Part of S E Surman collection (album) page 13 top right. John (born 1854) and William Todd (born 1855) were the sons of William and Sarah Todd, who migrated to Victoria in 1853 and were living at Linton's Diggings by 1855.Sepia photograph of a young man wearing suit, long boots and hat standing with right arm crooked hand on hip, leaning left arm on back of chair where a second bearded man wearing suit and hat, sits with legs crossed, right hand on lap."Uncle Jack and Dad (W) Mr W Todd seated, Mr J Todd Standing". surman collection, john todd, william todd

This book has been written by Walter Murdoch while he was living in Warrnambool in 1903. Walter Logie Forbes Murdoch (1874-1970) had a distinguished academic career and became Australia’s best-known essayist. He was a household name to two generations of Australians through his radio broadcasts and syndicated literary columns in many Australian newspapers. In 1901 Walter Murdoch came to Warrnambool going into partnership with James Scott, the proprietor of Warrnambool College. They bought out Warrnambool Grammar School previously run by John Stanley. When Scott retired Murdoch became the sole owner and headmaster of the school. While in Warrnambool Murdoch wrote the school history textbook ‘The Struggle for Freedom’ which covers British constitutional history and has chapters on Australian government at all levels, including the new Federal Government. In 1904 Murdoch left Warrnambool to take up a lecturing position in English at Melbourne University. He went on to become the foundation Professor of English at the University of Western Australia and later its Chancellor. Murdoch University in Western Australia is named after him. During his lifetime Murdoch published over 40 works and he was knighted in 1964. This book is of major significance as it was written by the distinguished writer and academic Walter Murdoch whilst he was working in Warrnambool. The address at the end of the book’s Preface is ‘The College, Warrnambool’ and the date is ‘October 7th 1903’. The book sold 10,000 copies in its first year. This copy of the book ‘The Struggle for Freedom’ was owned by a member of the Goodall family, a name prominent in Warrnambool’s history. The stamp of the stationer Walter Davies shows that it was originally bought at a well-known local Warrnambool bookstore.This is a hard cover book of 248 pages. It has a dark red cover with black printed material and a Whitcombe and Tombs logo. The cover is torn near the spine and there is much foxing. The book contains a Preface, Contents pages, an Introductory chapter, 28 other chapters on the development of Government in Britain and the Federation of Australia and an Index. There are some black and white photographs and some sketches.Inside front cover and on page edges: ‘T. Goodall, (changed to ‘E’ in one place) S.School Warrnambool’ Inside front cover: Stamp of Walter Davies, Warrnambool Bookseller history of warrnambool, warrnambool college (early 20th century), walter murdoch

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

The Thylacine or Tasmanian Tiger, was a large nocturnal carnivorous marsupial now believed to be extinct that was native to both Australia and New Guinea. The Thylacine is believed to have first appeared over two million years ago with documentation of the species appearing on rock-art that have been dated as far back as 1,000BC. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Burke Museum Thylacine is of great historic, scientific and cultural significance as Australia's most notable example of a species made extinct within living memory. Poignant images of the last known thylacine linger in national consciousness and remain an evocative symbol of the impact of humankind on the natural environment. The Burke Museum thylacine has immense social significance not only for its ability to tell a story to present and future generations, but also for embodying the mythic tiger that lives on elusively, we hope, in the Tasmanian wilderness. Attempts to clone the thylacine from material held in museums attest to the passion that this iconic animal evokes in the scientific as well as mainstream community. Medium sized lean female thylacine with four stocky legs and a stiff tail. The fur is short and coarse and in a light brown-yellow colour with 15 dark brown stripes across the width of the body. The head is long and narrow with two small pointy ears and a large jaw with up to 30 visible teeth.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, thylacine, tasmanian tiger, rare

John Wearne migrated to Victoria from Cornwall in 1853. He was living in the Lintons/Smythesdale district by 1858, where he had mining interests. He married Ann McGie in 1865, after his first wife Selina Harris (married 1858) died in 1860. John and Ann Wearne had ten children, all born at Linton. Photograph is part of S E Surman collection (album) page 10 top right.Sepia photograph of a bearded gentleman wearing suit, seated with hands together on lap, two children standing behind, one child standing between he and a woman wearing long sleeved long outfit and hat, seated holding a young child wearing dress and shoes on her lap."Mr and Mrs Wearne and family". wearne family, surman collection, john wearne, ann wearne nee mcgie

1. November 28th 1914. 2. January 2nd 1915. 3. January 9th 1915. 4. April 17th 1915. 5. July 24th 1915. 6. May 29th 1915. Original owner - Stephen John PARISH Regiment number/ Unit 703 Became an Officer, born Warracknabeal, living in Mildura when he enlisted in the 8th Battalion.Six Magazines; 1./2./3./6./ - Covers - semi glossy white paper - black print with red colour highlights and part of illustration. Illustrated - black and white photographs. 4./5./ Covers - white paper and black print, illustrated black and white photographs. These magazines are missing their outer cover. 1. No 342 - 364 pages. 2. No 466 - 488 pages. 3. No 490 - 512 pages. 4. No 194 - 216 pages. 5. No 522 - 544 pages. 6. No 330 - 352 pages.magazines, ww1, s. j. parish, 8th battalion

xvii, 388 p.; 24 cmnon-fictionThis biography explores the remarkable life of Jessie Traill - artist, traveller, humanitarian and independent spirit. From the ten-year-old who first met Tom Roberts painting on the shores of Port Phillip Bay, to a student of Frederick McCubbin and etchers John Mather and Frank Brangwyn, Jessie developed her professional skills. She interrupted her career to work as a voluntary nurse in France during World War I, later raising funds for and revisiting war-torn Europe. She also became one of Australia's most outstanding etchers, working in a field uncommon for women of her time. Through diary extracts, descriptions of her world travels and personal letters we hear her voice and see through her eyes, beauty, humour and the joys of simple living. jessie traill, frederick mccubbin, tom roberts, artist

