Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. WODONGA'S SECOND POLICE STATION - This building was located on the west side of High Street near the railway line at the corner of High Street and Bond Street. The building in the background was the Bond Store which was later repurposed to become the Court House. This Police Station, which began operation on this site c1905, had originally been the house of the customs officer. It had a front office and a Sergeant's and an Inspector's office as well as 2 barrack rooms and a laundry at the rear. In the backyard was a blue stone cell block and a night soil toilet, as well as a stable used previously for horse and carriage. Opposite the police station was a boarding house which supplied meals to prisoners. This police station was in use until its move to Elgin Street, Wodonga in December 1967.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.Two black and white photos of the 2nd Police Station built in Wodonga with the former Bond Store in the background.high st wodonga, police stations wodonga

A small booklet of 70 pages including photos, interviews and text outlining the history of "Age Concern Albury Wodonga.non-fictionThis book outlines the history and development of "Age Concern Albury Wodonga Inc." a not for profit organisation that operates in the Albury Wodonga area with some services provided operating across The Riverina Murray region. It provides services and social activities for frail aged people or people with disabilities and their carers. The objective of Age Concern is to lessen the mental and physical stress of growing older by advocating preparation and education of people approaching retirement as well as encouraging the provision of services within the community designed to improve the physical, mental and social well being of the aged.aged concern albury wodonga, aged care, aged care services albury wodonga

The Australian Service Canteen Organisation operated from 1959 - 1979 and served troops throughout Australia, Papua New Guinea and Vietnam by providing services such as canteens, bulk stores, snack bars, news agencies and bank agencies. ASCO became the Army Air Force Canteen Service [AAFCANS] in 1979. This included provision of services in Army bases such as the barracks at Bandiana, Victoria outside of Wodonga. Noritake is a well-known producer of a wide range of merchandise including high quality, western-style dinnerware for export. On January 1, 1904 the Nippon Toki Kaisha Ltd - the forerunner to the present Noritake Company - was formed in a small town near Nagoya, Japan. The maker's mark "Noritake N Japan" mark has been used since 1968.A china dinner plate bearing the logo of Australian Organization Services Canteens in gold paint. The maker's mark of Noritake Japan is printed underneath the plate.Logo - Australian Organization Services Canteens Maker's Mark - Noritake ® JAPANnoritake, australian services canteens, chinaware

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This Bible belonged to Louis Alfred Haeusler, son of Johann Heinrich Ferdinand Haeusler and Ernestine Wilhelmine nee Rogasch. Louis was born in Wodonga, Victoria on 23 December 1898 and died on 2 February 1960. The other 2 volumes belonged to Louis' sister Eleonora Lydia Haeusler (Nellie), born 14 October 1883 and died 25 November 1979. Louis was the father of John Alfred Lyell (Alf) Haeusler who bequeathed this collection to the Wodonga Historical Society. The Bible was published by Collins' Clear Type Press, a Scottish publishing company founded in 1892.The volume "Church Hymns" was published by the Society for Promoting Christian Knowledge, the oldest Anglican missionary organisation which was originally founded in 1698. This copy was published in London C1885. The Hymnal Companion to the Book of Common Prayer (2nd Edition) was published by Sampson Low, Marston and Company of London C1893.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It is representative of the religious traditions adopted by this family in Wodonga. A collection of 3 religious books including a Bible, Hymn book and Hymn Book companion. They have different coloured leather covers. Handwritten inside front cover of Bible: L.A. Haeusler/ Wodonga, Vic. Handwritten inside front cover of Hymnal Companion: Eleonora L. Haeusler / St. Lukes, Wodonga Handwritten inside Church Hymns: To Nellie with love from Sister Tilly 20.8.02haeusler family, religious publications, society for promoting christian knowledge, sampson low, marston and company

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies and the Belvoir Wodonga Rotary Club. Grace was an active member of several organisations including the CWA, Red Cross, the Wodonga Show Ladies' Auxiliary and the Victorian Agricultural Societies Association. This uniform was owned by Grace Hamilton-Smith. She achieved recognition for more 20 years of service to the Red Cross.This item has well documented provenance and a known owner. It is part of a significant collection from the Hamilton-Smith family of Wodonga and reflects important aspects of social history including the roles of women and their contribution to the community. A tan coloured Red Cross uniform and badges worn C1940sred cross australia, hamilton-smith collection, wodonga red cross

