Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Black plastic, "ARCHER" inscribed. "ARCHER" inscribed.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, tortoise-shellflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, ivory, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, black plastic flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework

On the 19th and 20th September 1910, the Mission organised a fundraising evening at the Masonic Hall on Collins Street. The "Tableaux vivants", called "Tennison's Dream of Fair Women" were arranged by artist Violet Teague. She arranged and painted the decors for the "tableaux vivants" in the Siddeley Mission. It's likely she also created the cover of this programme. "Mother and Lover of Men the Sea" is a verse form the poem: The Triumph of Time by Algernon Charles Swinburne While she was working, seamen from the Carnarvon Bay shipwreck were welcomed to the institute and subsequently invited to the evening. "They went through a large room, where a lady was standing on a scaffolding pointing a scene for the enter" tainment which is to take place this evening in the Masonic-hall. The lady was Miss Violet Teague, but she took her mind and her brush off the effects in marine blue sufficiently long to learn the main outlines of the story. " (Argus 19 September 1910). "During the evening the Rev W F Haire, acting chaplain to the mission announced that among those present were the shipwrecked survivors of the Carnarvon Bay, which was wrecked at King Island on Thursday last The men, who bore no traces of the hardships they endured took their places on the platform, whilst the large audience cheered itself hoarse and sang "For They Are Jolly Good relics". (Argus 20 September 1910) In 1935, Violet Teague was on the passengers on the C.B. Pedersen, one of the last windjammers. She Drew and painted during her voyage and exhibited the artworks in 1938.This rare programme is the last remaining testimony of the relationship between the Mission and famous artists of the time who provided illustrations for quotation calendars (Daryl Lyndsay, John Shirlow).12 pages programme. The cover is light blue paper with the design of the Greek ship printed in black ink.violet teague, tableaux vivants, 1910, fundraising, theatre, play, algernon charles swinburne, sponsors, advertising, carnarvon bay, shipwreck, una le souef, masonic hall, lady gibson-carmichael, willsmere certified milk and co, fry's cocoa, remington typewriter, hypol, lhlg, ladies harbour lights guild

The Howel plane is really no different from a compass or circle plane, it is attached to a large curved fence that rides along the top of the staves. The Howel cuts a smooth shallow hollow, to give a level place to cut into with the next tool the Croze which cuts a narrow groove for the barrel head. The Croze has a similar wide fence that rides on the ends of the staves, but with either a saw-tooth type cutter or two nickers and a single tooth like a router plane. The head of the barrel fits into this groove and is made up of two or three boards doweled together and smoothed with a large shave called a swift. The cooper cuts the edges to a fine bevel of the head to fit snugly into the groove cut by the Croze. A tool specific to the cooper that has been in use since the making of barrels and wooden buckets for hundreds of years without much change to the design or how the tool is used. Howel Coopers Plane Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Studio portrait of unidentified male, taken circa 1882. From the Partington collection. [Note: In the Hobart Mercury 11 May 1882, page 3… Portraits: Secure the shadow ere the substance pass away. Persons desiring large life-like portraits; taken from life; or copied from any portrait; and finished in oil or water colours; Indian ink; or any other style known in the art; should go to C. W. and Co.; who are the only artist photographers (portrait painters) in Tasmania. The most perfect and highly finished card portraits. Only 7s. 6d. per dozen. Address: C. WHERRETT and CO. Melbourne Portrait Rooms. Elizabeth-street, Hobart.] Sepia studio portrait.In black pen on reverse "Mrs Partington Kindest regards WRC"partington family

This field telephone was developed primary for military purposes (World War I) and other wars/military interventions there after. It was the first "mobile" telephone which had a prime objective of providing isolated or "hard" to connect with locations instant communication links. Like a lot of "new" technologies it evolved from a war environment. This handset was used to connect offices and workshops, which due to their functions could not be co-located with their prime office(external workshops).The evolution from the early 1900s to the mid 1980s when mobile communication technology progressed in leaps and bounds from hard wire telephone communication to mobile digital receivers. This handset was manufactured by a subcontracted Australian company under the Australian Post Office mandate.This handset is significant in that it was donated by the Mount Beauty Timber yards and formed an integrated part of its communication system with its out lying work yards and buildings, before the mobile handset evolution. This handset was located in an environment which required a rugged and reliable day to day communications linkage as a vital part of its logistical (business) survival. As progress demands it, the faster that customers are satisfied with the service they obtain from suppliers the longer those services will be asked for and the longer and more profitable the supplier will be. This edict is as true for rural companies as it is for small or large city businesses. The customer is "always" right.This sturdy field telephone has a shell housing made in black bakelite material with a "U" form housing the major components (wiring, magneto and batteries). The main housing has two metal bells, with a central ringer between both, on the top part (to notify incoming calls). In front of the main structure is a box with the telephone hand piece (ear and mouth receptacles) nestled on two cradles. An on/off switch is activated when handset is removed from its cradle. On the front of the control box is a winder handle(to ring off) and in a field situation to activate/deactivate the magneto. To the left of the winder but on the the main body are two wind up connection buttons for the connection of operational wires (power)On the main right hand front body and next to two chrome switches is a plate with "L (next to the top switch) and below this "L2" and underneath this are "or" "EARTH". There is a plate fastened to the front of the handset and behind the winder with "REPLACE HANDSET WHEN FINISHED" and below the winder 'SERIAL NUMBER 5116"field telephone, world war ii field telephone f mk i

