Black and white photograph. View of the Ornamental Gardens taken from the Administration Building looking towards the Emily Gibson beds and the Luffmann/Lily Ponds behind. @ female students, wearing dresses, are seated on a bench in the foreground near a labelled tree, a Ginkgo.On reverse, "Ginko" (sic) and, "Photograph by Publicity Branch Victorian Department Of Agriculture Ref. No. C.1769.C."gingko, garden view, emily gibson beds, luffmann ponds, lily ponds, students, garden bench

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

"Originally known as the “Old Ready Homestead” the house was built in the 1890’s and was surrounded by a larger parcel of land that at least included the lot next door (No 90) and possibly extended as far as the Church property. This area was the scene of many garden parties and Wedding parties and contained a large water fountain. The property remained in the Ready family until sometime after the death of Mabel Ready in 1967." [information from the Bed and Breakfast website in the link above] Peter and Pauline Meade sold the property in November 2017.Black and white photograph of the front of a Victorian style weatherboard house with a man and a woman standing on the veranda.On back of photo: "Ready's house in Rutherglen"roy ready, ready family, royston ready, ready house

Jim Brehaut and his children, Jimmy & June, stand in front of the 'Flower Basket' ornamental flower bed at the Ballarat Botanical Gardens.jim brehaut, jimmy brehaut, june brehaut, ballarat, botanic gardens, garden, costume

A man in a Pith Helmet looks at a statue in the Ballarat Botanic Gardens.ballarat botanic gardens, garden, statue, person, public

"Within six years of its first land sales in 1852, founder members had challenged council over horticultural decisions and Ballarat's main thoroughfare contained fences squares, trees and flower beds. The major works that projected the Garden City image were the street plantings, parks and botanical gardens ..." Reference: Michael Taffe, Growing a garden City: Ballarat Horticultural Society 1859-2009, BHS Publishing, 2014, p. 10.This postcard shows how the botanical gardens in Ballarat, famous for being a Garden City.Coloured postcard Forest Scene, Botanical Gardens, Ballarat printed in red at bottom of card. Elaine 30-11-08 handwritten in black ink underneath.botanical gardens, ballarat, forest scene, gardens, botanical,

15 min black and white 16 mm film, no sound. Begins with shots of trees in the bush and piles of cut logs beside a track before moving to a group of men standing by a car with 'Operation Firewood' on the boot. A road sign indicates 'Nathalia 6 1/2', 'Numurkah 22', 'Picola 3'. 'Katunga' and 'Barmah'. Shots of an empty Austin flat bed truck with 'Legacy Operation Firewood', poster on the drivers door covering the truck company name,and other empty flat bed trucks parked along a country town street which looks unsealed. A shot of a wooden sign saying 'Euroa Please slow down' follows with the Legacy car travelling very slowly past it before we see a large group of men throwing up logs onto a nearly fully loaded truck, and then a partially loaded truck with men on the flat bed stacking the logs. Five trucks are shown fully loaded and a crowd of men are gathered around a table. A circular saw (with no safety guards!) is being used to cut the bigger logs into a manageable size for splitting before being loaded by a lot of men of varying ages. The film then moves to the city where we see three men riding on the back of a moving fully loaded truck, before it stops to deliver the cut but unsplit logs to a delighted widow and her children. The logs are hurled into her front garden as a well dressed man photographs the proceedings. Other deliveries follow to further widows, but it is not clear who is going to split the logs, some of which are extremely large. The film ends showing a line of empty trucks, and a fenced city area with a sign saying 'Melbourne Legacy Firewood' holding further a supply of logs. 15 mins 07 sec. Legatees delivered firewood annually until 1995 to widows to help them through the winters in a project called 'Operation Firewood' . See also Cat. No. 000848.A record of Legacy helping widows with supplying and stacking firewood. When open fires were the main source of heating a load of firewood, and help moving it, would have been very important to the widows.Metal Kodak film cannister, silver coloured, with 'Firewood' label on outer casing.No inscriptions on internal film. operation firewood, widows

Yields information about 21 and the Victoria St route.Agfa colour slide, white cardboard mount, photo by Keith Caldwell undated, c1963. Tram 21 in bound in Victoria St showing the card beds on either side of there road. Tram has the destination of Gardens via Sturt St West and a Whitehorse Whiskey advert on the front panel. tramways, trams, victoria st, tram 21

