Book - spiral wire bound , clear plastic cover, green title sheet and card back, approx. 110 pages, black and white presentation giving examples of tram tickets along with notes on each system for Melbourne, Country Victoria, Queensland, South Australia, Western Australia, Tasmania, New Zealand (11 systems) and Tourist tramways. Has a table of contents, introduction, an overview of the operators, list of Urban Transport Milestones During the Tramway Era for NZ and a story "Mystery Solved by Tram Ticket by Robert Pine as told by Jack McLean about a murder in London that was solved by a tram ticket found in the person's clothes. Rear page has purchase details of the book and CD, along with a contact address in Sydney. See Reg Item 5579 for the CD. Bob Merchant of the Sydney Tramway Museum advised 4/3/2021 that: Richard Peck, as Curator of Philately, Printing and Postal Technology, was responsible for the Museum of Applied Arts and Sciences acquiring major artefacts from the NSW Government Printing Office when it was forcibly closed by the government in 1989. In retirement Richard has researched the history of private bus routes before 1932 and government bus routes 1932-2021. He maintains a large database of all types of NSW transport tickets.trams, tramways, tickets, reports, melbourne, mmtb, stories

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 floral motif on this particular spoon appears to be stylised in the decorative arts and craft style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. 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. This spoon seems more likely to have been produced in Europe and imported to the colony. The hallmarks on the handle DON and BP indicate it may have been produced from English electroplating silver which is a more cost effective product than solid silver, most likely produced by Cooper Brothers, Don Plate Works, established in Sheffield in 1866 who distributed silverware in Europe, America and the colonies well into the 1950's.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. Wilfred Busse ate food and he did it from a beautiful silver floral detailed spoon.A silver tablespoon with floral embossed head and hallmarks embossed on reverse handleDON/ BP/silverware, 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

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

Ship to Shore was first printed in 1997. Inspired by the Jottings From Our Log, this modern version is generally published quarterly (Summer, Autumn, Winter, Spring) Articles are written by the mission's staff and give updates about shipping and seafaring news, staff, events, board Committee, heritage. It is sent by post or email to supporters, members, volunteers and friends of the mission. It is also available to the public in the Flying Angel club and online on the website.Ship to Shore is a valable source of informationship to shore, mission to seamen, mission to seafarers, flinders street, melbourne, victoria, news, events, seafaring life, shipping, sailors, seamen, sponsors, marketing, flying angel, staff, chaplains, community, welfare, board members, 1998, ridley college, dagmar udhe, portland mission, hastings mission, patrick s.s. co, mua, maritime union of australia, stevedoring, easter, arts

These essays have been written by Walter Murdoch, a distinguished Australian academic and essayist. Murdoch (1874-1970) gained an Arts Degree at the University of Melbourne, with first class honours in philosophy and logic. In 1901 he came to Warrnambool, going into partnership with James Scott as proprietors of a private school, Warrnambool College. They bought out Warrnambool Grammar School, previously run by John Stanley. When Scott retired Murdoch became the sole proprietor and headmaster. While in Warrnambool Murdoch continued to write for Melbourne newspapers and published a book, ‘The Struggle for Freedom’ which covers English and Australian constitutional history. This book sold 10,000 copies in its first year. In 1904 Murdoch left Warrnambool to take up a lecturing position in English at the University of Melbourne. He went on to become the foundation Professor of English at the University of Western Australia and later its Chancellor. Murdoch University in Western Australia is named after him. Murdoch became a household name in Australia through his radio broadcasts and syndicated articles and literary columns in several Australian newspapers. During his lifetime Murdoch published over 40 works and he was knighted in 1964. This book is of interest as one written by Walter Murdoch who not only is important in Australian literature and academic circles but also has his place in Warrnambool’s history. This is a hard cover book of 209 pages. The cover is green with black printing and has an image of a quill outlined in black. The spine is much faded. The book contains a Preface and 28 short essays. The inside cover and the edges of the pages are stained. walter murdoch, warrnambool college (early 20th century), history of warrnambool

