[from EDHS Newsletter No. 104, September 1995:] ALAN MARSHALL SCULPTURE. In our last Newsletter brief mention was made of the bronze sculpture of Alan Marshall outside the Eltham Library. Sculptor Marcus Skipper has now completed the installation of his almost life-size work. The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. Most members are generally familiar with Alan's life and work but for those not so familiar and for the sake of the record we include these brief biographical details. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters".Colour photographalan marshall, eltham library, marcus skipper, public art, sculptures

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In August 8th 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. 'Osterley' SS of the Orient Line, 12,129 tons, was a Royal Mail Steam- Ship sailing to and from Australia c1915The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Printed Documents a) Mr A Rietmann Receipt from Immigration Department of New South Wales Australia; b) Original Ticket Orient Line Ship 'Osterley' Marseilles to Melbourne 1915 c) Photograph colour of 'Osterley' Steam Shipa) No. 4407 MELBOURNE PLACE, THE STRAND W.C. /London July 12 1915/ Received from Mr Rietmann Fourteen Pounds for passage Money to Melbourne b) ORIENT LINE/ ROYAL MAIL STEAM-SHIPS TO AUSTRALIA/ ............THIRD CLASS PASSENGER CONTRACT TICKET..............OSTERLEY ... to take in passengers of the Port of Marseilles for ..........MELBOURNE............on the Eighth day of August 1915 ..........Mr August Rietmann .......................£15:4 : - to be paid before embarkation c) Osterly Steam ship en route to Melbourneport of marseilles france, melbourne australia, orient steam ship line, osterley steam ship,rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,

Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Newspaper Articles and letters to the Bendigo Art Gallery 2808.9a First Article: Bendigo Advertiser article 18/12/1985 on "two of Bendigo's noted daughters , Ola Cohn and Amy Huxtable" Describes the restoration of the Ola Cohn drinking fountain in Rosalind Park, and the installation of the Amy Huxtable Memorial Seat in the Conservatory Gardens. Second Article: Bendigo Advertiser Letters to the Editor Column 30/12/1988 paragraph entitled "Credit where it is due: "A special tricentennial council effort would be to restore the paths, kerbs and sculpture by Ola Cohn, J H Curnow Fountain, the Bob Brothers Memorial and the Chain of Ponds" (Rosalind Park) 2808.9b Seven Pages of letters: 1. To Mrs Thelma Dingle from Doug Hall, Bendigo Art Gallery Director 30/1/1986 regards the Amy Huxtable committee funding the restoration of the Ola Cohn Fountain by sculptor Mr Marc Clark. 2. From the Amy Huxtable Committee 24/3/1986 back to the Art Gallery explaining that the committee leftover funds be given to the art Gallery to go towards the restoration of the Oal Cohn Fountain. 3. From the Art Gallery to Miss N D young, Amy Huxtable Committee 3/4/1986 thanking the committee for the funds. 4. From the committee to the Mayor and Councillors, Bendigo City, 4/2/1987 asking for an update on the project. 5. Copy of above letter. 6. From the City of Bendigo to the Committee 17/2/1987, advising of progress on the restoration of the fountain. 7. From Norma Young to the Bendigo Advertiser Letters to the Editor, advising of progress on the Ola Cohn Sculpture and the J H Curnow Fountain restoration. history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, ola cohn, j h curnow fountain

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (1878-1942) of Baden Baden, in Germany on 6/8/1910 8/8/1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. Stefanie Rietman, grew up living in Box Cottage until 1935 when she began a Teaching career. Stefanie married Alan Francis 1941 but he was killed in WW2 Air operations over Germany 1944. Two sons were born 1942, 1944. Stefanie returned to live at the cottage until 1958. She married Herbert Rennick 1946 and two sons were born 1947, 1952. Stefanie also established a native grasses garden in Joyce Park, and designed and made resin jewellery. Stefanie died 2006 In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. Stefanie was a talented artist , school teacher, and jewellery designer and raised 4 sons. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and a) Newspaper clipping, Moorabbin Standard 17/9/1996 Stefanie Rennick ( nee Rietman) by N. Strahan b) Photograph Black & White, Stefanie Rennick ( nee Rietman) 1999a) printed article b) handwritten informationresin jewellery, australian native grasses, schools, education, craftwork, pottery, ceramics, ormond state school, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, montford paul, malvern city town hall, box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, box cottage ormond