Black and white photograph and negative of tram 27 in Sturt St at the corner of Armstrong St. with the Ballarat Town Hall in the background. Photo taken from the central median strip with a number of seats in the foreground and flowers growing in the planter beds. Original print has water mark damage on the lower portion of the photograph. Taken 14 August 1971 Original print by David Endacott, duplicate print (1266A) by John Phillips 12/1999. Second copy added 5/2001. Original neg scanned at hi res and updated 11/5/2020.On original print "Cnr Sturt & Armstrong Sts / Sat 14 Aug 1971" in pencil.trams, tramways, ballarat, ballarat town hall, sturt st, armstrong st, tram 27

Set of three colour photographs of possibly the former stables at the rear of the former Canberra Hotel, corner Macarthur St and Creswick Road. Was known in the horse tram days as the Vine Hotel. Attached to the worksheet notes is an item prepared by Alan Bradley for the Jan. 2003 issue of Fares Please! The first paragraph notes the visit to the premises, now a Bed & Breakfast known as "A Special Occasion". Thought that the stables were used to stable horses during the horse tram days.horse trams, canberra hotel, vine hotel, stables

Copy photograph of a small photograph contained within item Reg. No. 587. Photo is of the construction of the Lydiard St. North extension in 1937. Caption from 587 is "Looking South from Walker St. showing track bed 25.5.37". Has houses on the left side, open land on right side of photograph. Hi Res scan added 25/3/2011trams, tramways, ballarat, lydiard st. nth extension, new track, tramways

Yields information about the streetscape of Bridge St about 1880, prior to trams, with horse drawn carts and gravel streets and businesses.Black and White copy photograph of a Gold Museum photograph - Bridge St, about 1880. Looks from intersection with Main St to the west. Shows many horse drawn carts, people, gravel paved streets with bluestone gutters. Buildings in the image - Pittards Warehouse, M.J. Robinson and Shilling Arcade. On the right hand side are three lamps, one with a sign "Good Beds 1s". Original photograph (not in book) has a handwritten note "Bridge St about 1880 presented by Miss Anderson." Has pins hole showing in the original print. Collected by Alan Bradley from the Gold Museum early 1980's. Used in The Golden City and its Tramways - page 8.tramways, trams, bridge st, horse drawn vehicle, main st

Yields information about the condition of Lake Wendouree following a prolonged drought, photographed with some water in it during the winter of 2009.Digital Image of BTM Tram No. 14 at the St Aidans Drive terminus, 1/8/2009 with an almost dry Lake Wendouree in the background and green grass on the lake bed. There is some water in the lake after a long drought..trams, tramways, lake wendouree, drought, st aidans drive, tram 14

Newspaper clipping from the Herald Sun, Thursday 8/1/2009, titled "A few scythes of relief in big dry", with a photograph of the dry and cracked lake bed of Lake Wendouree and a photograph of it being used as a rowing course. Has some of the rowing sheds in the background and a track mowing the surface. Provides details of the pipeline that will be used to fill the lake when suitable.lake wendouree, drought

Black and White photograph, of Bendigo 3 climbing Mitchell St, near the Railway Station with the Destination of Quarry Hill. Has a Hutton's Ham ad on the front drivers panel and two rood ads. In the background are Sandhurst Dairies shop advertising Toppa Ice Cream, a boot repairer and a van marked Jeffreys Bread parked on the north side of Mitchell St. Nearing the point where the double track became single - see the signal wire insulators in the overhead. Printed on Fujichrome paper. Two copies held."TMSV Sales" stamp on rear. On rear of in ink 'HTT16 = MM N 102 = Geel 32 = BED 3"trams, tramways, bendigo, mitchell st, quarry hill, overhead, tram 3

Black and White photograph, of Bendigo12 with destination of Golden Square, leaving Charing Cross in High St, during the mid to late 1950's. Tram has roof adverts for Jeffreys Bread, Alva Jams and a Cohn's Drink ad on the front drivers panel. In the background are the City Club Hotel and Start Building Society buildings. Printed on Fujichrome paper. Two copies held."TMSV Sales" stamp on rear. On rear of in ink 'HTT1 = MM107 = BED 19, Renumbered 12"trams, tramways, bendigo, charing cross, high st, tram 12

