education. In 1991 the college had an enrolment of over 4,200 people.Nine four page newsletters of the Ballarat University College. .1) Steve Moneghetti interview and picture, Chianti, Pat Hope biography, Platypus Survical Study, Halls of Residence. .2) John Sharpham, Pat Hope, National rankings, Mount Helen Library extensions, Student accomodation, H. Troon Pty Ltd, Brett Edgington, Melissa Graham, Michael Ransom, Department of Conservation and Environment, Land rehabilitation, Ron Kemp, Richard Steep, Rodger Fernandez, francoise Jewell, Petrus Spronk, basketball. .3) Literary Essay Wards, Meg Tasker, John Sharpham, Garry Kinnane, Town and Gown, Keving Livingston, Bruce Garner, Sports Performance unit, Director's Medal winners - Paul Davidson and Belinda Collins .4) Derek Woolley, John Sharpham, Assistant Director, Scott barber, nursing, Thoshan Ruberu .5) Ian Brain, Brotherhood of St Laurence, John Sharpham, Nina McKay, Koorie Bridging Course .6) John Sharpham, Taiwan, Dennis Else, Trevor Hastings, Leanne Phillips, Cinnamon Francis .7) Derek Woolley, Asian Studies, Carolyn Blackman, Rober Sharrock, Cari Dowing, Jodie Hawkin, Mary Hickey, Nigel McCallum, Kevin Livingston .8) John Sharpham, Mary Hickey, Mohammad Hilmi, Bin Yusof, Bill Pryor, Ross ramsat, Clare Cummins, Extra Muros, Anne Rowe, Mary Egan, Vicki Shelton .9) John Sharpham, Garry Kidd, Peter BlizzardElaine d'Esterre Ian hemingway, Parking, Kerry Daniell, Denis Shanahan, trevor hastings moneghetti, student accomodation, mt helen student accommodation, ballarat university college, hope, chianti, platypus, jewell, kemp, steep, spronk, petrus spronk, tasker, kinnane, garner, livingston, town and gown, ruberu, barber, else, phillips, collins, francis, wooley, livingston, mccallum, hickey, sharrock, dowing, hawkins, egan, shelton, pryor, ramsay, hilmi, yusof

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). This plan, which covers parts of High Street, Pakington Street and Derby Street is dominated by two historic Kew mansions: ‘Konetta’ and ‘Ramornie’. Ramornie was constructed in 1890 for James Maitland Campbell, three times Mayor of Kew. Sold in 1940, it became a boarding house known as ‘The Towers’. Now a private residence again, it has only one of its three balconies remaining. The location of the missing two balconies can be seen on the plan. In 1903, the grounds of Ramornie included a large tennis court fronting Pakington Street. The rear of the property is shown as extending to Cobden Street. One of Kew’s oldest hotels, the Prospect Hill Hotel on the corner of High and Cobden Street was established in 1858. The outline of the hotel shown on the plan represents the second building on the site. During the 19th century it was often used for electoral meetings. The Prospect Hill Hotel was to be redeveloped again in 1928, by the local architect Robert McIntyre. Since the 1980s, the hotel has been a live music venue, the home of the Melbourne Jazz Club, a restaurant and a liquor outlet.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1585, cartography

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). That area of Kew bordered by Cotham Road, Park Hill Road, Ermington Lane (now Ermington Place), and Belmont Avenue contained some of the significant homes owned by Kew pioneers. Chief among these was ‘Park Hill’ on an enormous lot facing Park Hill Road. The Jubilee History of 1910 noted, six years after this plan was drawn, that: ‘Park Hill Road, forming the southern boundary of the cemetery, takes its name from Park Hill, the residence of Mr. Thomas Judd, who has resided there since December, 1852.’ Other named houses on the plan include ‘Ferndale’ facing Cotham Road; ‘Ermington’ adjacent to Judd’s Park Hill, facing Park Hill Road; and ‘Gilden’ and ‘Mont Belmont’ facing Belmont Avenue. Mont Belmont was designed by the architectural firm of Reed, Henderson and Smart for William George Lilley in 1887 and was completed in 1888. Lilley was Mayor of Kew in 1887-88, a Justice of the Peace and a member of the first Board of Guardians of Kew’s St. Hilary’s Church of England.melbourne and metropolitan board of works, detail plans, survey plans - borough of kew, mmbw 1591, cartography