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

1922 August Rietmann was commissioned to sculpt a bust of Sir MacPherson Robertson 1859-1945, confectionery maker, ( famous for Freddo Frogs and Cherry Ripe chocolate bar). The Bust was installed at Mac Robertson Girls High School for which he had donated funds for the building. 'MacRob' also funded the bridge over the Yarra River and the herbarium in the Botanical Gardens that all bear his name. August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/2/1878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In August 8th 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Photograph x 1 Black & White Sculptured bust of Sir MacPherson Robertson c 1922; b) Letter, printed , typed from Sir MacPherson Robertson to August Rietmann (Richman) with payment for the Bust - £65-5-0 - ; c) Envelope, printed, typed addressed to Mr Rietmann { Richman) at Corbens Ltd.; d) reverse of envelope printed a) 1922; b) printed letter MacRobertson Pty Ltd ; c) printed envelope MacRobertson Ltdmacrobertson chocolate ltd., macrobertson girls high school, fitzroy town hall, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, box cottage ormond, freddo frog chocolate, cherry ripe chocolate bar, cadbury schweppes ltd., robertson sir macpherson 1859-1945, confectionery, chocolate

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford

Appearances to the contrary, the item is not a weathervane but a finial. It was the gift of Mr John Sanderson (Jottings Easter 1920), from John Sanderson & Co., wool merchants, stock and station agents, commission and shipping agents before he leaves for England to become senior partner in Sanderson Murray & Elder, London, import and export agents. It was designed by Walter & Richard Butler Architects. (sketch published in Building : the magazine for the architect, builder, property owner and merchant vol.33, no 193, 12 Sept. 1923). The finial was already drawn on the sketch of the Central Institute made by Walter Butler. The maker of the finial, was Henry Alfred George Arnold Saw (born June 1881 in Hotham, Victoria was the son of Edward Saw (1854-1926) a tinsmith and Catherine Barton (1863-1907). He worked as a metal artificer for a metal-working business located opposite the Trades Hall in Lygon Street and was given the job of making the copper ship finial. Henry married Florence Charlotte Reeder and they had four children. Also known as Harry Saw according to his grandson Brian, he died on 9th February 1960. Henry and Florence both died within two months of each other in 1960. It is not clear when the ship was actually installed on the roof, the earliest photograph dating from 1927. The windvane fell or moved several times because of gale forces: - In 1995 : After the funds were raised to repair it, it was treated by sculptor David Hope, and reinstalled in the 1998 (Ship to Shore #3 Sept 1998). - In 2017: Carmela Lonetti from the Grimwade Centre for Cultural Materials Conservation (Ship to Shore Autumn 2017) - In 2019: a generous passerby donated the necessary funds for the conservation. It was sent to Grimwade Centre for Cultural Materials Conservation (Ship to Shore 2019), treated by Evan Tindal (City of Melbourne Magainze Oct. 2020). It was reinstalled over the Summer of 2019-2020 (Ship to Shore Summer 2020). The weathervane was stolen during the night of the 6-7 March 2022. Copper price surge sparks rise in theft in Victoria in 2021-22 so it's likely the vane was stolen to be melted This sculpture is closely associated with the 1917 building and described in clippings and annual reports when the building was first newly opened. It can be seen in some of the earliest photographs of the new building and in the artist/architect Butler's impressions. The galleon is often a decorative design of Mission to Seafarers wind vane (London, Adelaide).Bronze and copper sculpture fashioned as a Wind Vane in the form of a Galleon style sailing ship with 2 pennants flying and two sails rigged atop with lower cross piece with wind directions N S E W . There is a decorative ornamental pierced scrollwork ferrule / finial with reinforcing chrome steel piping armature at base of main support which attaches to the roof or a base support. See also comments below weather vane, wind vane, sculpture, galleon, sailing ship, finial, henry alfred saw, david hope, windvane, weathervane, walter richmond butler (1864–1949), richard butler, john sanderson

