In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on white paper. 128 pages.Front Cover: the / Ruytonian / Monday 10th December 2012 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductions, b&w illustrationswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, Villa Alba is important to the state of Victoria for architectural, historic, social and aesthetic reasons. Its cultural significance results from the unrivalled quality of the late Victorian hand-painted decoration of its interiors. The Villa Alba Museum is committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.Decoration of painted services is original to 1884.villa alba museum, interior design - 19th century, drawing rooms - 19th century, paterson brothers - decorators - melbourne, russell winnell photography

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.Portion of photocopy of the church and two of the portraits.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.William Downes - one of the founders.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.G. H. Scott - Treasurer.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.G. H. Scott - Treasurer.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.Rev. Alexander Yule M.A.Born 1830 - 1907.college church, presbyterian church, yule, rev. alexander

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

Amitayus, also called Amitabha, is the Buddha of Infinite Light, associated with longevity. He is holding in his hands a vessel containing the nectar of immortality. Amitayus is considered one of the Five Dhyani Buddhas in Mahayana Buddhism. Amitayus Buddha statue, wearing jewelled ornaments of a peaceful heavenly god according to the classical Indian system of divine aesthetics. tibetan buddhism, holy objects, buddhist art, statues

It is a photo of Mrs. Duncan, pictured with the trowel in her hand, laying the foundation stone for St. Andrew's Presbyterian Church, Sunbury in 1904. Written on the back: 'Foundation Stone - St. Andrew's'A b/w photograph of a group of dignified gentlemen and one woman around a foundation stone and a partly completed brick building.THIS MEMORIAL ST / was laid by / MRS J. DUNCAN / 17 August 1904 / H. W. & E. B. TOMPKINS. R & W CO. /CAHILL MINISTERchurches, religion, memorials, duncan, j. (mrs), st. andrew's presbyterian church, st. andrew's uniting church, sunbury, tompkins, h. w., e. b., r. and w. company, cahill, - (rev.), foundation stones, 1900s, george evans collection

There are two categories of cutting edge on broad axes and both are used for shaping logs by hewing. 1. Single bevel axe - one side is flat and the other side bevelled, also called a side axe. The handle may curve away from the flat side to allow an optimal stance. The flat blade but can only be worked from one direction and is right-handed or left-handed. 2. Double bevel axe - both sides are bevelled and produces a scalloped cut. The axe has a straight handle and can be swung with either side against the wood. A double-bevelled broad axe can be used for chopping or notching as well as hewing. Broad Axe - Double bevelled edge Straight wooden handlesmall lettering and government crows foot

Pulpwood was often split by hand or with black powder splitting guns into more manageable sizes and cut into 8 foot lengths (or billets). Billets were first stacked endwise to drain the sap and lighten the load before they were loaded by hand onto flat bed trucks for transport to the mills. This long length metal hook was used to pull and manoeuvre the pulpwood billets onto the truck. The advent of excavators in logging operations in the 1970s led to the loading and carting pulpwood in long tree lengths.Long steel tool with handle on one end and hook on the other.

The pictures represent the memories of Finnish migrants in Melbourne.Only one made by handNine Panels Handicrafts cross tits embroidery weaving Bordered and mounted May 2005 Margaret Vieth

These type of brown paper grocery bags were commonly supplied by SSW Supermarkets, and also by other Supermarkets. The customers generally packed their own grocery purchases into the bags, while the checkout people were engaged in the time consuming process of accurately entering by hand, the price of each item into the cash registers. One local SSW Supermarket was situated on Sun Crescent in Sunshine. The introduction of stronger plastic film grocery bags and barcode scanning saved time, and the checkout person took over the role of packing the grocery purchases. In recent times customers who use the self check out terminals have again assumed the role of packing their own groceries. The environment polluting plastic bags however still remain, unless the customers bring their own 'green' bags.These two brown paper grocery bags provide a historical reminder of how grocery purchases were taken home from Supermarkets in the not too distant past. It is likely that many of the younger generation have no idea of how the paper grocery bags looked like, or that they were once used instead of plastic bags.Two brown paper bags which were available for free in SSW Supermarkets, so that customers could pack their grocery purchases to be able to take them home. The bags have SSW advertising printed on them in red, yellow, and navy blue inks.Large Bag: We Shop at .... SSW FOODSTORES STILL THE CHEAPEST DAY IN, DAY OUT! Smaller Bag: SSW SUPERMARKETS Still THE CHEAPEST DAY IN .... DAY OUT!brown paper grocery bag, ssw supermarket, food, grocery purchases, groceries.