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.J. Mann and Sons was first established as a farm produce store in 1921. The range of products was extended in the 1930s and included groceries and hardware, as well as the first petrol bowser in Wodonga outside the store. After WWII, the premises were extended and the range of products continued to increase. In the 1960s the Mann Family opened a new supermarket in Wodonga, in addition to the hardware business, providing steel, plumbing and industrial supplies, and employed over 100 people. This site has since been redeveloped and is now the Mann Centre. Signs on the edge of the verandah advertise Garden Centre, Rural & Building Supplies, Footwear and a Hairstylistwodonga businesses, high st wodonga, mann wodonga

A spiral bound booklet of 102 pages including text and imagesA history of the Wodonga Citizens' Band from its early days in 1886 until 2017. It includes a detailed timeline as well as information about key events and performances, competition achievements, personalities and anecdotes. The publication was compiled by Jim Costelloe who was a Life Member of the Wodonga Brass Band.wodonga citizens' band incorporated, wodonga brass band, jim costelloe

A document detailing rules and regulations of the running of the Legacy Club, Melbourne. The date is not known. The policy and objects covers: loyalty, comradeship, dependents of deceased soldiers, cooperation with other organisations, education, preference, national development, and Shrine of Remembrance. Other parts of the document covers eligibility for membership, transfer of members, subscriptions etc. Meetings and their procedures as well as management structure. It is possibly before 1940 when the RSSILA changed it's name to RSSAILA. The notation H14 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. Documents the details of the rules and policies of the Legacy Club, Melbourne.White foolscap paper with black type x 7 pages of a document of regulations.Handwritten H14 in red pen. history, rules, organisation structure, objectives, goals

Photocopy of a pamphlet held by Melbourne University Archives detailing the history of Melbourne Legacy 1923-1944. Details include the genesis of the organisation, and how it came to be called Legacy as well as information about various activities Legacy children could access. Includes a concise chronology of Melbourne Legacy during those years. It includes an extract from a speech by the former Governor General Sir Issac Issacs about Legacy.It's a brief and concise history of the early years of Melbourne Legacy.Photocopy x 16 pages of black type and black and white photos.history, annual summary

Joynt was the seventh member of the newly formed Legacy in 1923 and became a member of the Board of Management in 1924 and worked closely with Stan Savige. He was also instrumental in gaining the support of both General Sir John Monash and the R.S.L. to build the Shrine of Remembrance, as well as ensuring media backing and thus public support for the project. He worked tirelessly for Legacy for 38 years until he retired at the age of 84, and entered fully into comradeship activities throughout his involvement. He won his VC in 1917 at Chuignes during one of the last battles on the Somme. The Victoria Cross is the highest award for acts of bravery in wartime and was instituted in 1856 by Queen Victoria. The Chairman of Legacy Co-ordinating Council, Legatee K.D. Green, gave the eulogy (01303.5) at the funeral service.Records the life of an outstanding Australian of great social conscience, reflecting well on the Legacy organisation as a whole.01303.1-01303.2 sheets folded and stapled together to form a booklet with the order of service - black print on white paper 01303.5-01303.8 white sheets with black type. donovan joynt, founding legatee, obituary

A press release from Melbourne Legacy in 1975 which relates the story of a junior legatee playing professional football. The information was intended to be used by press and magazines etc. The junior legatee is not named but it mentions he had a rough home life, then his father died and his siblings became State Wards. His father was a returned ex-serviceman and Legacy heard of the boy's situation and began regular visits to the family and gave not only advice but financial assistance as well, to try and provide a normal family life. The younger children were returned from state care. The future footballer endeavoured to rise above his background and on finishing school he wanted to apply for a job that called for honesty and integrity and involved responsibility for money. Thi family background was held against him until with the help of Legacy he won the day. Legacy helped provide appropriate clothing for his new position. Since then he has gone from strength to strength in his career and in his sport as well. 'Legacy has often been referred to as an organisation of human kindness'.A record of how Legacy promoted their work in the 1970s.Buff foolscap page x 2 with black type of a press release in 1975.Title 'Success through Legacy''press release, promotion, case studies