In 1855 William and Elizabeth Box migrated from Sussex England to Melbourne and in 1868, 1869 purchased 2 x 10acre Lots in part of Henry Dendy's Special Survey Brighton 1841. A Cottage was already on the land and they established a flower garden and raised 13 children. In 1888 William sold one Lot and built a new Front House . William died 1902 and Elizabeth sold the land except 1 acre and retained both the Cottage and the Front House. After her death in 1914, her daughters Violet and Ada leased the Cottage and Front House to tenants until August Rietmann purchased the property in 1935. August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/2/1878- 22/7/1942) of Baden Baden, Germany on 6/8/1910. In August 8th 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia sailing on the Steam Ship ‘Osterley’ from Marseilles to Melbourne They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Photographs x 3 Black & White of the Front House with Pine Trees at Ormond and Frieda Rietmann in garden c1921 Photograph x 1 Colour Digital by Glen Lewis of these Pine Trees in situ Lewis Timber Pty Ltd Ormond 2020Handwritten a) path to Front House c 1921; b) Pine trees and Front House c) Frieda in garden c1921box william, box elizabeth, box cottage museum ormond, dendy henry, dendy's special survey brighton 1841, market gardeners, seedling nurseries, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Situated at the eastern end of York Street, Eltham, 'Shinrone', the former home of Professor William (Mac) MacMahon Ball was one of the first in the Shire of Eltham to incorporate mud-brick. Professor MacMahon Ball, a political scientist, writer, broadcaster and diplomat and family moved to York Street, Eltham in 1945 into a timber cottage built around the 1890s and in poor repair. Mac asked Alistair Knox to renovate the home and he expanded the living area and added verandahs. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Neighbour Gordon Ford made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in shortwave broadcasting, to build a pise (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms - including an attic bedroom - a balcony with a shower and toilet, a nd a fireplace and chimney of local stone. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p141 At the eastern tip of York Street, Eltham, stands Shinrone, the former home of one of Australia’s intellectual leaders. Professor William Macmahon Ball, was one of the first to bring Asia as a foreign policy issue to the Australian public.1 He was a political scientist, writer, broadcaster and diplomat. The house was one of the first in Eltham Shire to incorporate mud-brick,2 because of the acute shortage of building materials after World War Two. Its novice builders later become leaders in Eltham’s built and garden design. Mac (as he was usually called), who was the son of a Church of England minister, was born in Casterton, Victoria in 1901 and died in 1986. In 1945 he helped establish the United Nations, as political consultant to the Australian Delegation at the San Francisco Conference.3 Then in 1946 Mac was appointed British Commonwealth Representative on the Allied Council for Japan, which is recorded in detail in his diary.4 In 1948 Mac led an Australian Government Goodwill Mission to South East Asia. However, Mac was perhaps most successful as an academic and public speaker.5 He was a commentator on the Australian Broadcasting Commission, from the early 1930s to the early 1960s. He was also Controller of the Short-Wave Broadcasting Unit during World War Two, which later became Radio Australia. From 1923 he taught at The University of Melbourne, then became foundation Professor of Political Science in 1949 and was Chair until his retirement in 1968.6 In 1942, as the government expected a Japanese invasion, Mac’s wife Katrine and their only child Jenny, moved from Kew to Eltham as temporary evacuees. However Mac and Katrine lived in Eltham for almost the rest of their lives. After staying with friends, they rented a house in Reynolds Road, where, as it was wartime, they needed to keep horses for transport and a cow and poultry for milk and eggs. In 1945 the family moved to the house at York Street, which was then a timber cottage, built around the 1890s and in poor repair. The underground well, cellar and part of the garden are all that remain of what stood on the original 18 acre (7.3ha) allotment. Thanks largely to Katrine’s hard work, the house was gradually renovated and extended. The long rambling house was partially built by several young neighbours, who were inspired by the cheap mud-brick and stone building style of Montsalvat, the Eltham artists’ colony. Mac asked Alistair Knox to renovate Shinrone, named after an Irish village near Katrine’s family home. Knox later popularised the mud-brick style of house construction, for which Eltham became known. He expanded the living area and added verandas. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Another neighbour, Gordon Ford, who was to have a major influence on the Australian garden style, made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in short-wave broadcasting, to build a pisé (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms – including an attic bedroom – a balcony with a shower and toilet, and a fireplace and chimney of local sandstone. With pioneering work naturally came mistakes, including one particularly dramatic incident when Harcourt was building walls with unsupported sections. Jenny Ellis, Mac’s daughter, remembers being awakened from sleep by a thundering shudder. The wall of her room had fallen down – fortunately away from her! In 1950 artist Peter Glass – another neighbour and later landscape designer – built Katrine a mud-brick pottery. As a result, the house features at one end Harcourt’s characteristic steep gable roof, while at the other the flatter construction characteristic of Knox. Mac referred to the home as the Eltham ‘experimental building site’.7 Surprisingly, the combination works, perhaps partly because it has the warm inviting feel of timber, mud-brick and stone.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, alistair knox, gordon ford, john harcourt, mudbrick construction, pise construction, professor macmahon ball, shinrone, sonia skipper, york street