This book has been written by Walter Murdoch, the distinguished Australian academic and essayist. Walter Murdoch (1874-1970) gained an Arts Degree at the University of Melbourne with first class honours in philosophy and logic. In 1901 Murdoch came to Warrnambool in partnership with James Scott as co-proprietors of the private school, Warrnambool College. They bought out the Warrnambool Grammar School previously run by John Stanley and, when Scott retired, Murdoch became the sole proprietor and headmaster of the school. While he was in Warrnambool Murdoch continued to write for Melbourne newspapers and published a book, ‘The Struggle For Freedom’, covering the constitutional history of Britain and Australia. This book sold 10,000 copies in its first year. In 1904 Murdoch left Warrnambool to take up a position as a lecturer in English at the University of Melbourne. Later he became the foundation Professor of English at the University of Western Australia and later its Chancellor. Murdoch University in Western Australia is named after him. Murdoch became a household name to two generations of Australians through his radio broadcasts and his literary columns in several Australian newspapers. He published over 40 books and was knighted in 1964. This book is of interest as an example of the writings of Walter Murdoch, important not only in the history of Australian literature but also of note in the history of Warrnambool. This is a hard cover book of 195 pages. The cover is orange with red lettering and an image of a mountain (on an island?). The spine is a little faded. The book contains a Preface and 21 short essays containing thoughts concerning Australia in the early years of World War Two. walter murdoch, history of warrnambool, warrnambool college (early 20th century)

The following research was undertaken for the Coat of Arms in the foyer of Ballarat Civic Hall, painted by Angus Henderson. The Ballarat arms were granted on 10 May 1956. The shield is supported by a farmer and a miner and topped by a trident (referring to Britannia and aquatic sports) with sprigs of wattle and begonias either side. The crossed oars against the Eureka flag refer to rowing events in the 1956 Olympic Games. The importance of farming and industry are shown by the sheep and cogwheel while the lyre reflects the City’s commitment to the arts and Royal South Street Society, which contributed to the design of the Civic Hall. The name Ballaarat came from two Aboriginal words: balla and arat, meaning ‘resting place’. At the time of Council amalgamations, May 1994, Ballarat became the name of the new Council. The Latin motto: Cultus: cultivation, care, worship Formar: form, shape, appearance Industria: diligence, activity, industry Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat.Small Ballarat coat of armscity of ballarat coat of arms, crest, zilles printers

Dr. Dai Davies presented this Goblet as a gift to the Faculty as the first appointed Burnell-Jose visiting Professor, Postgraduate Committee in Medicine, S.A. May - June 1976. At the time, Dr Davies was the Consultant Anaesthetist St George's Hospital, London and during this event was elected to Honorary Fellowship of the Faculty of Anaesthestists, Royal Australasian College of Surgeons. The Burnell-Jose Visiting Professorship commenced in Adelaide in 1975 in honor of Mary Burnell, the first woman Dean of the Faculty from 1966 to 1967 and the first woman President of the Australian Society of Anaesthetists in 1955. Very few women had assumed major anesthesia roles in the world during this period. The Goblet's provenance is supported by an original booklet, which certifies its origin from Chichester Cathedral (1075), Sussex, England. In 1975, a limited edition of 600 goblets were commissioned by the Dean and Chapter of Chichester Cathedral, Reverend Walter Hussey, to commemorate the ninth century of the Foundation. This Goblet is number 46 of the edition and the booklet is signed by Walter Hussey. The Goblet is historically associated with Chichester Cathedral and Walter Hussey, who was a great patron of the arts during the 1970's.Solid silver, with pure gold overlaying the modeled stem and interior of the cup. Trefoil shaped goblet cup with tapering profile. The stem is supported by a sheaf of wheat and bird design. The goblet came in its own case with a booklet of authenticity. [central base] NUMBER / 46 / OF A LIMITED EDITION / OF 600 MADE BY ORDER OF / THE DEAN AND CHAPTER / TO COMMEMORATE / THE NINTH CENTENARY OF / THE FOUNDATION OF / CHICHESTER CATHEDRAL / IN 1075 / AURUM / DCM [and hallmarks of the Worshipful Company of Goldsmiths] •[around base] D.M. DAVIES / ADELAIDE 1976dr davies, dai, burnell, mary, chichester cathedral, burnell-jose visiting professor, murphy, desmond-clen, hussey, walter, ninth century of the foundation of chichester cathedral

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia.Australian Studio Ceramics Gift of the artist, 1982Impressed seal for Kiyoshi Ino on baseceramics, gippsland campus, jan feder memorial ceramics collection, ino kiyoshi, japanese ceramics