Interpreting from the details that can be read it is believed that on 6/3/1912 Mr. M. Norton paid by cheque the sum of 5 Pounds 19 Shillings and 5 Pence, of which 5 Pounds 3 Shillings and 11 Pence was for a Summons possibly issued on 23/2/1912, while 15 Shillings and 6 Pence was the charge for the costs of the Summons. This is not a document issued by a Court of Law so use of the word 'Summons' is confusing to us at this stage. Was it just standard practice to send out a bill and call it a Summons, or was Mr. Norton late in paying and so had to pay an extra charge after being 'summoned' a second time. Could this receipt be part of a 'promissory note' exchange, payment for which had to be summoned? Another thing that can't be explained at this stage is the use of the symbol % after the amount of money written in figures, just after the Pence amount. The symbol for Pence in those days, and until decimal currency, was d as can be seen from the Duty Stamp. In 1912 and before did % also stand for Pence when the money amount was written by hand, or could it have been a shorthand way of indicating something like 'portion of amount'? This receipt is very intriguing and so we will endeavour to try to fully understand the information it contains. If any person can provide information that may assist us, then please contact the Sunshine & District Historical Society. The receipt is significant to our Society because it was issued by Sunshine Harvester / Hugh V. McKay more than 100 years ago. It also appears to contain information that at this stage is not fully understood, such as the use of the % sign, and why the word summons is used. Of further interest, but perhaps not surprising for the times, is that only Mr. is printed on the receipt. It appears that they never expected to issue these type of receipts to females.Very light tan coloured paper receipt No.1773 issued on 6/3/1912 by Sunshine Harvester / Hugh V. McKay to Mr M. Norton. The receipt has fire damage on the left side and so some details are missing. Details are hand written in ink in the spaces provided. A greenish coloured one penny (1d) Victoria Stamp Duty stamp is affixed.6 3 1912 ......ved by Cheque from Mr. M Norton ......ne the sum of Five ...... nineteen Shillings and five Pence, with ......being £5.3.11% of Enclosed Summons 23. 2.12 & 15/6 % Costs of Same.receipt no. 1773, sunshine harvester, hugh v. mckay, mr m. norton, 1912, victoria stamp duty, 1d

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

Annie Jessup, an artist, was the youngest daughter of the well-known Australian self-taught artist, Alfred William Eustace. Like her father, Annie created some of her oil landscape paintings on gum leaves. Her older brother Sidney presented one of her paintings to the Chiltern Athenaeum together with his own timber collection.Annie Jessup, and artist, was the daughter of the well-known Australian self-taught artist Alfred William Eustace.Photograph of an oil painting on gum leaf by Annie Jessup, under glass on blue paper in a reddish plastic timber-look frame.Artist's signature on bottom right hand corner of photograph: Annie Jessup/ Myrniong Sticker on back: MADE IN/ CHINA/ FABRIQUE'AU/ CHINEannie jessup, gum leaf painting, landscape

These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern

Ladies’ gloves were an essential part of life in the 1840s to 1900 Victorian era, regardless of class most ladies wore gloves. The glove design, material, and fit would hint at a lady's status, despite their hands being covered. A shorter style of glove would have been used for daytime wear, along with the matching parasol cover and would be matched to the owner's outfit. Leather was a material often used since the 1900s, however when WWI hit the price of leather gloves increased and many resorted to cheaper materials for their accessories. Although particular styles for evening-wear gloves altered throughout the 20th Century, the classic neutral leather glove was a staple throughout Australian ladies' fashion during this time. The need for gloves and parasol cover however disappeared in the 1960s when gloves were only used in the winter months as a practicality rather than a fashion accessory.The leather gloves and parasol cover indicate the owner was wealthy and was able to spend money on good quality accessories. This may have been due to the fact that Chiltern was a gold-rush town and would have had some wealthy families living there from the late 19th Century. The leather items are a symbol of such wealth and social signifiance in the rural town of Chiltern.Gloves: Beige colour with brown hand stitched detail on the upper hand - 3 lengths. Brown stitched all around with finger gussets. Three brown leather button detail to the upper cuff (actual leather circular pieces meant to resemble buttons, hand stitched in beige). Umbrella/parasol cover: Same soft leather as gloves and detail, metal zip along the length and tapered to one end. Two leather circular pieces meant to resemble buttons, one missing at the top). chiltern, leather, leather gloves, leather parasol cover, parasol, parasol cover, gloves, wealth, gold rush, chiltern athenaeum museum, chiltern gold rush

A unique example of ”'making do” with materials available. Dated c1890..This remarkable device was skilfully made from wire - no soldering at all. The rat crawled up the ramp which tilted and tipped it into the bottom of the trap. When it tried to reach the bait in the hanging container a bell rang to inform the owner that a rat was caught.Rat Trap c1890. Hand Made plain wire construction jointed by wire lacing of wire hoops to frames. Semi circular section with flat base. Tapered entry one end leading to tilting trap, access hatch at opposite end. Includes food dish and warning bells. None#homemade, #rattrap, #vermin, #pestcontrol, #ingenuity