August Rietmann 1877-1951 and his wife Frieda 1878-1942 leased the Box Cottage in 1917 and raised 2 children Stefanie 1918-2006, and William 1920– 1997. August was a Monumental Mason / Potter / Sculptor and he was employed at Corbens Ltd Clifton Hill, to make the War Memorials for many towns post WW1. August purchased the property 1935,and established a pressed concrete business using the cottage as a workshop and storeroom After August died in 1951, William, his son, continued to work in the business from the site until the land was sold to Lewis Co. Ltd Timber Merchants in 1970. Rietman's Landscaping Ltd , managed by William's family, moved to Bay Road Highett 1953 and later to Carrum. The original small, pioneer cottage was built in the late 1840s to early1850s, by an unknown pioneer. It was located on part of a 30 Acre allotment that was originally part of Dendy’s Special Survey granted in 1841. The doors and window sashes, (made of red deal joinery timber), as well as the brass locks and fittings, are from the original cottage, and were imported from England. The fire-place bricks are from the original cottage, and are sun-dried, (not kiln fired), and are hand-made. Convict marks can be seen on two bricks. There is a small display of external cladding shingles from the original pioneer cottage. These shingles were hand-split, and most likely made from locally collected timber The nails included in this display were used to fasten the shingles on the original cottage, and are also hand-made. The cottage was occupied by William Box and family from 1865 until 1914 when it was sold to August Rietman . The enamel nameplate, “Colonial”, on the wall of the cottage, was the name chosen for the original pioneer cottage by Mr August Rietman, when he purchased the property in around 1915, for 1200 Pounds approximately. In 1974 Mr Lewis, a timber specialist, found the dilapidated building on property he had recently purchased in Jasper Rd and suggested it be reconstructed and relocated. Moorabbin Council agreed and the cottage was rebuilt just about 250 metres from its original site. The cost of the rebuild was met by 'Victoria's 150th Committee, plus a small grant from the City of Moorabbin, and Mr Laurie Lewis donated much of the timber for the reconstruction. The re-constructed cottage plan has followed faithfully the original dimensions, and plan of the original pioneer cottage, and as many original items from that cottage’s long occupation have been incorporated. The photographs in Album 1 record the progress of the reconstruction from February 1984 to the First Public Open Day November 18th 1984After the death of Elisa Box in 1914 the house was leased to August Rietmann, a potter / sculptor who with his wife Fieda raised their family there 1917 - 1951. Stefanie Rennick nee Rietman lived at the house until she left to study teaching 1937. August's son, William Rietman and family managed Rietman's Landscaping Ltd after moving to Bay Road Highett 1953 and later to Carrum. The Lewis Timber Company Ltd purchased the land with The Cottage c1970. i) A laminated, black and white, photograph of August Rietmann and Family c1918 at Box Cottage, Ormond, Molly the house cow is in foreground ii) Colour photograph of Rietman's Landscaping Ltd. Bay Road Highett c 1990brighton, moorabbin, cottages, pioneers, ormond, colonial, mckinnon, dendy henry, box william, box elizabeth, reitman august, convicts lewis timber co. ltd., deam h, museums, box alonzo, smith a, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, dendy, rietman agust, convicts, macrobertson, war memorial