Ino KIYOSHI (b 1946, Kyoto Japan, d. 2008) Worked in Australia from 1973–76 and 1978–2008 Ino Kiyoshi was to a family that has been involved in the production of pottery for some 160 years. Working in the family studio while studying at the Kyoto School of Arts and Crafts, he completed his diploma of Ceramic Art in 1969. He then attended the KyotoTechnical School for a post-graduate course in glazing. then lectured in ceramics at the KyotoTechnical School. Following in the footsteps of the famous Japanese potter, Shoji Hamada who had visited Australia in 1965, Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga). Kiyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, Churchill, Victoria, from 1974 to 1976 and returned there as Assistant to the Senior Lecturer in Ceramics in 1979. He ceased teaching at the Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established. Ino has exhibited extensively throughout Australia. Gift of the artist, 1982impressed seal for Kiyoshi Ino on baseceramics, shikuhu ino, jan feder memorial ceramics collection, gippsland campus, yinnar, yinnar art resource collective

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

The New South Wales Railway Institute affectionately known as “the Institute”, was initially established to provide a higher standard of educational learning for NSW railway employees. As well as employment related training, the Institute was tasked with stimulating growth and intellectual development of employees in the arts, social, leisure, and physical recreations. The NSW Railway Institute was formally opened on the 14th of March 1891 and at the time was the only institution of its kind in the Commonwealth. The Albury branch of the Railways Institute was formed on March 1, 1921. This included the building of a Railway Institute building as part of the Railway precinct in 1921. On Tuesday 7 October 1952, the Daily Advertiser, Wagga reported that a move had started at Albury for the establishment of a third bowling club. The new club formed would be the Railway Institute Bowling Club and the suggested site was on Albury City Council land at the corner of Young and Smollett streets. The Albury Railway Institute opened its bowling greens in February 1956. It later became known as Windsor Park Bowling Club. In 2003, the Bowling Club was liquidated and was amalgamated with the Albury Soldiers Sailors & Airmen’s Club. After changes to their operating model, the club building was demolished in 2013. This badge is representative of the role played by the NSW Railway Institute for its members and its involvement in the broader community.Member's badge for the Railway Institute Bowling Club Albury. A small metal badge with enamel finish depicting the logo of the club in green, red, gold and white.Around the central logo "RAILWAY INSTITUTE BOWLING CLUB ALBURY/ 78-79"railway institute, bowling clubs, social activities albury

Ludmilla Meilerts, Oil On Board, Botanical Gardens, Circa 1970 Ludmilla Meilerts (1908 - 1997), Botanical Gardens, Melbourne, an impressive work painted with bold brushstrokes and a vivid colourful palette which typifies the artists work. ​ Born in Riga,Latvia in 1908 - After displaying an early talent for art she studied at The Latvian Academy Of Fine Arts graduating in 1940. Later that year she married Otto Meilerts, an Economist, and they moved to Stuttgart, Germany to avoid living under Soviet occupation and then emigrated to Australia in 1948 settling in Melbourne. She worked as a nurse's aid and in a clothing factory to fund the further development of her artistic career achieving considerable early success with her colourful work encompassing portraiture, florals and city and landscapes. She particularly like painting dockland scenes. She was a member of The Victorian Artists Society (VAS) and The Melbourne Society Of Woman Painters And Sculptors. ​ Major prizes include The Dunlop Prize in 1952, Gosford Art prize 1971, Camberwell 1973, VAS Purstitz Gold Medal 1982. She is represented in The State Galleries of Victoria, NSW, Tasmania and Western Australia as well as several regional Galleries.​ ​Still life of fruit and a jog. Painted in thick impasto paint, creating a very textured surface. Fruit is depicted in green, brown, apricot, pink and red. Background is abstract. Upper left background is brown, upper centre and right background is in shades of grey, blue and green, with some white. Brown wooden frame.Front: L Meilerts 70 (lower right, black paint)still life, female artists, women, women artists