This is the Grass is Alan Marshall's sequel to his auto biography I Can Jump Puddles. First published in 1962, it tells the story of Marshall's adolescence, as he searches for work amid the rough and tumble of 1920s Melbourne. From Wallaby Creek in Donvale Shire where he boards with hard-drinking bushmen, to the slums of East Melbourne, his recollections bring to life a cast of colourful characters, each with his private tragedy. His narrative, encompassing the lived experience of ordinary men and women, is infused with Marshall's deep sense of humanity. Like its famous prequel, This is the Grass is a novel of immense courage, conveying rich insights into little-known aspects of Australia's past.Burgundy hardbackPencil: 1st Edition alan marshall

The invention of a hand drill is credited to Arthur James Arnot and William Blanch Brain of Melbourne, Australia who patented the electric drill in 1889. In 1895, the first portable handheld drill was created by brothers Wilhem & Carl Fein of Stuttgart, Germany. Hand-powered devices have been used for millennia. However, during the last quarter of the 19th century a radically improved generation of tools appeared. These tools took advantage of modern mass production machinery and processes (like interchangeable parts) and an increased availability in superior material (metal instead of wood). One of the outcomes included an array of new drilling machines. These human-powered tools were a vast improvement over earlier tools.This item is an example of a commonly used domestic tool - pre power tools.A Stanley hand drill with two wooden handles. The red wheel is painted metal. On red wheel - STANLEY ENGLANDwoodwork tool hand-drill

Bemm River is a small township in East Gippsland. There have been several Bemm River hotels since 1891 when the first Hotel was built by Henry Summer. This Hotel was located near a ford where traffic crossed the river. Annie Morgan was the next person to have a roadside licence to sell liquor at Bemm River, also known as Sydenham Inlet Hotel. In 1927, a hotel was built on the present site at Bemm River, again with the Morgan family. Like many hotels, the Bemm River hotel has burned down or suffered damage through fires and was rebuilt. These photos are likely of a fire at the Hotel in 1994 which resulted in the hotel burning down. It was re-built in 2000 on the same site.History of Bemm River and its hotel5 b/w photos showing a building with severe fire damage, and two people in front of the photos (probably owners).nonebemm river, fire, hotels

Sue Ford (1943-2009) was an important practitioner in the wave of 1970's Australian feminist photographers. Ford regularly took intimate and candid pictures of artist friends, such as 'Neil Douglas Research 1964', documenting a time in Eltham when Montsalvat and Dunmoochin played an important part in the early attraction of artists to the Nillumbik area. Artist, conservationist and activist Neil Douglas (1911-2003) is best known for his garden at the Bend of Islands, Kangaroo Ground where he formed a co-operative for like-minded people who wished to live in harmony with the bush and wildlife. His love of nature and the beauty and fragility of the bush are constant themes that often run parallel in his ceramic works and paintings.Sue Ford and Neil Douglas were artists of national significance who both lived in the local Nillumbik area in the mid to late twentieth century. They were part of a community of artists integral in forging a dynamic artistic spirit, heavily inspired by the region's landscape and its people. Black and white silver gelatin photographic print of Neil Douglas plein-air painting in his rose garden at Research. Ed.1/3N/Aford, douglas, silver gelatin photograph, bend of isles, research, kangaroo ground, garden, environment

Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97'