The invoices glued into the scrapbook relate to purchases from the Ballarat School of MinesA very large dark green hard covered volume with read leather face spine and corners. Black ornamental bands across the spine. Leather strap with buckle for securing covers when not in use. Plain pages of brown "wrapping paper". Receipts glued to pages, folded and then numbered consecutively by hand i blue pencil. First receipt No. 996 (01 July 1895), numbering restarts after 1000 (three times). Last receipt is No. 155 (05 May 1899).invoices, ballarat school of mines, tunbridges, pringle, receipts, w. hamer, plumber, eyres brothers, j.h. trotman, g. batchelor, n. guthridge, w. doepel, frank fiscalini, huddart, barker and co., a. gaunt, h. wardle and son, turron & mcgavin, e.e. campbell, g.f. hocking, william sutherland, f. vale, victoria insurance company, r. collie & co., walter cornell, john fiscalini, mcvitty & co, j. miller & co, a.g. corbett, ben franklin printing works, middleton & morris, melbourne glass bottle works co, eldon chambers, e.l. stubbs, j. jones, firewood, mrs soderstrom, museum, ballarat school of mines museum, hill & paine, h. hebestadt, f.w. commons, sculptor, cherry & robins, alex e. monsbourgh, alex purdie, andrew cant, ballarat star, frederick martell, goodfellows, evening echo, a.h. powell, phillately

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

The Ballarat School of Mines is a predecessor institution of Federation University Australia. Bound copies of the Ballarat School or Mines Students' Magazine. 1924 * Dr J.R. Pound * Noel Hay Obituary * The History of Chemistry * Literary Society * Herald B. Herbert * Chemistry in Modern Life by Val G. Anderson * Chemistry in Literature by J.R. Pound * School Literary Society * Ladies in Pharmacy * Musings on Modern Literature - Mainly Drama (W.G. C.) * Trip to Newcastle * Appreciation of the Masterpieces of Art * The Antique Room * Dressmaking * Pottery * Sloyd * The Mystery of the Atom *Inorganic Evolution by R.S. Russell * Photography * First Aid Club 1926 * The Trip to Morwell * Chemical Excursions (Yallourn) * Eastern Life and Customs by Rex Warrillow * Organic Evolution by Edwin A. Brophy * Chemistry in the Kitchen * Obituary for Professor Alfred Mica Smith * The Historical Development of Patterns i Silk Fabrics * Pottery * Literary Society * Early Evidence of Metallurgy in Britain * Brief Description of the Magnet Silver Mine, Tasmania * The manufacture of Leather Photographs * SMB Athletics Team, winners of the Herald Shield (M. Timmings, L. Evans, F. Sheahan, R. Collins, A. Murfett, W. Hughes, L. Hillman * SMB Football Team * Ballarat Technical Art School Tennis Four * SMB Girls' Basketball Team * SMB GIrls Hockey Team * Ballarat Junior Technical School Scholarship and Studentship Winners * On Punctuation Advertisements: Sunshine Biscuits, Harris Powell and Sandford, W. Gribble & Co., Gilbert Motors, T.J. Haymes The Wallpaper King, C. Marks and Co., Wilson's Tailors and Mercers, George S. Grant, Miss A. Corin Art Worker, Tunbridges, Felton, Grimwade & Co., Hasten and Ewins, Ballarat Wireless Stores, Fred A. Reed, Suttons, E. Hall-Jones, Stansfield and Smith, Ballarat Gas Company, Richards and Co Studio, F.H. Drew, Adam Scott, R.A. Hudson, Huttons, J.A. Holland, A.E. White, F. Barrow Monumental Sculptor, R. Young, H.A. Evans, Alexandria Tea Rooms, W. Cornell Chemist, Black Cat Tea Rooms, J.A. Reynolds, A.M. Palmer, Morris Cars and Trucks, Mrs Stones, Millers The Clothiers, T.G. Skewes, Wattle TEa Rooms, H.B. Selby, Middleton and Morris, C.P.A. Taylor, Thornton Studios, Fred Irwin, Isaac Abraham, Ballarat Radio Listening-In, Baxter and Stubbs 1927 * Chemists Trip to Melbourne (Mount Lyell Chemical Works, Footscray, Yarraville * Literary Society * Mr J.N. Rowell 1928 * Prohibition in U.S.A. by Ed A. Brophy * Dr. J.W. Mellor and His Work at Stoke, England by Reginald C. Callister * The Science of Chemistry by C.A. Schache * Trip to Yallourn (Brown Coal Deposits, Steam Plant at Yallourn, Switchgear and Transformers, Briquette Factory * Walhalla Past and Present by G.E.B. * The Hand Loom * Precious Stones 1929 * The Old Brewery * The History of Chemistry by J.R. Pound * Occurrence of Mineral Oil in Gippsland * Experiences with Malayan Chinese by R. Warrillow * Organise Colors (Dyestuff Pigments) in Rubber Goods 1930 * News from Chine by Henry Kum Yuen * L'Art Moderne * The Story of Clay by T.H. Trengrove * A Glimpse of England * The Beginnings of Arithmeticballarat school of mines, pottery, ceramics, reginald callister, metallurgy, chemistry, j. pound, alfred mica smith, herald shield, harold herbert, lindsay hillman, john rowell, j.r. pound, noel hay, drawing from antique, yallourn excusion, walhalla, sunshine biscuits, harris powell and sandford, w. gribble & co., gilbert motors, t.j. haymes, the wallpaper king, c. marks and co., wilson's tailors and mercers, george s. grant, miss a. corin art worker, tunbridges, felton, grimwade & co., hasten and ewins, ballarat wireless stores, fred a. reed, suttons, e. hall-jones, stansfield and smith, ballarat gas company, richards and co studio, r.a. hudson, huttons, j.a. holland, a.e. white, f. barrow monumental sculptor, r. young, h.a. evans, alexandria tea rooms, w. cornell chemist, black cat tea rooms, j.a. reynolds, a.m. palmer, morris cars and trucks, mrs stones, millers the clothiers, t.g. skewes, wattle tea rooms, h.b. selby, middleton and morris, c.p.a. taylor, thornton studios, fred irwin, isaac abraham, ballarat radio listening-in, baxter and stubbs, mount lyell chemical works, footscray, c.a. schache, yallourn briquette factory, t.h. trengrove, history of chemistry, excursions, morwell, morwell excursion, women in pharmacy, mt lyall, excursion, slloyd, drawing from the antique, james pound, yallourn, yallourn excursion, ballarat arch of victory, mt macedon, f.h. drew, adam scott, university women