Four species of quoll occur in Australia: the northern, spotted-tailed, eastern and western quolls. Once, most parts of Australia were inhabited by at least one of the species.Captain Cook collected quolls along the east coast in 1770, and recorded "quoll" as their local Aboriginal name. Quolls were often seen by early settlers, who called them "native cat", "native polecat" and "spotted marten", names based on familiar European animals. Since 1770, all four species have declined dramatically in numbers. This is mainly because of habitat loss or change across Australia, and introduced predators such as foxes and cats. Quolls are carnivorous marsupials with a pointed snout, a long tail and brown to black fur distinctively spotted with white. They are lively, attractive animals, with bright eyes, a moist pink nose and many sharp teeth. Like most Australian mammals, quolls are mainly active at night. Typically, they spend the day in one of their many dens, although spotted-tailed quolls and northern quolls sometimes forage and bask in the sunshine. Their large home ranges can extend for several kilometres in each direction from a smaller core range, and the range of a male quoll often overlaps those of several females. An interesting feature of their behaviour is the use of shared latrine (toilet) sites in open spaces such as rock ledges, for marking their territory and other social functions. Male quolls travel widely during the breeding season, with mating occurring during winter. All four species have a gestation period of 21 days. Because they are marsupial mammals, their young are born tiny and undeveloped and must work their way to the pouch, where they attach themselves to a teat to feed. Only the spotted-tailed quoll has a true pouch. In the other species, the young are protected by shallow folds of skin around the teats. As the pups grow, they dangle from the mother's belly; later, she carries them on her back. Quolls reach sexual maturity at one year. They have a naturally short life span, with smaller quolls living an average of only two years, and the larger spotted-tailed quoll about four to five years. The northern quoll is particularly short-lived. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Average sized quoll with brown fur with white spots on body but absence on the long tail which is furry unlike the smooth body fur. The quoll has a small had with a pointed snout lined with sharp teeth, and thin membraned ears that are slightly covered in fur. The forelegs of the quoll are slightly smaller than the hindlegs, with all four legs featuring sharp clawed paws.On mounting board: BMM5984/ On Catalogue Tag (attached to left hindleg): Native Cat./ Catalogue. Page 50./ burke museum, taxidermy, taxidermy mount, fauna, animal, animalia, reynell eveleigh johns, quoll, native cat, dasyurus

Sandhurst Training Centre residential unit ground floor plan and elevations; prepared by Public Works Department for the Government of Victoria. 21/8/1969. Includes floor plan for residential units nos 1,4,5 comprising 12 bedrooms, 2 toilet blocks, living hall, crafts and tea room, laundry. The plan for units 2,3,6 is a mirror image. Also included are elevations for north, south, east and west views. Drawn Aug 1968 Senior Designing Architect John F Swan, Chief Architect D C Bradbury. .bendigo, institutions, sandhurst boys centre, sandhurst boys centre plans;, john f swan, d c bradbury

John Wearne migrated to Victoria from Cornwall in 1853. He was living in the Lintons/Smythesdale district by 1858, where he had mining interests. He married Ann McGie in 1865, after his first wife Selina Harris (married 1858) died in 1860. John and Ann Wearne had ten children, all born at Linton. Ann McGie, born in Scotland in 1846, was a daughter of Henry McGie, a sawmiller, who pioneered the use of steam-driven timber-milling equipment in his sawmills in Victoria.Sepia photograph of an older bearded gentleman wearing suit and tie seated with left arm resting on lap, right arm resting on chair arm, and woman wearing glasses and long two piece, long sleeved outfit standing at left of man, her right arm resting on back of chair and left arm hanging by her side."To dear Mrs -?- (name crossed out) from J and A Wearne with best wishes".john wearne, ann wearne nee mcgie

This postcard is part of an album of postcards which date from late 19th century to mid 20th century. It depicts the intersection of Camp and Ford Streets, Beechworth and features the Bank of Victoria building and ornate streetlights. C1900sThis postcard is in an album of postcards dating from the late 19th century to mid 20th century. It reflects the popularity of collecting postcards in Australia which reached a height in the early 1900s until around 1920. Postcard of intersection of Ford and Camp Streets with Bank of Victoria building prominent. On front, printed underneath photograph: 'John Fletcher Beechworth. Ford Street, Beechworth.' On front on the side of photograph, handwritten: 'Dear Cis / Have not / heard from / you since / you changed / your name. / Will be / glad to / get a line. / Hope you / & yours / are well. / I am not / living in Beechworth - address / as before Hol. On back right-hand side of card, handwritten: 'Mr & Mrs W Stuart / Richmond Plains / Wedderburn / Victoria'postcard, photography, 1900s, buildings, beechworth, "green postcard album"