Contributor: T.H. KneenBox of slides, mostly labelled. 1. "School Building (May 1960) No. 1950." 2. "Students 5-2-58 John Richards Helen Page Instructor J.B. Nowell No. 1881." 3. "Orchard-Burnley (1960) No. 1953." 4. "Flower Bed & Lawns No. 1774." 5. "Plant Science Block Jul 69." 6. "Citrus myrtifolia being lifted (1960) No. 1945." 7, 8, "Mar 67." 9. "Dec 66." 10. "Long Border Aug '54 No. 1758." 11. "Border Display & Pond No. 1792." 12. "Rose Pruning Jul 67." 13. "Grampians-MCK Falls 10/65." 14. "Archway- Burnley Gar Yellow Banksia Rose No. 1779." 15. "P.R.L. No. 1684." 16. "Principal's Residence (Spring) Amygdalus pollardii No. 1716." 17. Views of Drive No. 1676." 18. "Field Day '57 Demonstration Burnley No. 1917." 19. "Shrubs & Annuals No. 1772." 20. "Burnley Gardens Flower Beds & Lawns Aut 1957 No. 1742." 21. "Vegetable GardenStudents 5.2.58 John Deverson Dorothy Issell Instructor I.G. McCure." 22. "School Lawn Golden Willow No.1754." 23. "Rose Pruning Demo No.1969 Jul 89." 24. "Field Day '57 Budding Burnley No. 1911." 25. "Field Day 57 Drainage No.1918 Burnley." 26. Rose Pruning Demo T. Komebum? Jul 69." 27. "Rose Pruning Demo Jul 69." 28. "Orchard." 29. "Wilson's Promontory N. P. Tidal River."school building, students, john richards, helen page, j.b. nowell, burnley, flower beds, lawns, administration building, orchard, plants, long border, rose pruning, grampians, principals residence, vegetable gardens, students working outside, lawnmower, john deveson, dorothy issell, golden willow, field day, wilsons promontory

David George Clark was the first and longest-serving headmaster at Eltham State School No. 209 (Eltham Primary) in Dalton Street, Eltham. David (then aged 26) and his sister Catherine first established their ‘private’ school which began in 1855 and was held in the Wesleyan Chapel in Henry Street, a slab built, shed-like building on land acquired by the Church in January 1855. Parents lobbied the Government to establish an official school, and a School Inspector came out to investigate. He found that the Clarks were of good moral and religious character (David taught Sunday School at St. Margaret's later on) and gave them his endorsement despite some perceived technical shortcomings. In 1856 a small stone building of 40 feet by 16 feet was erected on the school's present site at the corner of Main Road and Dalton Street. Half of the building was the school, the other half was the residence of David and Catherine and their mother, also Catherine. It appears that they were well respected by the local community: David constantly battled with the authorities to have facilities (such as toilets) at the school improved. As enrolment gradually increased, over-crowding became an issue. As well, David married Elizabeth in 1863. Needing to move out of the schoolhouse, in 1866 the Clarks bought a block of land in Metery Road next to the school and built the house "Shoestring" (which still exists albeit with significant modifications). Catherine retired in 1887 followed by David in 1889 after a period of ill health and was succeeded as Head Teacher by John Brown. David died in 1911 and is buried with his wife Elizabeth in Eltham Cemetery. In Loving Memory Of D. G. & E. ClarkBorn Digitaleltham cemetery, gravestones, david george clark, elizabeth clark, eltham primary school, eltham wesleyan chapel, state school no. 209