66 page booklet titled The Local Heroes real people, real lives, real stories… Front cover is off white at the top and patterned yellow shades at the bottom with the title in the centre, City of Greater Bendigo above. Background to the Local Heroes Project, drafted by Dr Gan Che ng PhD. MA. Inside the front cover. Photos, names of Students, Principal and Teachers of Bendigo South East College Team, Catholic College Bendigo Team, Eaglehawk Secondary College Team, Girton Grammar School Team and Weeroona College Bendigo team are in the front of the book. There is information about the project. Photo and information about Simmon Pang - Project Initiator/Photographer. Foreword by The Hon. Martin Dixon MP - Minister for Education Victoria with photo and Foreword - Cr Lisa Ruffell - Mayor of the City of Greater Bendigo. The following pages have a short synopsis and photo of Barry Ackerman - Expert in the Rubber Industry & Twice Mayor, Joanne Baker - Founder of Righteous Pups Australia, Linda Beilharz OAM - Intrepid Adventurer, Valerie Broad OAM - Founder & Artistic Director of Youth Choir, Paul Chapman - Co-Founder of The Australian Turntable Company, Susanne Clarke - Passionate about Community Engagement, Patrick (Pat) James Connolly - Bendigo Amateur Boxing Club Coach, Robert Jackson (Cookie) Cook - Founder of Horizon House, Geoff Curnow - Farmer & Community Volunteer, Merna Curnow - Farmer & Agricultural Consultant, Jenny Dawson - Accounting & Banking, Laura Dusseljee - Choir Director & Music Teacher, Ian Maxwell Dyett JP - Life Dedicated to Volunteering, Donald James Erskine - Founder of Industrial Conveying Australia, James Victor Evans - Teacher, Historian & Actor, Rod Fyffe - Champion of Arts & Culture, Richard Guy OAM - banker & Philatelist, Edwin Richard (Dick) Hazeldene OAM - Chicken Farmer to Poultry Entrepreneur, Robert (Rob) Hunt AM - Head of Bendigo Adelaide Bank and Founder of Community Banking Model, Russell Goldfield Jack AM - Founder of Golden Dragon Museum, Jack Kelly - Teacher Sharing Experience, Ian George Mansbridge - Farmer, Accountant & Banker, Ken Marchingo - Instigator of Haven; Home Safe, Elizabeth (Beth) McKerlie OAM - Dedicated to Scouting, Gordon McKern OAM - Founder of McKern Steel, Sharelle McMahon - Netballer Extraordinaire, Lola Mary Miller AM BEM - Teacher of Health & Physical Education, Julie Millowick - Accomplished Photographer, Educator & Artist, Dennis Reginald O'Hoy - Academic & Historian, Margaret O'Rourke - A Champion for Connected Communities, Karen Quinlan - Director of Bendigo Art Gallery, Jonathan William Ridnell - Broadcaster, Leon Maxwell Scott OAM - Business Entrepreneur & Rotary Volunteer, Margot Elizabeth Spalding - Co-founder of Jimmy Possum Designer Furniture, Wendy Diane Stavrianos - Painter, Sculptor & Installation Artist, Jack Taylor OAM JP - An Eaglehawk Legend, Wes Vine - School Principal & Vigneron, Lynn Warren - Aboriginal Elder, Raymond James Wild - A Plumber's Story, Diana Williams - Founder of Fernwood Fitness and John Wolseley - International Artist. The back cover also has small photos and the names of people mentioned.ian dyett collection - the local heroes, city of greater bendigo, dr gan che ng, la trobe ubiversity bendigo, bendigo south east college, catholic college bendigo, eaglehawk secondary college, girton grammar school, weeroona college bendigo, simmon pang, the hon martin dixon mp, cr lisa ruffell, bendigo art gallery, city of greater bendigo, the capital - bendigo's performing arts centre, la trobe university australia, catholic kiocese of sandhirst, haven home safe, the hotel shamrock bendigo, hazendene's, bendigo & district aboriginal co-operative, mr baillieu myer ac, bendigo advertiser, australian broadcasting corporation, bendigo chinese association inc - lion team, wannik dance academy dancers, bendigo forever young choir, bendigo youth choir