A photocopy of 7 pages of Chapter 13 from Legatee Donovan Joynt's biography 'Breaking the road for the rest'. Legatee Donovan had received a VC in World War 1. Chapter 13 deals with Legatee Joynt's involvement with Legacy. It covers some of the early years of Legacy's history as he was present at the first luncheon. He mentions it was Mr PW Powell (Pip) that proposed the name Legacy - other accounts attribute the idea to Frank Selleck. It seems Legatee Powell suggested the idea but it was Legatee Selleck that proposed the formal motion and was documented in the minutes. Joynt mentions: "The speaker emphasised that the name Legacy was chosen because it the members of the new organisation had accepted as a legacy the responsibility of seeing that the ideals which their comrades had died fighting for were maintained in Australia." On page 163 to 164 he relates the efforts Legacy had gone to for the Shrine of Remembrance to be built.An account of the early days of Legacy in a biography of a well known Legatee.Black and white A4 photocopy x 5 pages of pages from Legatee Joynt's biographybiography, donovan joynt

One percent Motorcycle Clubs are contentious organisations that have challenged the rules of mainstream society since they were first formed in America during the late 1940s. Their image has been well-defined in popular culture - so much so that the sound of massed Harley Davidsons continues to send a wave of panic through the community.vietnam war, 1961-1975, demonstrations - australia

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920 they published prints of art from original works of famous and not so well-known artists. The published items were distributed by the House of Art, NY, which continued on into the 1950s. The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the organisation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has two small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art

Two large green fabric covered Minute Books with tan leather tape on the spine and two tan leather triangles on the corners of each of the front and back covers. Both books at the top of the spine have a red label with gold lettering Minute Book 1. has brown marbled end papers with blue tape along the spine for added strength inside both covers. Book 2. has burgundy marbled end papers with green tape along the spine for added strength inside both covers. Both books have coloured marbled edges to the pages. These blank books were used by 1. Minute Book of the Berry Growers Section Victorian Fruit Growers Central Association. 2. Minute Book of the United Berry Growers Association of Victoria. Minutes of the first meeting of Book 1. were taken 1st July 1921 in Lilydale and the last minutes were on 14.8.1929. The book is filled with Minutes of meetings. 2. Minute Book of the United Berry Growers Association of Victoria. Minutes of the first meeting of Book 2. were taken on Wed August 14th at 8pm 1929 in the Silvan Hall and the last minutes were on 26.7. 1945. The book is filled with Minutes of meetings. 170 out of 190 pages used. At the back is a handwritten note on faded and foxed lined paper for the 25th Report for the Association which did not have a formal page entry between the 24th and 26th and final entry. The details are noted in the photograph.non-fictionThese blank books were used by 1. Minute Book of the Berry Growers Section Victorian Fruit Growers Central Association. 2. Minute Book of the United Berry Growers Association of Victoria. Minutes of the first meeting of book 1. were taken 1st July 1921 in Lilydale and the last minutes were on 14.8.1929. Minute Book of the United Berry Growers Association of Victoria. Minutes of the first meeting of book 1. were taken 1st July 1921 in Lilydale and the last minutes were on 14.8.1929. meetings, reports, proceedings, minutes of meetings

Shows a style of promotion of tram badges, sales items, produced by the BTPS at the time. Were very popular early 1980's sold well and gave the BTPS much needed income. Produced by David Frost.Foolscap, photocopied sheet, titled "What the well-dressed young tram enthusiast is wearing", prepared by David Frost, featuring a "young man" wearing BTPS or other organisations tram badges. These include Ballarat 27, Melbourne W2, V214, VR B class loco, Brisbane 47, MMTB half cab bus, Melbourne Z3, VR S class locomotive, Brisbane 136, Melbourne Z2 and Ballarat 27 button badge.trams, tramways, badges, btps, pamphlets