Newspaper Article 1, 'Remarkable Progress - Due to Abraham Chowers', published in The Herald, 29 July 1966. Newspaper Article 2, 'Chowers Leaving', published in The Herald, 22 July 1966. Newspaper Article 3, 'Farewell to Mr. Abraham Chowers', published in The Herald, 1 July 1966. Newspaper Article 1: 'Jewish education in Australia today is still struggling, but thanks to educationalists like Mr. Abraham Chowers remarkable progress has been made. That Bialik College in particular had become a centre of Jewish learning, was mainly to the credit of its headmaster who, after three years in Melbourne, is now returning to Israel....' Please contact [email protected] to request access to this record.shakespeare grove, hebrew, judaism, principal, 1960s

'Souvenir of Melbourne Legacy’s 25th Anniversary Dinner held at 9 Darling Street on November 3rd 1948.' A satirical ode written to commemorate the 25th Anniversary of Legacy. The author's name isn't recorded. Many Legatees names are mentioned in the story it tells. One of the final stanzas shows the spirit of comradeship and sense of duty. 'Here's to our sweethearts and wives, who can still raise their smiles for us! Here's to our friendships, like star-shells lighting the miles for us! Here's to the kids! May they vigilant be for the freedom we've known, Standing up for the right, standing in with our own . . . Britons within their realm, and the Dominions, our brothers . . . Tackling, if need be, tyrants abroad . . . and, maybe some others.'The Legatees celebrated the 25th Anniversary of Legacy with a dinner and this poem was published as a souvenir.Booklet x 12 pages, containing a poem, brown print on cream paper, made as a souvenir of Legacy's 25th Anniversary Dinner.silver jubilee, 25th anniversary, poem

.1 - Newspaper clipping from The Sun or The Courier (all ?) 10/12/1974 and 3/2/1975, reporting on the planned and then the reopening of the BTPS. Not sure which newspaper and actual date. Has one photograph of No. 26 outside the depot. .2 - Newspaper from The Courier, titled "Just like the old days", Monday Feb. 3, 1975, following the formal re-opening for the BTPS. Has four trams in the photo with Bill Stephen MLA and Dudley Erwin MP standing alongside. Tram 27 is leading. .3 - Second copy of "Tourist Trams preserve colourful local history", adherred to a single sheet of faintly lined foolscap paper, dated 3/2/1975 Has a strong association with a Melbourne tram driver who assembled the scrap book and series of photos of Ballarat trams at the time of closure and the re-opening of the tram museum by the Ballarat Tramway Preservation SocietySet of newspaper cuttings contained with Reg item 5988, a Stamford Kiwi School Scrap Book - card covers, 23 sheets, spiral bound, titled "Ballarat", prepared by Ellen Butland of Auckland following the closure of the SEC Ballarat Tramway system.trams, tramways, ballarat, btps, opening, tram 26, tram 27, btps depot

Black box containing a Matrix Braille writing machine, with a 24mm-wide paper spool attached to the feeding mechanism. Corner of box is hinged and lifts up to reveal keyboard. Top half of box lifts to reveal Braille writer which is bolted to a wooden base that can be lifted out. The base is secured with a metal latch. Machine has black Bakelite keys with rubber pads beneath make this a "silent" machine; wooden case has black leather-like covering, hinged lid, metal clasps, and leather handle on the side. "Model G, Matrix, Coventry Gauge & Tool Company, Ltd., No. 1183, For The Royal National Institute for the Blind, London W.I." is stamped on the front,Black vinyl-covered case containing black metal writer and paper spool"Model G, Matrix, Coventry Gauge & Tool Company, Ltd., No. 1183, For The Royal National Institute for the Blind, London W.I." is stamped on the front.braille equipment, royal national institute for the blind

'Souvenir of Melbourne Legacy's 25th Anniversary Dinner held at 9 Darling Street on November 3rd 1948.' A satirical ode written to commemorate the 25th Anniversary of Legacy. The author's name isn't recorded. Many Legatees names are mentioned in the story it tells. One of the final stanzas shows the spirit of comradeship and sense of duty. 'Here's to our sweethearts and wives, who can still raise their smiles for us! Here's to our friendships, like star-shells lighting the miles for us! Here's to the kids! May they vigilant be for the freedom we've known, Standing up for the right, standing in with our own . . . Britons within their realm, and the Dominions, our brothers . . . Tackling, if need be, tyrants abroad . . . and, maybe some others.'The Legatees celebrated the 25th Anniversary of Legacy with a dinner and this poem was published as a souvenir.Booklet containing a poem, brown print on cream paper, made as a souvenir of Legacy's 25th Anniversary Dinnersilver jubilee, 25th anniversary, poem, souvenir