The Dead Man’s Penny is a commemorative medallion which was presented to the next-of-kin of the men and women from England and the Empire who died during World War One. The Dead Man’s Penny was accompanied by a letter from King George V, stating ‘I join with my grateful people in sending you this memorial of a brave life given for others in the Great War’.[http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny/] Popularly known as the "Dead Man’s Penny", because of the similarity in appearance to the somewhat smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tonnes of bronze, and continued to be issued into the 1930s to commemorate people who died as a consequence of the war. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] It was decided that the design of the plaque was to be picked from submissions made in a public competition. Over 800 designs were submitted and the competition was won by the sculptor and medallist Edward Carter Preston with his design called Pyramus, receiving a first place prize of £250.[http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] They were initially made at the Memorial Plaque Factory, 54/56 Church Road, Acton, W3, London from 1919. Early plaques did not have a number stamped on them but later ones have a number stamped behind the lion's back leg. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] Ted Cannon's plaquette does not have a stamped number. Ted Cannon was a gifted artist and cartoonist who studied at the Ballarat School of Mines Technical Art School. During the Battle of Pozieres on the Western Front Ted Cannon worked with the Scout Platoon sketching the enemy's gun emplacements. Ted proved invaluable to the Brigade and brought he came under the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. The effects of the late Ted Cannon were returned to his parents. These were an autograph book, three brushes, prayer book, housewife, whistle, book, hymn book, curios. Another listing gives his effects as "identity disc, letters, photos, wallet, 2 books, Mexican Dollar, 1 cent (Ceylon), 3 German Straps, Fountain Pen, Cigarette-holder, Franc Note, 50 centimes Note, devotional book, mirror, rosary, scapula, metal ring, two combs, book of views, nail clippers, badges, tie clip, Egyptian stamp.[http://recordsearch.naa.gov.au/scripts/Imagine.asp?B=3202589] Ted Cannon was an only child. It is not known how the 'Dead Man's Penny' came into the ownership of the donor, but it is thought that it may have been left in a house owned by the donor's mother. Further information on Ted Cannon can be found at http://bih.ballarat.edu.au/index.php/Edwin_J._Cannon and http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Large bronze medallion or plaquette featuring an image of Lady Britannia surrounded by two dolphins (representing Britain’s sea power) and a lion (representing Britain) standing over a defeated eagle (symbolising Germany). Around the outer edge of the medallion are the words ‘He died for freedom and honour’. Next to Lady Britannia is the deceased solider’s name, with no rank provided to show equality in their sacrifice. (http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny) The plaque was distributed throughout the British Empire, and the first plaques were distributed in Australia in 1922 "Returned home" by W. & O. Mayne, 2013. ted cannon, edwin joseph cannon, cannon, world war 1, world war