PART 1 – NILLUMBIK (00:00-07:17) Opening features various scenes around Nillumbik Shire. For 40,000 years Nillumbik was the home of the Wurundjeri people. Robert Hoddle gave the district its name. Jock Ryan, then president of Nillumbik Historical Society discusses the names Nillumbik and Diamond Creek. In the late 1830s white occupation began with gold found in Warrandyte in 1851 and 12 years later at Diamond Creek -the Diamond Reef which led to the Caledonian gold rush. Jock Ryan discusses the Diamond Creek mine, which was thriving until it burnt out in 1915. Large numbers of workmen moved into area in late 1870s to construct the Maroondah Aqueduct. With growing population of Melbourne, the nearby Yan Yean system had severely disrupted the flow of the Plenty River, forcing the closure of three flour mills there. The aqueduct came to the rescue carrying water 66km from Healesville to Preston. When the Diamond Creek gold mine burnt down the local economy suffered but fruit growing industry had already been established and Diamond Creek became a thriving fruit growing centre. Interview with Jack Powell, a long-time fruiterer at St Andrews market, his family had lived in the area for a hundred years, 3 to 4 generations, “a lot of hard work”. By the time the railway arrived fruit growing was no longer competitive. The railway brought the city closer and day trippers. The Green Wedge separates the shire from the more densely developed neighbours such as Whittlesea, Doncaster, Templestowe, Bulleen and Greensborough. Population at the time (1996) was 19,000 but links to the past remain strong. Mudbrick houses along the Heritage Trail The saving of Shillinglaw Cottage from demolition in 1963 and relocation brick by brick. PART 2 – ENVIRONMENT (07:18-14:44) Peter Brock (with Bev Brock in background) at St Andrews market discusses his childhood growing up in the district and the environment and the values it instilled upon him and his own family. The Brocks have been in the district since the 1860s. Nillumbik Shire responsible for managing three catchment areas; Diamond Creek, Arthurs Creek and Watsons Creek. Follows the course of the Diamond Creek commencing in Kinglake through the district to its confluence with the Yarra River at Eltham at Eltham Lower Park. Highlights Eltham Lower Park community revegetation program and the newly constructed (1996) viewing platform built of new and recycled timbers at the confluence of the Diamond Creek and Yarra River. Also featured are outdoor recreation on the river and at Eltham Lower Park including the Diamond Valley miniature railway. Sugarloaf reservoir and recreational activities and fishing. Aerial view of Memorial Park and Shire of Eltham War Memorial tower at Garden Hill, Kangaroo Ground. Significant tourism opportunities for the shire with 3 million potential day-trippers in metropolitan Melbourne. Council and community working together to find a way to promote the shires natural and artistic assets. At Arthurs Creek, the Brock family and neighbours working together to take care of their waterway. Peter Brock’s uncle, Sandy Brock talks about environmental management and the Arthurs Creek Landcare group and actions to eradicate blackberry problem. Having previously planted Cypress rows they are replacing them with indigenous species to improve the water supply, keeping cattle out of the creek bed to improve the quality downstream flowing into the Yarra. Eltham East Primary School Band playing “All things bright and beautiful” merges into scenes of the bushland sanctuary set aside by the school in 1980 with unidentified teacher discusses the sanctuary and their education program and school children’s comments. Plight of a family of Wedgetail eagles nesting in the path of a developer’s bulldozer at North Warrandyte and actions to save their nesting areas. PART 3 – ARTS (14:45-22:00) Arts and Jazz festival at Montsalvat featuring interviews with Sigmund Jorgensen discussing Montsalvat and its principles. Also Matcham Skipper. Clifton Pugh’s funeral at Montsalvat and his legacy at Dunmoochin near Cottlesbridge with artists in residence, at the time, Chicago artist Charles Reddington who discusses the benefits of the experience. An unidentified female artist also talks about the program and why people are drawn to the area. Unidentified man on street talking about the amount of talent in the area, artists, poets, musicians, authors. Artist Ming Mackay (1918-2009) interviewed talking about the people she mixes with on “the Hill”. Works of local artists are displayed Eltham Library Community Gallery and Wiregrass gallery with a new coffee shop at the Wiregrass making it an even more popular destination. Music at St Andrews Hotel (may be a little bit country) and the Saturday market where likely to hear anything. Sellers and patrons at the market asked about what attracts them to the market and where they came from. Scenes of poets/authors giving readings. CREDITS Music by John Greenfield from the CD Sweet Rain “The Snow Tree”, Uncle Music UNC 2001 Cameras - David Mirabella and Peter Farragher Editor – Olwyn Jones Written and Produced by Jason Cameron A Jason Cameron Proction for Nillumbik ShireProvides a record of the relatively newly created Shire of Nillumbik at the time and the features and attactions of the shire in its people arts, culture and environmentVHS Cassette (two copies) Converted to MP4 file format 0:22:00, 1.60GBvideo recording, arthurs creek, arthurs creek landcare group, artists, artists in residence, arts, arts festival, authors, blackberry, brock family, bulldozer, bulleen, bushland sanctuary, caledonian gold rush, charles reddington, clifton pugh, cottlesbridge, cypress rows, developer, diamond creek, diamond creek mine, diamond reef, diamond valley miniature railway, doncaster, dunmoochin, education program, eeps, eltham, eltham east primary school, eltham east primary school band, eltham library community gallery, eltham lower park, environment, fishing, flour mill, fruit growing, fruiterer, garden hill, gold mining, green wedge, greensborough, heritage trail, hurstbridge railway line, jazz festival, jock ryan, kangaroo ground, kangaroo ground tower, kinglake, maroondah aqueduct, matcham skipper, memorial park, ming mackay (1918-2009), montsalvat, mudbrick houses, music, musicians, nesting area, nillumbik historical society, nillumbik shire, north warrandyte, old timer, orchards, peter brock, plenty river, poets, population, recreation, recreational activities, revegetation, robert hoddle, sandy brock, shillinglaw cottage, shire of eltham war memorial, sigmund jorgensen, st andrews hotel, st andrews market, sugarloaf reservoir, templestowe, the hill, tourism, viewing platform, warrandyte, water catchment area, watsons creek, wedgetail eagle, whittlesea, wiregrass gallery, wurundjeri, yarra river, jack powell

Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Pamphlet for Rosalind Park Lookout - two copies. One side of the pamphlet has a layout image of the five sections of the mosaic and the poppet head base. The sections are numbers 1 to 5 Section 1: A stylised representation of the main Bendigo Goldfield based on a geological plan (Publish in 1992). It shows the lines of reef, including the famous Hustlers, Garden Gully and New Chum. Section 2: A typical cross section of the Bendigo Goldfields Section 3: The mine layout shown in this design features part of the Garden Gully line of reef. Section 4: Shown here is the Iron Bark mine on the Sheepshead reef. It has an interesting pattern of drives, stopes and winzes. Section 5: In this section the artist uses gold as her inspiration. The larger mosaic shows quartz veins winding through the earth containing gold in its various forms. The smaller mosaic represents the atomic structure of gold. It shows the the nucleus, the six shells of the atom, their electrons and orbits. The other side of the pamphlet describes the background of the community arts project, the artist, and volunteer workers, also notes mentioning the Bendigo community history. It also lists the donors for funding and business's that supported the project, with special thanks to Eric Wilkinson - Geolpogical advoser, the students and staff from Camp Hill, St Killians and Violet Street primary schools. BRIT and La Trobe University, bendigo.

Poster titled "Melbourne's Painted Trams" with subtitle "Transporting Art", printed on one side of a single sheet of art paper, then folded in half, then folded in concertina style (6 panels), featuring the 15 Melbourne W2 class tramcars that were painted in the years between 1978 and 1982. Provides notes on the artists, their thoughts on the projects and details of the project. Sponsored by the Victorian Ministry for the Arts and Ministry of Transport. Notes that 14 of 15 trams had reached the end of their working lives and were to be auctioned on 7/12/1986, that No. 504, Clifton Pugh was to be donated to Museum of Victoria and that a new series of 20 painted trams were being sponsored. Poster prepared by Malpass and Burrows of the Design group with photographs by Stephen Hall and Regina Grant. Decorated trams, artists. Features trams and artists 525 - Les Kossatz 243 - Mirka Mora 504 - Clifton Pugh 503 - John Nixon 497 - Erica McGilchrist 567 - Peter Corrigan in 1978 and repainted by Paul Mason in 1982. 345 - Gareth Sansom 384 - Howard Arkley 234 - Andrew Southall 336 - Mike Brown 444 - Trevor Nickolls 502 - Rosemary Ryan 340 - Don Laycock 607 - Craig Gough 439 - Stewart Merrett 2nd copy added 2/6/15. Electric Traction, August 1979, page 135 has noted on the removal of the Japanese flags on tram 567 by artist Peter Corrigan.trams, tramways, transporting art, decorated trams, exhibitions, melbourne