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

Ararat is a city in south-west Victoria, Australia, about 198 kilometres west of Melbourne, on the Western Highway on the eastern slopes of the Ararat Hills and Cemetery Creek valley between Victoria's Western District and the Wimmera. It is named after Mount Ararat 10 kilometres south-west of the town. A police station opened in Ararat in 1859, though there was a police presence in the area formerly known as Cathcart, Canton Lead and later Mount Ararat. In 1861 staff consisted of 1 Superintendent, 2 Mounted Constables, 1 Sergeant 2nd class, 1 Senior Constable, 8 Constables. The police reserve was on land bounded by Ligar Street, Barkley Street, Ingor Street and High Street. In 1930 the police station was described as a six-room brick dwelling with a slate roof, situated on one quarter acre of land. There was also a bathroom, wash-house, pantry, office, muster room and quarters for a single constable, stables with three stalls, and a lock-up consisting of two six-person cells. Later residences were located at 3 Ligar Street (brick veneer with a tile roof); 32A High Street (brick veneer with tile roof); and 3 Tobin Street (wood with an iron roof). A new, purpose built police station was opened in October 2010 at 77 Barkly Street. The Ararat Police District was reformed into the Wimmera Police District in 1870. Ararat Police Station became part of "R" (Glenelg) District in January 1948 and "M" (Highlands/Wimmera) District from March 1990. A list of police stationed at Ararat from 1903 - 1930 is available from the Victoria Police Museum8 photos comprising: 7 black & white photos 1 colour photopolice stations; ararat police station

This is a photograph of the original Orbost / Snowy River Bridge , a suspension bridge which opened in 1893. It has been taken when the Snowy River was in flood. It is similar to other photographs held in The State Library, Victoria. The Snowy River Mail and Tambo and Croajingolong Gazette Sat 12 Aug 1893 records the opening of this bridge as "the most important public event that has yet been commemorated in Eastern ......The Messrs McLeod, with whom the first settlement of this district is generally associated, took up their residence on the eastern bank of the Snowy River about the year 1841 or 42. The late Mr W. Roadknight and Mr T. T. Stirling took possession of the territory on the western side of the Snowy about 35 years ago. During the occupation of the country by cattle owners, very little progress was made in the way of roads and bridges, and except to the hardy and lexperienced bushman, it might have been generally regarded as inaccessible. About the year 1877, however, the late Mr James Robertson eldest son of Mr James Robertson, of Lochend farm, selected land now occupied by his father, about four miles from Orbost on the west bank of the river, Mr John Cameron visited the. district shortly after a .tour of inspection and returned later with his brothers, James and Alick Gameron, but found that during their absence Mr Ernest Watt had found his way on the scene and pegged out a selection, thus anticipating the advent of the Camerons by about 12 hours. We understand that a Mr Kidd, who selected the property now occupied by Mr W. J. Ross, at Pumpkin Point, was one of the earliest batch of settlors.........."This is a pictorial record of an early bridge across the Snowy River at Orbost.A black / white photograph of a suspension bridge with flood waters below the bridge.orbost-bridge suspension-bridge snowy-river

This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Caulfield Heritage Management Plan 1996 by Andrew Ward In 1889, Thomas B Jackson, an architect in Shoobra Road, owned lots 61-63 at the north­ west intersection with Clarence Street. He built the two red brick houses, each of 10 rooms, known as "Kenly" and "Nulmore" (later "Brampton") in that year. By 1894, P. Langwill had purchased the property, leasing it to Fred Henriques, an accountant. Alfred Pearson a government chemist, was occupying tenant by 1899. The property was known as ''Kenly''. In 1910, the house was vacant, however, in 1920, James Edmends was living there and continued to do so in 1930. By 1941, Edmends had moved to No. 32, and Alfred Williamson was in residence. "Kenly'' is important as an unusually imposing Elizabethan influenced villa in Caulfield, comparing with nos. 25 and 36 Gladstone Parade. Its importance is enhanced by its substantially intact state whilst its link with local architect Thomas B Jackson is of interest.Page 53 of Photograph Album with two exterior photographs (one portrait and one landscape) of a double storey brick mansion.Hand written: 34 Gladstone Parade [top left] / 53 [bottom left] trevor hart, 1880's, 1890's, gladstone parade, eversley, victorian, double storey, clarence street, architectural features, nulmore, brampton, kooyong park estate, architect, shoobra road, elsternwick, kenly, elizabethan influence, thomas b jackson, p langwill, fred henriques, alfred pearson, james edmends, alfred wiliamson, house names