A large red, blue and cream wavy lined paper patterned covered Norman Bros., Minute Book with burgundy tape on the spine. This blank book was used by the Silvan Progress Association. Minutes of the first meeting were taken Sat March 1th 1916 and the last minutes were held in the Library Mechanics Hall on 5th Oct. 1922. The book is filled with Minutes of the monthly meetings and has threeo paper insertions - a Mont De Lancey Wine List with three wines and their prices per bottle. A second quite damaged paper is: Wandin ? Progress Association Inaugurated 26th Oct 1912. The meeting was held Jan 11, 1913. It lists the monthly meetings and minutes taken up to March 28 1913. The third document, dated 17th May 1928, is a copy of 13 typed pages from the Shire of Lilydale to The Hon. Secretary, Silvan Hall Committee, Silvan. It includes a list of names of Guarantors and witnesses.non-fictionThis blank book was used by the Silvan Progress Association. Minutes of the first meeting were taken Sat March 1th 1916 and the last minutes were held in the Library Mechanics Hall on 5th Oct. 1922. The book is filled with Minutes of the monthly meetings and has three paper insertions - a Mont De Lancey Wine List with three wines and their prices per bottle. A second quite damaged paper is: Wandin ? Progress Association Inaugurated 26th Oct 1912. The meeting was held Jan 11, 1913. It lists the monthly meetings and minutes taken up to March 28 1913. The third document is a copy of 13 typed pages from the Shire of Lillydale to Mr. S. Bradley, Hon. Secretary, Silvan Hall Committee, Silvan suggesting to the Committee that the attached plan for the maintenance and betterment for the hall be forwarded to the Public Health Department for approval. It includes a list of names of Guarantors and witnesses.meetings, reports, proceedings, minutes of meetings

This book presents a pictorial and written record of Warrnambool in 1891.It covers a wide range of topics. It provides statistical evidence relating to public buildings and organisations of that era, as well as basic information about district points of interest. The Mechanics Institute, the Common, Albert Park, the rivers, the Museum and the Sea Baths are all mentioned. The various drawings and advertisements provide a list of businesses which were prevalent at the time. As this book is one of only two complete copies documented to be still in existence, it is of considerable significance and importance to our collection. The drawings and text are artistically very much of the era and are aesthetically pleasing. Cardboard cover with picture of people on beach in tones of yellow, pink and blue sitting within a circle. Dark purple cloth spine binding. Back cover has drawing of Western Hotel. Pages are not numbered and there are a number of coloured and black and white drawings. Title is in dark purple and Warrnambool is in pink and blue tonesOn front cover “The Mermaids Caves” 1896. 1891 written in pen beneath roman numerals on bottom of title page. List of numbers written down title page in black pen.warrnambool, picturesque warrnambool, warrnambool 1891,, warrnambool, warrnambool 1891

The Wodonga Sewerage Authority identification tag is part of the collection of objects donated to the Wodonga Historical Society by the North East Region Water Authority in 2001. In 1983 the Wodonga Waterworks Trust and the Wodonga Sewerage Authority became part of the Wodonga Council. By 1989 a filtration plant at Huon Hill was completed, which provided filtered water of improved quality to Wodonga, in accordance with the World Health Organisation’s guidelines. In 1994 the Kiewa Murray Region Water Authority took over the Wodonga Council’s water and wastewater operations, and then in 1999 the Kiewa Murray Region Water Authority combined with the Ovens Region Water Authority and became the North East Region Water Authority or NERWA. NERWA then became known as North East Water. The identification tag has local significance due to its use by the Wodonga Sewerage Authority, as well as historic significance as rare example of the equipment used in water management in Wodonga.Rectangular corroded cast iron identification tag with the raised letters '"WSA" on the upper surface."W S A" on upper surface in raised letters.north east region water authority, nerwa, wodonga sewerage authority, north east water, n.e. water, kiewa murray region water authority, wodonga