Birthday books are used to record the names and birth dates of friends and relatives. This one has a quote from Charles Dickens for each day of the year .The Dickins Birthday book was chosen a a gift to Clara Skirrow, given on January 19th 1911 by Mr and Mrs B Watson. The artist, Pilford Fletcher Watson (1892-1907) was a well established and prominent artist. He was born in London and lived in Sydney, a foundation member of the Australian Academy of Arts in 1887. His works included local scenery, architecture and the interiors of historic buildings. Many of his works were bequeathed to the State Library of New South Wales. The firm Raphael Tuck & Sons Ltd,, was a printer and publisher that operated in London from 1866 to circa 1960s. Its logo is the artist's easel, palette and brush. In 1960 the firm amalgamated with others to become the British Printing Corporation c. 1960. The fly page states that Ralph Tuck & Sons, Ltd. were publishers to Their Majesties, the King and Queen, and Their Royal Highnesses, the Prince and Princess of Wales. This would mean that this book was published in the period when King Edward VII and Queen Alexandra, and Prince George and his wife Princess Mary were able to use these titles, that is, from 1901 to 1910. This early 20th-century Birthday Book is significant for containing quotes by the famous writer Charles Dickins. It is also significant for being illustrated by renowned artist Pilford Fletcher Watson. Ownership of a rare and beautifully presented book like this indicates the value placed on keeping in touch with friends and family in the early 1900s. Charles Dickins Birthday books were published by the same firm, with a similar layout.Book, The Dickens Birthday Book; with 6 illustrations in Colour by P. Fletcher-Watson Publisher: Raphael Tuck & Sons Ltd Printed in England 1901-1910 Artist: P. Fletcher-Watson This padded red leather hardcover book has embossed gold text on front cover and spine. . The six colour illustrations throughout the book were by artist P. Fletcher-Watson; one is a portrait of Dickins. Each date of the year has a quotes from Charles Dickens' works and blank lines below. The drawing on the fly page depicts a stone building with side pillars and a logo in the centre of the horizontal beam. It has a gift inscription for Clara Skirrow on January 19th, 1911. There are several handwritten entries with names and years.Handwritten in black ink: "From Mr & Mrs B. Watson / To Clara Skirrow / With Best wishes / January 19th 1911" Illustration on fly page: Logo [artist's palette, brush and easel] Handwritten entries of names and datesflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, dickins birthday book, birthday book, p. fletcher-watson, raphael tuck & sons ltd, 1901-1910, charles dickins, dickins quotes, illustrated, 19-01-1911, mr & mrs b. watson, clara skirrow, red cover, british printing corporation, king and queen and trh prince and princess, king edward vii and queen alexandra, antique book, rare book

These folders contain the historical notes written by Bruce Morris in regard to the life story and achievements of George Lance. These notes were used by Bruce Morris to write a great number of historical articles on George Lance and these were mostly published in the Warrnambool Standard. Bruce Morris (1903-1986) was the editor of the Warrnambool Standard from 1946 to 1968. During that time he was prominent in community activities in Warrnambool and was well-known for the great number of historical articles he published in his paper, making him one of Warrnambool’s most important historians. George Lance, the subject of the notes in these folders, was Bruce Morris’ grandfather. George Lance (1933-1901) was a plumber particularly associated with the development and use of gas power in Warrnambool and the inventor of the Eureka Pump and the Lance Patent Cess Pan. He was also a writer of historical articles, a musician with the Warrnambool Artillery Band and an important artist in the town, with some of his works of art in the Warrnambool Art Gallery today. He is regarded as the person most responsible for the establishment of the Warrnambool Art Gallery in the 1880s. Bruce Morris’ notes include material on George Lance’s involvement with the Warrnambool Bowls Club, the School of Arts, the Mechanics’ Institute, the Baptist Church and the Manchester Unity Independent Order of Oddfellows.These folders are of considerable importance as they contain the historical notes of Bruce Morris regarding his grandfather, George Lance. Both Bruce Morris and George Lance are significant in Warrnambool’s history, the former as an important historian and newspaper editor and the latter as an inventor, writer, artist, musician and a person regarded as the 19th century founder of the Warrnambool Art Gallery .1 This is a lime-green rectangular-shaped folder made of stiffened cardboard with a black plastic handle on the top with a black plastic catch on the side. Inside the folder are paper inserts that fold up in concertina fashion. In the inserts are twelve blue plastic folders that contain handwritten and typed material. .2 This is a purple rectangular-shaped folder made of stiffened cardboard similar to .1 above. It has a black plastic handle on the top and a black plastic catch on the side. Inside the folder are paper inserts that fold up in concertina fashion. In the inserts are twelve blue plastic folders that contain handwritten and typed material. George Lance Folders. Bruce Morrisbruce morris, warrnambool, george lance, warrnambool, history of warrnambool