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Tasmanian architect J.H. Esmond Dorney developed this ground-breaking design for the Sandringham Hospital, which opened in 1964. Dorney had spent significant time recuperating in hospital in the post-war years and developed a special interest in hospital design. The hospital included circular wings with nurses’ stations at the hub and wards radiating outwards like spokes on a wheel. The hospital included 100 beds, two operating theatres and four delivery rooms and baby nurseries. Each ward of two to four beds had its own bathroom, and featured wide windows with garden views. The design was considered radical at the time and was copied as far afield as England and the United States.Annette Meikle, Sandringham Hospital 1977, ink and watercolour, 25.5 x 35.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham hostpital, jh esmond dorney, hospital, architecture, sandringham

The ‘Alexandra Gardens’ in Cotham Road were designed and laid out by George and Thomas Pockett. The Governor of Victoria officially opened them in 1908. A report of the opening stated that “…the gardens have been laid out in large sloping lawns, divided by wide graveled paths, and dotted with tastefully arranged flower beds, which are now bright with autumn bloom”. The massed beds of shrubs and flowers included beds of chrysanthemums, a specialty of George Pockett, the Garden’s first curator. A large rotunda was constructed in 1910 to mark the Jubilee of Kew. A plaque memorialising the contribution of George Pockett, was attached to the original rotunda after his death in 1922. By 1911, electric lighting was installed to allow the public to access the Gardens, and the concerts that were held within them on summer nights. The Gardens were later to include the Jubilee Fountain, moved from the front of the Kew Post Office in 1925. The Kew Council commissioned the substantial bluestone entrance gates in 1933.The Kew Historical Society is fortunate that the City Engineer, Mr Poulter, donated a number of items held by the City of Kew to the Society for safekeeping, rather than identifying them for destruction. The most significant items donated included old maps, including those issued by the Board of Works. Other items included photographs of public works undertaken by the Department. The By-laws are part of that donation and tell us lots about the social values of the period.The Mayor, Councillors and Burgesses of the Borough of Kew published By-Law No.45 in 1908 to regulate the “Conduct of Persons whilst at or Within the Gardens known as the Alexandra Gardens”. The By-Law also set a charge for “Persons Using or Entering in or upon the said Gardens”. The 17 by-laws included predictable prohibitions on expectorating, using indecent language, interfering with the floral displays, or indeed with the caretaker gardeners. Other acts prohibited included a warning that “Children under the age of ten years not being under the control of some competent person may be removed from said gardens”. The Alexandra Gardens were at one stage surrounded by a picket fence. This might explain the prohibition on climbing upon or getting through over or under any fence at or within the gardens. The financial penalty for breaching the By-Law was determined as “…not exceeding Ten pounds and not less than Five shillings”. This original copy of the By-Law was donated to the Kew Historical Society by the City of Kew.alexandra gardens (cotham road, kew), city of kew

The “Q” Theatre Guild was formed in 1957. It inherited the productions and casts of the earlier Kew Light Opera Company. The Guild initially performed in the Kew Recreation Hall (Wellington Street) and later at the Kew Civic Hall (Cotham Road). A partial list of its performances include: 1957 The Geisha 1958 Maritana 1959 They All Do It (Cosi Fan Tutti) 1959 Blossom Time 1959 Love’s a Luxury 1960 There And Back & The Bohemian Girl 1960 Die Fledermaus 1961 Gay Rosalinda 1961 The Land of Smiles 1961 Kisses For A Kid & Hansel and Gretel 1962 Die Fledermaus 1964 Monsieur Beaucaire 1964 Macbeath [The Beggars’ Opera] 1964 The Beggars’ Opera Undated And So To BedThe Marion Tilley scrapbook is a significant record of performing arts in Melbourne during the 1950s and 1960s. The scrapbook includes programmes, photographs, newspaper reports and personal annotations which are a rich source of detail about repertoire, performers, and artistic sensibility in the period.Souvenir programme isued by the "Q" Theatre Guild incorporating Kew Light Opera Company for a performance of 'Blossom Time' in conjunction with Moomba. Performances were held in March in the Alexandra Gardens and subsequently at the Kew Recreation Hall in October and November. The programme forms part of a scrapbook that includes programmes, photographs and theatre reviews for the Kew Light Opera Company and later "Q" Theatre Guild."q" theatre guild, performing arts, moomba, alexandra gardens, theatre groups (kew), blossom time (musical)