This well indexed booklet was produced by the Warrnambool Standard with the assistance of the City of Warrnambool. It contains lists of local government council and councillors for the surrounding south western district. There are photographs of the Warrnambool City Council members and main officers. Information provided covers services for accommodation, animal welfare, Churches, community organisations, complaints, counselling, courts, education, employment, health, legal, material aid, public safety, recreation, recycling, community support, tourism and transport. The booklet contains advertisements for some local businesses. This service directory provides a snapshot of businesses and support services available in Warrnambool and the South Western District in 1991. It will be useful for researchers looking at this area in the late 20th century. The booklet also provides an insight into how community awareness of recycling improving our environment was undertaken in 1991.A 32 page booklet of yellow newsprint with black printing. The staples have been removed. The front cover has a green background with yellow printing on the top half. There is a black and white photograph of a man accepting bagged recycling from a woman and two children. The top left hand corner of the photograph has a small red rectangle and yellow writing. The bottom right hand corner of the front cover has a red triangle with yellow writing. The rear cover has black printing and a stylised cartoon of a man emptying a rubbish bin at the tip being tapped on the shoulder by a man holding a recycling bag.Front cover: 1991/92 South~West Information Guide The Standard Warrnambool; Keep with your telephone book for quick reference produced in conjunction with Warrnambool City Council Rear cover: Remember... If it can be recycled, It's not rubbish! Contact your local council about recycling.warrnambool city council, warrnambool service directory 1991, recycling, south western district service directory

To commemorate the two anniversaries of prominent organisations, Australia Post issued two stamps, as well as first day covers, an accompanying card set and first day postmark. One card contains a photograph of young Tilly Aston, with the AFB 100 anniversary logo, a stamp of a person with a dog in harness playing the violin. The other card is a picture of Audrie and Neil Mc Leod, who founded the Spastic Centre of NSW as part of their efforts to assist their child and others access services for those who were born with cerebral palsy. The 50th anniversary logo of the centre is featured on the card, as well as a stamp of a person in a wheelchair flying a kite. Both cards have the postage mark of a kite and it's string framing the sun, and 'First Day of Issue 13 July 1995 Brighton Beach, Vic, 3188'.2 colour post cards released as part of setassociation for the blind, tilly aston, spastic centre of nsw, stamps, audrie mcleod, neil mcleod

Howard Murray (Pat) Lightfoot (1904-1991) served as President for the Association for the Blind in 1952-1954 and 1964-1972 respectively. He joined the Association in 1938 as a sighted member of the General Committee, and was part of the group that dealt with the breakdown of a uneasy financial agreement that existed between the RVIB and AAB, the incorporation of the AAB under the Charities Act and the development of a rehabilitation centre at Kooyong for those who wished to have support without a residential component. After losing his father at an early age, Pat Lightfoot began working as an office boy for Nicholas Pty Ltd, later studying and becoming an accountant - such skills highly needed by the newly incorporated Association. According to 'No Sight, Great Vision', he was a highly skilled communicator, whose friendly and approachable manner won over most of those who opposed his presence on the general committee due to his sight. His support for and recognition of the work done by Mr Paterson led to him standing aside for the position of President and nominating his friend until the Committee overrode him in 1952. His appointment signaled a change in how the organisation was run, and introduced John Wilson as Secretary as well as Stan Horsfall as Treasurer in 1953, which helped move the administration style from social volunteering to business thinking. Health concerns caused him to resign in 1954, however when his health improved he rejoined the Committee in 1958 and again became a key worker in keeping the organisation financially healthy. The "H.M. Lightfoot Centre" - a two storey building attached to Paterson Hall was named after him. This image was provided when J Balmain was approached to paint a portrait of Mr Lightfoot, for the centenary celebrations of the AFB, as per the letter.1 portrait photograph of Howard (Pat) Lightfoot and 1 associated letter regarding usage for a portrait by Balmain.Mr H.M. (Pat) Lightfoot - (Past President) 1" Deep (No. 2) Association for the Blind 7 Mair Street Brighton Beach, 3188 Please return to PR Department (arrow pointing to left) 14 ems (arrow pointing to right) 1.95 .1 100# Ticket No: 5230 Client: Abaris 100# Wanted: Tues 19th AM Mounted: as layout and sticker 43 1/4% Please Quote No: BA 9105 Laurie Richards 4 Tower Ave, Alphington 3078 489-8528 48-5541h.m. lightfoot, association for the advancement of the blind, association for the blind