Following council amalgamations, a series of community consultations were undertaken in 1995 to inform the development of a cohesive vision for the newly formed Shire of Nillumbik. A response to the new conditions which people of the Eltham/Diamond Creek/Greensborough and surrounding rural areas found themselves in as a result of the decision by the Victorian Government to amalgamate local governments into larger entities. The case for these reforms was strong, but the amalgamation process did disrupt some people's lives.The need to bring together the people within the new boundaries of Nillumbik was recognised by the Commissioners and the Chief Executive Officer of the Shire, who felt that a good way to begin was to develop a future vision for the Shire. It was decided that the people of the Shire should be asked what they wanted their future to be and a process of consultation was established through which people could express their views. Contents: Part One: Introduction, Nillumbik 1995 -what we thought, Nillumbik - thinking the future, Creatng a Nillumbik Community, Nillumbik's assets, Goals for Nillumbik 2020. Part Two: A sustainable society, population and density, the built environment, town and community centres, transport, agriculture, rural Nillumbik, Arts and cultural activity, the younger generation, Nillumbik's elders, planning for the disabled and health and well-being.40 pagesharry gilham collection, shire of nillumbik, vision, consultation, planning

ArtStreams: Arts in Banyule, Darebin, Manningham, Nillumbik, Whittlesea & Yarra Vol. 5 No. 6 Summer Issue, 2000 Book Review "Ken Eckersall has been a member of the Eltham community for 40 years. He has been a member of the Methodist / Uniting Church for all of his 66 years. Having moved from being a compositer in the printing trade to a teacher and lecturer, in his retirement he has become an historian. Eltham Inhabitants is ostensibly a history of the Eltham Uniting Church, written to celebrate its 150th anniversary. The book is considerably broader than the commission suggests. This is hinted at in Eckersalls reference to the Eltham Wesleyan/Methodist/Uniting Church. Eckersall writes on the history and philosophy of the church from its beginnings in the 18th century to the present and places it in the context of the sociology and history of the period. Recognising the nexus between church and community, the author has in large part written a history of the Eltham community including the churches of other denomination(s). There are very few artists, academics or other interesting characters from the district who don't get a mention. Despite a plethora of information about the church, Eltham Inhabitants is a fund of historical information on many other fronts."Paperback; viii, 175 p. : ill. ; 21 cm. 2 copieseltham, churches, uniting church, eltham uniting church

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO47 Uniting Church, 254 Neerim Road https://vhd.heritagecouncil.vic.gov.au/places/42432 (as at 28/10/2020) The former Methodist church (now Uniting church) complex at 252-54 Neerim Road, Carnegie, consists of the original timber church of 1886, the present brick Arts and Crafts influenced church of 1914, designed by A. Phipps Coles, the timber hall attached to the original church, built during the interwar period and the present brick hall of 1933, designed by J.F. Snell. From Victorian Heritage Database citation for HO47 Uniting Church, 254 Neerim Road https://vhd.heritagecouncil.vic.gov.au/places/42432 (as at 28/10/2020) The complex has aesthetic, historical and social significance. Its aesthetic value is derived from the extreme simplicity of the original church and the highly picturesque, eclectic, Arts and Crafts influenced character of the main church and hall. Its historical value rests in the early date of the original building and the manner in which the remaining buildings are representative of the principal period of settlement of the locality. The social significance derives from the use of the site as a place of worship since the commencement of the closer settlement of Carnegie from as early as 1886. Page 146 of Photograph Album with four photographs (3 landscape, 1 portrait) of Carnegie Methodist Church, Neerim Road.Handwritten: Carnegie Methodist Church Neerim Road [top right] / 146 [bottom right]trevor hart, neerim road, carnegie methodist church, church, toolambool road, wesleyan methodist church, breslin gallery, anthony breslin, 1910's, american romanesque, spire, half gabled tower, art, gallery, cafe, arched doorways, red brick, uniting church, carnegie, arts and craft style, a p coles, a coles, j f snell, j snell, halls