Correspondence dated 24 February 1970 - 6 March 1970 concerning an invitation to a Dinner Dance at Government House on 7th April 1970 in honour of The Prince of Wales and The Princess Anne, hosted by Miss Frances Anne Delacombe. The Governor, via his Private Secretary Lt.Col W.H.A. Becke, asked Melbourne Legacy to nominate two male and two female members between the ages of 18 and 25 who had achieved something in the scholastic, sporting or community service fields. They also had to like dancing and be able to mix. The Junior Legatees selected were Mary W. Lahore, Jacqueline Isles, Ralph E. Norton, and Peter Smith, all of whom were University students.Illustrates Melbourne Legacy's relevance in the wider community at the highest levels.Quarto and foolscap typed sheets x 3 on letterhead stamped 'Copy Only'. Originally black type on white paper, now fading to brown on cream.Handwritten salutation and signature on 01286.1 and 01286.4.junior legatee, royal visit

A photo of widows at trading tables in the Clubrooms at Legacy House. It is one of the annual fetes usually held in November. Items for sale included home made food items like relish and jams, and craft items. Legacy House held craft lessons throughout the year and often the items made were sold at the fetes or at a stall outside Legacy House during Legacy Week for fundraising. The lady second from left is Vera Lang who was on the Widows committee for many years. It is likely to be 1988 due to the photographers reference number meaning 17 November 1988 (ref no. 881117). These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for widows and for fundraising. Colour photo x 3 of widows at a trading table at the 1988 fete.Label on the back from Keesing Photographic.widows, fete, activities

Sensory Integration Invention A, by Cathy Smith public art sculpture, commissioned by Nillumbik Shire Council, in Fergusons Paddock,12 Arthurs Creek Road Hurstbridge was officially unveiled in 1999. Councillors Penny Mullinar and Margaret Jennings in attendance. "Smith's work has strong references to humans' sensory and practical relationship with the land through the built environment. Wind entering the structure's tubing operates like a flute, generating sounds such as bird calls that resonate into the surrounding wetland areas." Source: Highlights from the Nillumbik Public Art Collection, NSC, n.d. Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whiteart in public places, arthurs creek road, cathy smith, ferguson's paddock, hurstbridge, public art, sensory integration invention a

After the 1939 bushfires, the Forests Commission invested heavily in a radically new communications network. After suffering some inevitable delays due to the War, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. The communication systems were regarded at the time to be more technically advanced than the police and the military. These pioneering efforts were directed by Geoff Weste, and later technical experts like Rex Philpot, John Whitehead, Charlie Reisinger and many others who designed, built and repaired most of the radio equipment. There was a dedicated radio laboratory at Surrey Hills in Melbourne. Little is known about this particular radio handsetField radio telephone with handset.radios, forests commission victoria (fcv)

Archir Harker was married to Ruby Wilson and mentioned in the "Wielands of Heathmont "book. From Greg Coker: In August 2023, RDHS asked Greg Coker to scan a set of negatives. He was able to work out, through various notes, that the pictures were taken by J A Harker of 9 Grange St, Mont Albert in the mid 50s to the mid 60s. Most of the film was 9cm X 6cm B&W negatives. All pictures have been cropped and where appropriate, put through a light filter. They have been scanned at 1600ppi resulting in ~3meg B&W shots (~5meg for the half dozen colour shots). The Harkers certainly liked their hiking – they were ahead of their time. Images scanned from Kodakl packet of negatives, undated. After scanning in 2023 by Greg Coker, the negatives and packet were. Some photos may be duplicated in other VC Harker/Weiland family records if the original prints were donated. Greg's comments: Early 50s to Mid 60s – Original colour & B&W negatives Largest packet of negatives with multiple sets clearly combined in this one envelop These were made up of: - 8 colour 9X6cm negatives – late 60s - ~40 B&W 9X6cm negatives – Early - late 50s - 3 large B&W 12x9cm negatives – Mid 50s Most of the pictures in this set are portraits pictures of Mr or Mrs Harker. Many in the front and back yards of 9 Grange street, Mont Albert. A few negatives of Phillip Island here also (Identified the Nobbies). Kodacolor Prints.

