Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

Leopoldine Mimovich was born in 1920, in Neumarkt in the Italian Tyrol. In 1940, aged 20, she moved to Vienna where she studied clay modelling and drawing. From 1943 she attended the School of Wood Sculpture in Hallstatt, graduating in 1947. Following her marriage to Ljubisa Mimovich, the couple migrated to Australia in 1949 travelling on MV Skaugum. After an initial period at Bonegilla and Royal Park Migrant Hostels the couple moved to Yarraville and then to 33 Miller Road, Kew, where she established her studio. A wood sculptor, painter and etcher, she was awarded an OAM for services to the arts in 1985. Examples of her sculptures in Kew can be found in the Kew Library and in the Alexandra Gardens.Black and white photograph of sculpture or sculptures by Leopoldine Mimovich photographed in her home at 31 Miller Grove, Kewartists - kew (vic), leopoldine (poldi) mimovich

The gouache was presented to Cr Jill O'Brien, Mayor of Kew in 1983-4, who was instrumental in the purchase of the window. The same Kewriosity article, referred to in the physical description, states that the window was originally commissioned from the artist by a Kew timber merchant, and following ownership by successive owners found its way back to Kew. The framed photograph is part of the Jill O'Brien collection which was gifted to the Kew Historical Society following her death in July 2016. The collection includes important primary sources relating to a number of areas in which Jill O'Brien made a significant contribution including the establishment of the Villa Alba Museum, local government, the Kew Historical Society, the Yarra Bend Trust, and the arts.Framed gouache on paper of the design by the artist Alan Sumner for his window, The Four Seasons. The window, now in Kew Library was purchased to commemorate Kew's 125th Anniversary. An article in a contemporary issue of Kewriosity states: The window is approximately three metres in diameter and divided into one central and four outer panels. Clockwise from the top is Autumn with sinuous lines in yellow and brown, then winter in cool blues and mauves with lines and circles suggesting rain, snow and hail. Spring follows in the bottom left quadrant with organic ovaloid shapes richly coloured and lines evoking growth. Then to the top where summer explodes with the colours of fire and blue of the sky at the height of summer. The centre panel has a powerful image of sun, moon and stars which links the surrounding panels".jill o’brien, public art - kew (vic), stained glass - kew (vic), alan sumner - the four seasons, kew library, public art

The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock.The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.An early photograph of Goathland (also known as Byram, Lowan and Tara Hall). The photo shows the front of the building during the period of Sir Malcolm McEacharn’s occupation of the house (1901-11). Edward George Kilburn, of Ellerker & Kilburn, had originally designed the house for the industrialist George Ramsden in 1888. When Sir Malcolm McEacharn purchased Byram, he was to rename it as Goathland. This has led to some confusion, as Goathland was also the name used for McEacharn’s other home in St. Kilda. The period of McEacharn’s ownership represented the high point of the mansion’s history. 'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author."'Goathland', The Residence of Sir Malcolm D McEacharn"byram, goathland, tara hall, lowan, studley park road -- kew (vic.), melbourne mansions, e g kilburn - architect

The railway extended through to Mont Albert in 1882, but it wasn't until 1890 that a station was built with funds raised by a syndicate of local landowners.The buildings on the south side of the railway were built in 1910-1911 in the Arts and Crafts style by architect, K W Hardy. The land occupied by the Hamilton Street shops was subdivided in the 1880s and the first purpose-built shop was 'Pope and Moran, Grocers'. This shop later became Tom Morris' Grocery. By 1930 shops stretched along both sides of Hamilton Street and part way along Churchill Street. The donor, the late Norman Carter held a significant collection of photos taken around Mont Albert and Surrey Hills, in particular subjects related to the Church of England.Black and white photo taken from the centre of the road in Churchill Street, Mont Albert. Mont Albert station is on the RHS fenced off by a post and rail fence. Shops can be seen at the intersection of Hamilton and Churchill Streets. There do not appear to be any shops in Churchill Street. There are newly planted street trees within paling guards on the LHS. There does not appear to be any curb and channelling at the side of the road.Rear in blue biro in Jocelyn Hall's handwriting "Mont Albert Station 1919".mont albert station, railways, hamilton street, churchill street, shops, arts and crafts style, norman carter