John EDYE (1944- ) John Edye trained in London at Harrow School of Art in the 1970s, and worked with Peter Dick in Yorkshire and Colin Pearson in Aylesford, Kent before returning to Australia to head the Sturt Pottery at Mittagong from 1974 to early 1978. At Sturt, his trainees included Piers Laverty, Wim Boot, Will Castle, Ruth Elder, Colin McNeill, Penelope Carr, Patrick Forman and Malcolm Campbell. Edye introduced them to salt-glazing, a technique at that time not widely used by studio potters. After leaving Sturt, he established the Little Forest Pottery at Yerrinbool in the Southern Highlands of NSW with Penelope Carr, who moved to Hazelbrook to set up her own pottery in 1983. Edye ran his pottery on a production scale for many years, making reduced and salt glazed stoneware and tutoring part time at East Sydney Technical College. Recently he has been working in Egypt as a technical advisor to an aid project, and he was a speaker at the Australian Ceramics Triennale 09. His works are marked with an impressed 'JE' and/or with the three-lobed tree emblem of Little Forest Pottery. John Edye was a visiting lecturer to the Gippsland Centre of Arts and Design (GCAD).Salt Glazed BowlTwo Stamps on basejohn edye, ceramics, jan feder memorial ceramics collection, gippsland

Kees HOS In 1956 Kees and his wife Tina made a new life with their two children in the arts community of New Zealand. In Australia Kees established the art school at Gippsland College of Advanced Education in 1971 with a radical multidisciplinary approach to art education. He generously delivered encouragement and opportunities to many people including lecturers, visiting artists and students. His small team literally built an art school from zero. Temporary accommodation in an old factory and service station in Morwell moved to three student-built studios on the Gippsland Campus. His highest recognition was 1997 when the names of Kees and Albertine Hos were added to the Wall of Honour in the Garden of the Righteous at Yad Vasheem in Jerusalem along with many others who put their lives on the line against the biggest killing machine the world had known. The ‘hiding-place’ in Kees and Tina’s home was discovered but Tina managed to rescue a baby as her own while the Jewish parents were transported to Auschwitz and Dachau. Kees was on the run using his printmaking skills to forge passports but was eventually captured and jailed, the war’s end saving his life. Gippsland Director's Collection, Acquired 1973.Signed and dated lower right in pencil "Kees Hos '64"artist, artwork, kees hos, gippsland campus, gippsland director's collection, printmaking, wall of honour in the garden of the righteous

Ino KIYOSHI (1 (1946-28/09/2008) ) Born Kyoto, Japan Kiyoshi Ino was born into a family that has been involved in the production of pottery for some 160 years. He working towards a Diploma of Ceramic Arta at the Kyoto School of Arts and Crafts, which he completed in 1969. He then attended the Kyoto Technical School for a post-graduate course in glazing, and was laer appointed lecturer in Ceramics at the Kyoto Technical School. After completing a study tour of China and Taiwan, Ino was one of a group of Japanese potters that travelled to Australia from the 1970s onwards following in the footsteps of the famous Japanese potter, Shoji Hamada who Kyoshi visited in 1965. Kiyoshi Ino visited Sydney in 1973, where he worked with Japanese potter Shigeo Shiga. Between 1974 and 1976 Kyoshi took up an appointment as Visiting Lecturer in Ceramics at the Gippsland Institute of Technical Education, returning there as Assistant to the Senior Lecturer in Ceramics in 1979. He left Gippsland Institute in 1988. Ino was involved in the establishment of a space for artists in the old butter factory at the nearby township of Yinnar and in 1982 the Yinnar Art Resource Collective, commonly known as Yinnar ARC, was established.Glazed vesseljan feder memorial ceramics collection, staffmember, ceramics, yinnar art resource collective, ino kiyoshi