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. They are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The photo was taken after the Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Sepia postcard of the Palm Avenue at the gardens looking west to a white statue on a plinth. The statue is of Williamstown MLA, Alfred Thomas Clark. Palms and shrubs line both sides of the path and trees can be seen behind the statue. The shadows of the plantings are across the path.Front: VALENTINE’S, M.360 PALM AVENUE WILLIAMSTOWN GARDENS MELBOURNE, VICTORIA. REAL PHOTO. Reverse: vertical on left side of card and underlined: ‘Published by the Valentine & Sons Publishing Co. Ltd. / Melbourne. Sydney & Brisbane’. Top centre of card: Contains logo of ‘VALENTINES / REAL PHOTO SERIES / POSTCARD’. There is a red two penny Australian Postage stamp on the top right hand corner. The address of the sender is 1 Railway Place, Williamstown and the card is addressed to Mr and Mrs Nayler (?) in Footscray. The remaining writing unable to be deciphered postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, statue, clark, alfred-thomas-clark, palms, palm-avenue, valentine-and-sons

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The Cordylines which line and avenue in this image were replaced by Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Black and White image of main path looking towards the statue of A C Clark. There is a man wearing a boater hat on the right side of the path and a woman and two children on the left side of the path. The path is lined with grass, shrubs and cycads. This image is before the border of the path was planted with palm trees, which was 1915.Front: ‘The Botanic Gardens, Williamstown’. Reverse: Top Centre ‘POST CARD’. Top left hand side ‘This space may be used for Correspondence. / Postage to any Address in Victoria, 1 d; / to other States, 11/2 d.’ Right side and top centre of card in pencil 'C1908' and '$3' [believed to be inserted by the vendor of the card]postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, cycads, 1908, clark

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard, looking east on the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The photo was taken after the Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Sepia image of main path of Gardens, looking east towards the Osborne Street gates and three people. The path is lined with grass, shrubs and palms. Reverse: ‘POST CARD / CARTE POSTALE / Communication – Correspondence Address – Adresse’. Top right corner: a rectangle with a logo in the centre and ‘STAMP / HERE’. In pencil ‘AUSTRALIA / 50p / 1920s’postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, palms, osborne street, 1920

On 18 July 1891, a statue of local MLA Alfred Thomas Clarke was erected in a circular plot at the intersection of the major axial paths. AT Clarke was Williamstown's representative in the Legislative Assembly from 1871 to 1887, and a Commissioner of Trade & Customs in the third Berry Ministry. He did his utmost to defend Williamstown against the Melbourne Harbour Trust and was also the founder of the Advertiser. The statue was sculpted by Enrico Luchinelli in Cararra marble. The likeness was taken from a photograph.The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The Cordylines which line the avenue in this image were replaced by Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987 A colour image of main east west axial path looking towards the statue of A C Clarke enclosed with a white fence. The path is lined with grass, shrubs and Cordylines. This image is before the Cordylines were replaced with palm trees, which was 1915.Front: ‘The Botanic Gardens, Williamstown’. Reverse: Top ‘POST CARD’ Left side ‘The Space may be used for Correspondence’; Right side: ‘For Address Only.’ Top right corner is a red Victorian one penny stamp. The card is addressed to Mr R Fraser / Collins St. / Essendon from his niece, whose name is unclear. postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, cordylines, clarke, 1891, enrico luchinelli, cararra marble