Archir Harker was married to Ruby Wilson and mentioned in the "Wielands of Heathmont "book. From Greg Coker: In August 2023, RDHS asked Greg Coker to scan a set of negatives. He was able to work out, through various notes, that the pictures were taken by J A Harker of 9 Grange St, Mont Albert in the mid 50s to the mid 60s. Most of the film was 9cm X 6cm B&W negatives. All pictures have been cropped and where appropriate, put through a light filter. They have been scanned at 1600ppi resulting in ~3meg B&W shots (~5meg for the half dozen colour shots). The Harkers certainly liked their hiking – they were ahead of their time. Images scanned from R&K Developing and Printing Services packet of negatives, undated. After scanning in 2023 by Greg Coker, the negatives were disposed and just the packet retained. Some photos may be duplicated in other VC Harker/Weiland family records if the original prints were donated. Greg's comments: Early 60s – Original Negatives. Sea side holiday and valley views The date is best guess. Mrs Harker looks around the same age as the 1958 set. There is a prominent lighthouse in shot – that may help identify where the holiday was. I suspect the valley may be near it. Reverse of packet includes Printing and Developing Price List

Archir Harker was married to Ruby Wilson and mentioned in the "Wielands of Heathmont "book. From Greg Coker: In August 2023, RDHS asked Greg Coker to scan a set of negatives. He was able to work out, through various notes, that the pictures were taken by J A Harker of 9 Grange St, Mont Albert in the mid 50s to the mid 60s. Most of the film was 9cm X 6cm B&W negatives. All pictures have been cropped and where appropriate, put through a light filter. They have been scanned at 1600ppi resulting in ~3meg B&W shots (~5meg for the half dozen colour shots). The Harkers certainly liked their hiking – they were ahead of their time. Images scanned from packet of negatives with name of Harker, and receipt dated April 1958. From Andrews Camera Store. (1 copy of each negative ordered) After scanning in 2023 by Greg Coker, the negatives were disposed and just the packet retained. Some photos may be duplciated in other VC Harker/Weiland family records if the original prints were donated. Greg's comments: 1958 – Original Negatives. Marysville Holiday. April 58 was when these were developed, as there was a note on the packet. There is a picture at the top of Woods Point that identifies Marysville.Your Snapshots, by Andrews Camera Stores, 69-71 Elizabeth St, Melbourne. For Dependable Developing Printing and Enlarging.

Archir Harker was married to Ruby Wilson and mentioned in the "Wielands of Heathmont "book. From Greg Coker: In August 2023, RDHS asked Greg Coker to scan a set of negatives. He was able to work out, through various notes, that the pictures were taken by J A Harker of 9 Grange St, Mont Albert in the mid 50s to the mid 60s. Most of the film was 9cm X 6cm B&W negatives. All pictures have been cropped and where appropriate, put through a light filter. They have been scanned at 1600ppi resulting in ~3meg B&W shots (~5meg for the half dozen colour shots). The Harkers certainly liked their hiking – they were ahead of their time. Images scanned from The Block Pharmacy packet of negatives, undated. After scanning in 2023 by Greg Coker, the negatives were disposed and just the packet retained. Some photos may be duplicated in other VC Harker/Weiland family records if the original prints were donated. Greg's comments: Mid 50s – Original B&W negatives; Seems to be a set of holiday snaps in mountain country – the Grampians I think. Your Snapshots by The Block Pharmacy (J.H. Beyer Ph.C, M.P.S.), 102 Elizabeth Street, Melbourne C1. Telephone MF 1380

Archir Harker was married to Ruby Wilson and mentioned in the "Wielands of Heathmont "book. From Greg Coker: In August 2023, RDHS asked Greg Coker to scan a set of negatives. He was able to work out, through various notes, that the pictures were taken by J A Harker of 9 Grange St, Mont Albert in the mid 50s to the mid 60s. Most of the film was 9cm X 6cm B&W negatives. All pictures have been cropped and where appropriate, put through a light filter. They have been scanned at 1600ppi resulting in ~3meg B&W shots (~5meg for the half dozen colour shots). The Harkers certainly liked their hiking – they were ahead of their time. Images scanned from Kodak Print packet of negatives, undated. After scanning in 2023 by Greg Coker, the negatives were disposed and just the packet retained. Some photos may be duplicated in other VC Harker/Weiland family records if the original prints were donated. Greg's comments: Early 60s – Original Negatives. Best guess in terms of the date – Mrs Harker looks a touch older. Pictures of Mrs Harker at home with their cat and some mountain ranges, perhaps the other side of the Dandenong’s. Your Kodak Prints

This photograph was taken at an event called Spotlight on Fox on 3rd April 2004. This event was a practical demonstration of methods landowners could use to help control the fox population. Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, was the presenter and demonstrator. He is pictured here kneeling Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to educate and provide practical demonstrations to mitigate environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 8743 / [PRINTED] (No.7) / 253spotlight on fox, camille veselsky, wooragee, wooragee landcare, wooragee landcare group, fox