Howard Murray (Pat) Lightfoot (1904-1991) served as President for the Association for the Blind in 1952-1954 and 1964-1972 respectively. He joined the Association in 1938 as a sighted member of the General Committee, and was part of the group that dealt with the breakdown of a uneasy financial agreement that existed between the RVIB and AAB, the incorporation of the AAB under the Charities Act and the development of a rehabilitation centre at Kooyong for those who wished to have support without a residential component. After losing his father at an early age, Pat Lightfoot began working as an office boy for Nicholas Pty Ltd, later studying and becoming an accountant - such skills highly needed by the newly incorporated Association. According to 'No Sight, Great Vision', he was a highly skilled communicator, whose friendly and approachable manner won over most of those who opposed his presence on the general committee due to his sight. His support for and recognition of the work done by Mr Paterson led to him standing aside for the position of President and nominating his friend until the Committee overrode him in 1952. His appointment signaled a change in how the organisation was run, and introduced John Wilson as Secretary as well as Stan Horsfall as Treasurer in 1953, which helped move the administration style from social volunteering to business thinking. Health concerns caused him to resign in 1954, however when his health improved he rejoined the Committee in 1958 and again became a key worker in keeping the organisation financially healthy. The "H.M. Lightfoot Centre" - a two storey building attached to Paterson Hall was named after him. In these three photographs Pat and his wife Beth look or stand next to the portrait painted of Pat Lightfoot, for the centenary celebrations.3 coloured photographs of Pat and Beth Lightfooth.m. lightfoot, association for the blind

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 St John’s Anglican Church stands like a beacon on the hill on Main Street, Diamond Creek. Today the church has a large congregation, but its early years were marked by a small congregation struggling to find enough money to survive. It was gold in Diamond Creek that resulted in the building of this National Trust registered property.1 This church is far removed from William Wilson’s humble barn (later the Bowling Green) where the first Anglican church services were conducted – probably the first in the district.2 In the mid 19th century services were infrequent as the Rev Francis Hales, travelling on horseback, also conducted services elsewhere, including at Heidelberg, Coburg, Kinglake, Arthurs Creek, St Andrews and Kangaroo Ground. In 1860 Diamond Creek came under the jurisdiction of the Eltham Parish. Until the mid 1860s the Diamond Creek settlement included only about 20 families who were struggling farmers. But this changed when gold was found in 1862. Then the township grew to 200 families, including miners, civil administration workers and shopkeepers. The resulting growth of Church of England adherents prompted them to petition the Government in 1866 for land to build a church. The area chosen, on which the original building still stands, was at the centre of the proposed township. Today church leaders believe that this conspicuous location is one of the reasons for its exceptional growth. Prominent architect Charles Maplestone designed the building as he did the Presbyterian Church at Kangaroo Ground. St John’s, which is still intact, was built in the Gothic Revival style with the traditional rectangular plan of a central nave and sanctuary at the end. It is typical of small churches built in Victoria at that time, with polychromatic hand-made bricks, a porch, diagonal buttresses and a slate roof.3 The church was officially opened by Lord Bishop Perry on November 1, 1870. But during the next 40 years, due to the varying fortunes of gold mining, the church struggled to remain viable. In 1909 it separated from the Eltham Parish to form a parish with Greensborough. Life became more difficult with the privations of World War One. Then disaster struck in 1915 when fire destroyed the Diamond Creek Gold Mine, wiping out the major livelihood of most parishioners. However the church’s morale was lifted in 1916, when it received a bequest to build the red brick hall, from late parishioner and prominent leather manufacturer, George Pizzey. As prosperity grew, in 1924 the congregation separated from Greensborough, but they rejoined in the 1930s Depression. In the 1950s the wider population soared, impacting on St John’s, and it became a separate parish, becoming responsible for six churches at St Andrews, Hazel Glen, Hurstbridge, St Helena and Yarrambat. As parishioner numbers outgrew the building, extensions were added in 1989 and then in 1993, blending in well with the original building. Church members have made a huge contribution to the local community. John Ryan was a Heidelberg Shire Councillor for 25 years from 1931, Mayor in 1939 and headed several local sporting and other organisations. His son Jock became a clergyman and a local historian heading the Nillumbik Historical Society. Another parishioner, Dr Ted Cordner, came to Diamond Creek in 1920. One of his sons Donald, who was a local doctor, won the Brownlow Medal, was President of the Melbourne Cricket Club and President of the Melbourne Grammar School Council. Roy ‘Monty’ Vale was a state Liberal MP and was related to May Vale, a member of the Heidelberg School of Artists.4 In the early 21st century St John’s Anglican Church is one of the fastest growing congregations in Melbourne. References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, st john's anglican church, diamond creek