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melbourne's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement.https://vhd.heritagecouncil.vic.gov.au/places/4442 Victorian Heritage Register: What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 60 of Photograph Album with three exterior photographs (one portrait and two landscape) of Anselm.Hand written: 4 Glenferrie Street [top right] / ANSELM 4 Glenferrie St [under top photo] / 60 [bottom right] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, gates, cast iron work

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melboume's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement. Victorian Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/4442 What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 61 of Photograph Album with one exterior photograph (portrait) of Anselm.Hand written: 61 [bottom left] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, brick house, attics

Image of Cocks Pioneer Gold & Tin Mines NL directors with Mrs Molly Moline and children, Dorothy and Geoff. Taken at Sherwood - the mine manager's residence. (1914) Cocks Pioneer Electric Gold & Tin Mine Company was formed in 1899. The company's first power station, located at the eastern end of the valley began operating with its 340 Kilowatt steam-powered generator. By 1909, from 2,500,000 cubic yards worked, reported recovery was 17,284 ounces of gold and 224 tons of tin ore. By 1909, Cocks Pioneer’s power plant had become inadequate and uneconomical. The barge was floated downstream about a mile, but lost time caused the operations to cease. Following testing, a new mine was established by diverting Reid's Creek at a cost of £25 000. Settling dams were built, one of which held 1,935,900 cubic feet. Sold earth banks, built against a wall of stringy bark saplings constructed and laced with vertical props, were built. In 1914, the company was reformed as Cock’s Pioneer Gold and Tin Mines NL, another power station was constructed at the western end of the township, near the junction of Clear and Reid's Creeks. From 6,800,000 cubic yards of material processed, the returns were 64,397 ounces of gold and 855 ton of tin. Cocks Pioneer mine then moved the barge downs stream and continued sluicing. In 1929 Cocks Pioneer Electric Gold and Tin Mining Company ceased operations due to a drop in values. Cock’s Pioneer Gold and Tin Mines NL carried on large-scale hydraulic sluicing operations until 1941. "COX PIONEER MINE DIRECTORS" top "GEOFF DOR (unclear) TED SHACKLE" bottommine, gold, tin, gold mining, tin mining, cockatoos, sluicing, men, women, children, cocks pioneer, el dorado, eldorado

Instituted by King George V in 1919 to mark the end of World War I and record the service given. The British War Medal 1914-20 was awarded as follows: Navy: 28 days mobilised service in Australia, at sea or overseas during prescribed periods. Army: Entered theatres of war during specified periods or left places of residence and rendered approved service overseas. Mercantile Marine: Awarded to the men and women of the Mercantile Marine who served at least six months at sea between 4th August 1914 and 11th November 1918. Licensed Pilots, Fishermen and crews of Pilotage and Lighthouse Authorities' Vessels, and of Post Office Cable Ships were also eligible. Those eligible also included members of women's organisations; persons on the staffs of military hospitals and members of recognised organisations who handled sick and wounded; and members of other duly recognised or other authorised organisations as specified in medal regulations. The qualification period of service between 5 August 1914 and 11 November 1918 was later extended to cover post-war mine clearance and service in Russia during 1919 and 1920. The ribbon has a wide central watered stripe of orange, flanked by two narrow white stripes, which are in turn flanked by two black pin-stripes, further flanked by two outer stripes of blue. The colours have no particular significance. The medal is cupro-nickel with the effigy of George V on the obverse. The reverse has an image of St George on horseback trampling underfoot the eagle shield of the Central Powers, and a skull and cross-bones, the emblems of death. Above this is the risen sun of victory. The years 1914 and 1918 are contained on the outside edge medal.GEORGIVS V BRITT OMN:REX ET IND:IMP: 2186 FRASER, Thomasbritish war medal, medal, first world war, world war one, ww1