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, landscape, lavender park road, percy leason, new street

Stations of the Cross by Clifton Pugh is a contempooray art piece in four sections making up 11 stations of the cross. It was commissioned by the Catholic parish in Eltham (Our Lady Help of Christians) in 1961 Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p81 Art is an important means of nurturing faith at Our Lady Help of Christians Church, Henry Street, Eltham. The Stations of the Cross by Clifton Pugh and The Crucifix with the Ascending Jesus by sculptor Charles Rocco are two of the fine works that enhance the parishioners’ worship. These two inspiring works of art were added in 2001 – long after Roman Catholics began worshipping in Eltham around 1864. This beautiful worship centre was built following hardship and change – for parishioners have endured their church being destroyed by fire and have built four churches since they first worshipped together. Before 1864, according to local legend, a visiting priest administered sacraments in the parlour of former convict-turned-respected citizen Thomas Sweeney at Sweeneys Lane, Eltham.1 The first church was blessed in September, 1865, by the Archbishop of Melbourne, Dr Goold. It stood on an acre (0.4ha) of land in Little Eltham as that area was known then, near the present Fordhams and Main Roads and was part of the Heidelberg Church Parish. In 1912 the church was relocated to a new building on the present primary school site at 1 Henry Street. This was closer to the town centre, which had moved from Little Eltham after the railway line was extended to Eltham in 1902.2 In 1958 the church split from the Sacred Heart parish, Diamond Creek, to become a parish in its own right, with Father Tom Curran as inaugural priest. Not long after in 1961, a fire destroyed the church and huge working bees under the prominent Catholic builders, the Sibbel brothers, rebuilt and extended it, using the original altar from the first church. It was then that builder and parishioner Herman Sibbel asked his friend, artist Clifton Pugh, to paint the Stations of the Cross for the church. But the priest, Father Curran, neither approved of Pugh’s bohemian reputation nor liked the paintings, so they were hung in the corridor of Our Lady’s Primary School instead. The parishioners almost sold the paintings in 1989 to pay for major school renovations. However the paintings remained there for about 40 years, until 2001, when the church was extensively renovated by Father Barry Caldwell. Another change awaited the church, as it outgrew its building, later to be used as the school hall. So, in 1976, the present church was built across the road. Three beautiful stained-glass windows depicting the Passion, Death, Resurrection and the presence of Christ’s Spirit, link these with the church’s experiences. The first depicts a bushfire in Eltham, referring to their church damaged by fire. Another represents the Resurrection of Christ with new growth on a blackened stump and the Holy Spirit is represented by the Southern Cross. A window depicting Our Lady Help of Christians by parishioner Bill Peperkamp, was donated by parishioners to commemorate the Silver Jubilee of Father Desmond G Jenkins’ ordination to the priesthood on July 27, 1977. This, with the statue of Mary, creates a Marian shrine. In the 14 Stations of the Cross painted on four masonite panels Pugh captures the pathos of the suffering Christ and his disciples.3 The figures are stylised, except intriguingly, that of Pontias Pilate, who looks like Clifton Pugh. Charles Rocco’s sculpture is an extraordinary Jesus figure being raised from the Cross. The delicate stainless steel mesh of the figure creates a sense of the power of God over death. The organ, built in 1868 by George Fincham and Sons, was first installed in the All Saints’ Anglican Church, East St Kilda, then in the St Andrews Church, Clifton Hill. It was rebuilt into a modern instrument with a donation from parishioner Jim Murray, in memory of his wife Gwendolene Mary.4 Church members created their own work of art in front of the entrance, by painting designs and messages on 700 tiles. This work indicates the strong church family and faith expressed in art, that awaits the worshipper inside.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art, clifton pugh, stations of the cross, our lady help of christans, installation

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins.1 He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’.2 Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram,3 and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone.5 Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools.6 The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, danila vassilieff, hamilton road, north warrandyte, stonygrad

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury.1 That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek.2 Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek.3 With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, clara southern, heidelberg artists' trail, main road, research (vic)

This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, st margaret's anglican church, st margaret's church, st margarets church hall, christ church