This file contains two items about this club: 1/An eight page document named The Glen Huntly Bowling Club Jubilee Story. It is a historical account by Russell H. Keon-Cohen M.A. dated February 1964. It also describes the history of the region for fifty years. 2/Undated original black and white photograph of Glen Huntly Bowling Club.railways, caulfield, tramways, glen huntly road, glenhuntly road, grange road, mcdowing’s butcher shop, neerim road, residential development, rosstown railway, glen huntly, glen huntly hall, racecourses, pearce’s national rose gardens, bowling clubs, jones s.c., quinn mr., ellis mr., descrimes mr., kitchen cr., brookshaw cr., bowling clubs, glen huntly bowling club, ellis w., fulton t.j., lass r., newton t., pelzer p., rider h., sayer j., thomas h., boyd j.a., deans mr., gorgan thomas, woods h.s., rider mr., maxwell mr., hardnam mr., sportsgrounds, madden frank, meirest j.k., eggleston frederick, bell w., breamer b.j., carrol w., dall w.m., dunn w., mortan thomas, philips r.l., stork a.m., wells h.j., organisations, progress organisations, billiard rooms, refreshment rooms, harrison r.t.a., jones mr., glen eira mcminnon bowls club, sports, sporting clubs, jubilees, festivals and celebrations, finance, pavilions

Dendrites are deposits of black minerals, typically manganese oxides that precipitated from water seeping through fractures in fine-grain rocks like a sandstone or limestone. Dendrites are much less regular than plant fossils and lacks vein structures. The manganese cryztallizes through the process called 'supercooling'. Some samples of dendrites occur in volcanic rocks in the Lilydale district, east of Melbourne. Sandstones are made of tiny sand grains that may have been deposited in the sea and later formed together. Most sandstones are made of quartz which are chemically-resistant minerals. This particular specimen was donated by Alfred Selwyn in 1868 as part of the Geological Survey of Victoria. It is connected to the original 1875 catalogue on Geological Specimen with number 189 'Quartz Crystals_Quartz Crystals (two are polished)'Dendrites on sandstones This specimen is an important contribution to the geological history of Victoria, as well as its links to the 1868 Geological Survey of Victoria. This specimen is part of larger collection of significant geological specimens in the Burke Museum that was collected from around the world between 1868-1880. A large percentage of these specimens were collection as part of the Geological Survey of Victoria 1852-1974. The Geological Survey of Victoria was an organisation founded in response to the Victorian gold rush to explore the geological and mineral resources and to record a detailed map of the state. It was headed by British geologist, Alfred Richard Cecil Selwyn (1824-1902), who was responsible for issuing over 60 geological maps during his 17 years as director. These maps were all hand-drawn and coloured and became the benchmark for accuracy for geological mapping. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. A hand-sized slice of light brown sandstone with dendrites formed from crystallized manganese oxide.Existing label: Not sure what / 'Slica dondrites' / means. / Sample is sandstone and original label / identifies it as from / the Grampians near Stawell. / C. Willman / 15/4/21 Other label: [illegible] / stone [ illegible] / from Grampians Stawell / 1894 /geological specimen, geology, geology collection, burke museum, beechworth, dendrites, sandstones, quartz, lilydale district, geological survey of victoria, grampians, victoria rocks, minerals, rocks, manganese oxides, alfred selwyn