Anthony PELCHEN (1960- ) Born Horsham Anthony Pelchen studied economics at Monash University and a decade later painting at the Victorian College of the Arts. Since 1992 he has exhibited widely in artist-run, institutional and alternative spaces in Melbourne, with projects in Japan and Denmark. He has been included in various national surveys of drawing and painting and undertaken residencies in Australia. In 2008/9 he was included in Drought – Cross Cultural Collaborations, presenting cross media work at the NGV/ACMI/ Federation Square. In July 2010 he was awarded an Asialink residency in Malaysia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Large drawing with multi pagesart, artwork, anthony pelchen, horsham campus art collection, alumni, requires framing

Anthony PELCHEN (1960- ) Born Horsham Anthony Pelchen studied economics at Monash University and a decade later painting at the Victorian College of the Arts. Since 1992 he has exhibited widely in artist-run, institutional and alternative spaces in Melbourne, with projects in Japan and Denmark. He has been included in various national surveys of drawing and painting and undertaken residencies in Australia. In 2008/9 he was included in Drought – Cross Cultural Collaborations, presenting cross media work at the NGV/ACMI/ Federation Square. In July 2010 he was awarded an Asialink residency in Malaysia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed drawing.art, artwork, anthony pelchen, ram, available

Articles in the annual report include: opening two field offices in Riverina and North Coast, C.L.D. Mears awarded in awarded Companion of Order of Australia, Technical Aids for the Disabled provided switchboard simulators for vocational training programs, review of Lighthouse and Community Cottages is required, Roselands Nursing Home cared for 104 residents, installation of computerised book and circulation system, the workshop area began trading as Mitchell Manufacturing, and the creation of a biennial Royal Blind Society National Sculpture award sponsored by James Hardie and the Visual Arts Board. Please note: page 21 is not scanned. Titled 'Extra curricular involvement of staff' the Braille on the reverse side impacted upon the visibility of the text.1 volume of text and imagesroyal blind society of new south wales, corporation records

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

Book review from The Courier, titled "Tram ride to success", reviewing a book "The Promise of Gold and its results" written by David Griffiths. Looks at the life and work of John Garibaldi Roberts a supporter of the Arts and Chief Accountant of the Melbourne Tramway and Omnibus Co (MTOCo) and later the manager of the cable tram system for the MMTB. He retired in 1923. Has photos of the family, John at his work desk in 1910 and the directors of the MTOCo. Item written by Caleb Cluff of The Courier. One of Roberts guests was C J Dennis, who wrote Songs of the Sentimental bloke" while staying at Roberts place in the Dandenongs which had been formed from disused horse buses. Yields information about J G Roberts, a support of the Arts and a senior tramway manager.Newspaper cutting from The Courier, Ballarat, 24/4/2021 titled Book review "Tram ride to success" and photo provided of C J Dennis inside one of the horse buses on Robert's Dandenong "Sunnyside" property.mtoco, j g roberts, chief accountant, c j dennis, sunnyside