The Gardens were a popular venue for Sunday School picnics for many years. She was aged approximately when the photo was taken and her head can just be seen in the middle of the photo. Alice Weatherhead (Cochran) lived firstly in Newport and then Railway Cres Williamstown. She attended the Newport Baptist Church and the Domestic Arts School. At the time of writing the letter she was 91 years of age. She worked at the aircraft factory in Champion Road, Newport making the rear fuselage for Beaufort Bombers. Her father, Tom Cochran, belonged to the Williamstown Horticultural Society.Alice’s photos and written memories encapsulate the intangible heritage of the Williamstown Botanic Gardens. She recalls: playing in the Gardens; using them as her as a place for solace and thinking; while riding to the beach from Newport; walking in crocodile file past the Gardens from her school to the swimming baths, the ‘air of mystery as you walked through those wonderful wrought iron gates’; a place of courtship with the boy she later married. She wrote about seeing a purple flowering plant in a circular bed that was ‘spectacular and inspired me to grow it in my garden’. Black and white image of people sitting and standing together for the group photo. There are large trees in the background; a young boy standing with his hands behind his back at the back row to the left. There are two crosses (in pen) above the heads of two women in the back row on the left side.On the reverse of the image: Mother and G. M. L. / marked x x / Newport Baptist S.S. / Picnic Williamstown Gardens / Grace Logan / [address is written but not to be published] / No29williamstown botanic gardens, hobsons bay city council, 1930, newport baptist sunday school picnic, alice cochran

These are the children of Ernest Lance Young and Beryl Mair. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of 3 well dressed children identified as Barbara, Ken and Laurie Young. Barbara is holding a bride doll and Laurie, seated, is looking down at a book. The children are standing in a neat garden in front of a raised terraced flower bed.In biro on rear: "BARBARA KEN LAURIE / BACKYARD/ 11 YORK ST / MONT ALBERT" Printer's stamp J208ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

Tim HOLMES Born Wales Tim Holmes first became interested in pottery on a visit to New Zealand in 1969. After returning home he studied at the local art school, then enrolled at the Harrow School of Art in 1973. While there, he was introduced to Gwyn Hanssen Pigott's work, and returned to Australia to help her set up a pottery in Tasmania. He established his own Garden Island Creek Pottery in 1977, and started making wood-fired pottery, digging and milling his own clay. He used a two- chambered kiln, firing raw- glazed domestic stoneware in the first chamber and earthenware garden pots in the second. In 1988, he moved his pottery to the Potter's Croft at Dunalley on the east coast of Tasmania. He and his wife Tammy now run the Potter's Croft as a bed and breakfast with a craft gallery, and he is still making pottery using a wood-fired kiln. Garden Island Creek Pottery had its own impressed stamp, and work may also be impressed 'TH' or incised 'T. Holmes'. Tim Holmes was a visiting visitor to Gippsland Institute of Advanced Education (later Federation University) in 1983. He was a lecturer at 'Woodfire 86'.Woodfired Stoneware Platter tim holmes, ceramics, artwork, jan feder memorial ceramics collection, gippsland campus, artists, woodfire 86, garden island creek pottery

Articles in annual report include: branch committees, President's report, finance report, balance sheet, hospital homes, blind citizens community centre, welfare, auxiliaries, senior staff, life governors, historical and current photographs of Ballarat, Bendigo, Brighton and the Blind Citizens Community centre, establishment of an ophthalmological clinic at Elanora, demand for more nursing beds and funding for nursing support, need for hostel accommodation for short stay or respite for carers, renaming of Brighton Blind Home to Elanora, 20 bed nursing wing to be opened at Mirridong next year, a second block of flats facing Glenferrie Road has been purchased due to demand for expansion at Kooyong Blind Citizens Community Centre, plan for a memorial garden with a sensory section in front of the club house, appointment of a hairdresser at Kooyong and two holidays at Cumberland House in Lorne have been organised and were a huge success1 volume of text and photographsassociation for the blind, elanora home (brighton), mirridong home (bendigo), kelaston home (ballarat), annual reports

Appears as an illustration in , "Green Grows Our Garden," A.P. Winzenried p 71. "Garden Instructor from 1926 to retirement in 1946…a very competent ornamental garden instructor. Popular with students." E.B. Littlejohn.Black and white photograph. Frank Weaver standing in a flower bed holding a pair of secateurs.On reverse, "Mr. F. Weavers "Frank" B.H.C. 1926.flower beds, frank weavers, e. chalmers (née fry), green grows our garden, a.p. winzenried, garden instructor