Plum Cottage is covered by Heritage Overelay HO256 in the Nillumbuk Planning Scheme This two-lot land holding was created as a subdivision and sold to Charles Stuart McNeil by May 1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The designer, John M. Harcourt was a pioneer builder in pise-de-terre and mudbrick in the Eltham Shire, Eltham being synonymous with alternative lifestyles and building practises until the onset of suburbia in the late 20th and early 21st centuries. This hipped-roof house is set high above Main Road on a V-shape plan characteristic of the Arts & Crafts style, with rammed earth or pise walls, timber joinery and a cement tiled roof. The V shape plan was used by important English and Eltham Arts & Crafts designers. The use of natural materials such as stone and timber construction is an essential part of the Arts & Crafts style and Harcourt’s work. So too is the application of the style on both the exterior and interior of the house as a holistic concept. The house adjoins the Lim Joon adobe house built and designed by Alistair Knox in the same era (HO119), thus forming a distinctive pair, both using an uncommon plan form. This house was identified in the Shire of Shire of Eltham Heritage 1992 as contributory to the Eltham Gateway Conservation Area, then proposed as an urban conservation area (now Heritage Overlay Area). Land Ownership Emily Jane Smith of 12 Woodside Street Fitzroy owned Crown Allotments 1 & 2 Sections 14, 27 by August 1918, selling to William Henry Smith of 12 Woodside Street, Nth Fitzroy May 1921. (John) James Isherwood of Main Road, Eltham owned the property by 1928 (the year of his death) with the beneficiary of his estate and next owner of this site being his widow, Minnie Maria Isherwood of Cemetery Road, Eltham. His holding in Main Road included parts of what was described in rate records as allotments1 & 2 Section E6. In the late 1930s, early 1940s her son Alfred John Isherwood was also rated for the land around this site, with the rated nett annual value varying between £2 and £5. Alfred Isherwood also lived at Main Road, Eltham with his wife Ellen: her early death at the age of 24 was reported in the Argus of 1923. Part of the Isherwood land was divided off and sold to Charles Stuart McNeil by May1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The house is visible on an aerial photograph from 1960s. Reputedly the house was called Plum Cottage and erected for Harcourt’s mother-in-law. A garage was added in 1959. Charles McNeil died in1971 aged 87: he was the son of Don McNeil and Margaret Arkell. Available rate records from the construction era start in the of the 1970s (1972-3) and list Mr H.C. & M/S A.V. Charity at 616 Main Road Eltham of this property with a nett annual value of $740. More recent valuer's data describes the property as lots 1 & 2 LP25668, located in the Central Riding of Eltham Shire, owned by Ann Valerie Charity and later, in 1990, by the Chincarini family. Building Description This hipped roof 11 .5 square house is set high above Main Road on a characteristic-shape plan and has rammed earth or pise walls, timber joinery and a cement tiled roof. The V-shape plan was used by Important designers such as C.F.A. Voysey (UK) who interpreted medieval domestic architecture as part of the Arts & Crafts style of the late 19th and early 20th centuries. The pise walls are covered with a textured render while the cement roofing tiles are also seen in the Harcourt Hill examples. Reputedly the ceiling joists are of a deep section and span long lengths with no need for hanging beams in the roof space. The ceilings are low and panelled in main rooms with apparently Caneite soft board infill panels between the exposed ceiling beams. These are painted white but may have been stained at one time. The focus of the house is the large living area with its vast random stone fireplace. Significance Plum Cottage is significant to the locality of Eltham because: Historically: • Plum Cottage is closely associated with the important historical theme of earth construction evident in Eltham and elsewhere in the Shire since theear1y Arts & Crafts inspired creations at Penleigh Boyd's The Robins (1912, HO101) and those at Montsalvat (1934-, HO82) but more prominent from the Second War period when earth building in Eltham was promoted in national periodicals as an alternative building method that avoided the building materials shortages of that era; • The choice of the earth building technique also expresses the theme of refuge or alternative living, synonymous with Eltham in the early to mid 20th century; • as a good example of domestic architecture from John Harcourt who was the first major post Second War figure in an important phase of Eltham’s earth building development, using his characteristic Old English or Arts& Crafts style that relies in this case on the pise wall construction, pitched roof forms, exposed ceiling joists, half timbering, random stonework, and panelled internal wall finishes. Architecturally: • Plum Cottage's pise wall construction is uncommon among the early earth-walled structures in the Shire, that are mainly of adobe or mud brick, and as a building material is uncommon among the Shire’s suburban dwellings generally which are clad typically with either fired clay bricks or timber boarding. Aesthetically: • Plum Cottage is a good and well preserved example of a modern Old English or Arts & Crafts style earth-walled building in the Shire • For the proximity of the significant Lim Joon adobe house designed by Alistair Knox adjoining to the north, providing a distinctive earth wall house pair, with uncommon plan forms. Reference Heritage Assessment of Plum Cottage, 616 Main Road, Eltham; Graeme Butler & Associates 2010main road, eltham, property, houses, (john) james isherwood, alfred john isherwood, ann valerie charity, arts and crafts style, charles stuart mcneil, chincarini family, eltham gateway zone, emily jane smith, h.c. charity, heritage assessment, john harcourt, john m. harcourt, lim joon house, main road eltham, minnie maria isherwood, pise construction, plum cottage

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The leaf shaped motif of this particular spoon appears to be stylised in a simple form of decorative arts and craft or even Art Nouveau style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards. According to Christine Erratt, due to the goldrush in the 1850's, there was increased wealth in the colony and an influx of immigrants from Europe to Australia who brought with them silversmithing skills which began ‘the golden age’ of Australian silver', Erratt says that 'Australia's unique flora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of Australian flora to decorate silverware is of particular interest and diversity'. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. There are no discerning maker hallmarks to place where it was produced or ascertain the material accurately.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. A tarnished small silver teaspoon with leaf-shaped head and slim handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen

Commissioned by George W. Bell, designed by Anthony Harvey. An old gold mining and wine growing district eighteen miles from Melbourne, now notable for its arts, crafts, good food and historic buildings. On the reverse side printed in 8 panels (3 half-folds) advertising for Montsalvat, Eltham; Kutta Mahal Gallery, Warrandyte; Country Art Store, Eltham; Eltham Crafts. Monstsalvat, Eltham; Tantoon native plants and culinary herbs, Eltham; The Claypot, Warrandyte; Research Trading, Research; Potters Cottage, Warrandyte; Graeme Law & Associates Pty Ltd, Kew.. In addition is provided The Shire of Eltham Cenenary 1871-1971 , Centenary Celebrations Programme of events from March through to August 1971.44..8 x 57.5 cm (Four copies) On the reverse side (of one copy only) is printed in 8 panels (3 half-folds) advertising and Centenary Program.eltham, warrandyte, map, advertising, montsalvat, kutta mahal gallery, country art store, the claypot, research trading, potters cottage, graeme law & associates pty ltd, eltham crafts, tantoon, shire of eltham centenary, program

Christmas 2001 articles include: Governor of Victoria re-dedicates KG War Memorial Tower Election details (2002) Summer at the Diamond Creek Pool Community Safety Expo Nillumbik Festival of the Arts: ‘art, caught in the act’ 22 Feb to 3 Mar 2002 Neighbourhood Character Study out for comment Plans to revive St Andrews Market site Integrated Transport Strategy seeks less car usage Eltham Festival Album Rural connector roads strategy Rural Collector Roads to be Sealed Roundabout funding for Diamond Creek Community Fireguard helps prepare for fire Planning for bush fire this summer Capital Works projects on track for 2001-2002 Eltham Town Square opens council newsletters, nillumbik news, nillumbik shire council

Vol. 5, No. 2, May-Jun 2000 CONTENTS ALAN MARSHALL SHORT STORY AWARD 2000 3 JOHN BRACK: DIRECTOR Exhibition review 7 GARDENS, MEMORY & IMAGINATION Book review 9 IT'S ALWAYS POSSIBLE Book review 12 BRUSH WITH PARADISE Peter Oyston interview 14 FELIX BOSARI, 1945-2000 Obituary 15 TOP ARTS VCE 1999 16 JEFFERY SMART Exhibition review 18 THE DENNIS GARDEN 19 WORDS AND MUSIC BY … Book review 22 TRAVELS IN 1840S IRELAND Book review 23 CD REVIEWS 24 RECIPE 26 CD REVIEW Betty Scarlet 27 ARTIN ABOUT 28 WINING & DINING 30 ARTISTS SERVICES 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, john brack, museum of modern art at heide, alan marshall short story award, kinglake gallery, bahnhof cafe, gwen ford, plenty views golf park, carlucci's, eltham wiregrass gallery, peter oyston, felix bosari, top arts, jeffrey smart, helen dennis, craig horne, jill blee, dynamic vegies, faces coffee place, montsalvat, maria sangiorgi, helen lucas, were street cafe

Photo of a portrait by Kim Tarpey of Tracey Naughton. Tracey was Eltham’s first Community Arts Officer. Kim coordinated a couple of drawing groups at the North Riding Living and Learning Centre. This organisation eventually metamorphosed into Living and Learning Nillumbik (Panton Hill). Tracey sat for the portrait group. The work was exhibited at the Community Centre in an exhibition organised for the Eltham Festival. Unfortunately the work went missing later down the track when on loan to an art centre and has not been recovered. Kim Tarpey advised "Tracey Naughton sat for my portrait drawing group at Panton Hill. She had a watch with a print of the Mona Lisa on the dial - so I named it the 'Tracey-Lisa.' The colour of her hair is distorted as it was photographed through glass"Digital file only - scanned from personal photos on loan to EDHSart, community arts officer, eltham community centre, eltham festival, kim tarpey, living and learning nillumbik (panton hill), north riding living and learning centre, portrait of tracey naughton, shire of eltham, tracey naughton

David Macknight Jones was born on 31 January 1910, the son of the Rev. David Samuel Jones. He attended University High School, then Ormond college, where, after graduating in Arts, he studied Theology. He obtained his Bachelor of Divinity in 1936, and was ordained in St. Stephen's Church Toowoomba, where his father was the minister. He married Elizabeth Ann McLellan in 1938, and in the same year was inducted as the first Minister in the Western patrol (Timboon), Presbytery of Mortlake, Victoria. He was called to Scots Church Shepparton in 1941, to St. Andrew's Launceston in 1947, to Kew Presbyterian Church in 1950 and to Pascoe Vale in 1965. From 1971 he was Special Areas Officer, Home Missions. Died in 1990B & W head and shoulders photograph of the Rev. David Macknight Jones, printed on buff card.Rev.D. Macknight Jones, B.A., B.D. 1950 - 1965david macknight jones, david samuel jones, ormond college, presbyterian, minister, kew