Nancy (Margaret Dillon) Steele born 1906 and Hattie ( Harriette Vevers) Steele were daughters of Charles Henri Dillon Steele (1869-1935) and Sarah Margaret Russell (1873-1944),he was a pioneer of dentistry in Victoria who was in practice in 1890 and later in Collins Street for 40 years. The family lived at ‘Dalriada’ (dem.) on the corner of Bona Vista Avenue and Union Road. Sarah Margaret Steele was President of the local Patriotic League during WW1 and is credited with starting the move to raise funds for the WW1 memorial in the Surrey Gardens. Nancy and Hattie were graduates at Melbourne University in Dentistry and Agricultural Science respectively. They continued their studies in Toronto and obtained their Doctorates. In 1923 Nancy and Hattie started the first girl guide group in Surrey Hills at Holy Trinity Church. Both married and had families. Nancy married Dr William Brayshaw Woodhouse and, while he took up army duties during World War II, Nancy continued his practice. Their son Anthony became a dentist, while Peter was known locally when he became a councillor and Mayor of Camberwell. Their daughter Margaret married Herbert Andrewartha and lived in NSW.A black and white photograph of two portraits of two young ladies. Their dress and hair styles are suggestive of a 1920's date..(miss) nancy (margaret) steele, (miss) hattie vevers steele, dalriada, house names, bona vista avenue, union road, surrey hills, dentists, first girl guide group, 1923, holy trinity church, world war, 1939-1945, mayors, councillors, (miss) margaret brayshaw-woodhouse, dr william brayshaw woodhouse, peter brayshaw woohdhouse, dr charles henri dillon steele, dr anthony brayshaw woodhouse, (miss) nancy steele, (mrs) nancy andrewartha, (miss) hattie steele, (miss) harriette vevers steele, (mrs) margaret brayshaw woodhouse, (miss) margaret dillon steele, (miss) sarah margaet russell, (mes) sarah margaret steele

To recognise outstanding contributions to the Institution, Life Governor certificates were awarded. Signed by the President and Manager/Secretary of the day, they were worded as follows: "Royal Victorian Institution for the Blind Life Governor. This is to certify that (blank) was this day appointed a Life Governor by the Board of Management." 28th August 1969 - signed by Charles Bennett and F.G. Turley Stanley Marsden Esq. 17th April 1975 - signed by E.J. Hanlon and E. Netson (?) Mrs Phyllis Marsden 20th November 1975 - signed by E.J. Hanlon and E. Netson (?) Mrs Lurleen C. Slaney John H. Weymouth, Esq Alan J. Murphy, Esq Mrs Phyllis Crook Christopher Williams Esq Dr. Alan Crook Adrienne N. Mursell November 19, 1981 - signed by E.J. Hanlon and E. Netson (?) Mrs Phyllis Wilson June 12, 1992 - signed by L. M. McCredie and Peter (?) Donald Gordon Boyle11 certificates with RVIB crest At the head of the page, a round circle with 'Royal Victorian Institute for the Blind' in Gothic typescript, a red crown atop the circle and a red cross with four white stars divides the inside of the circle into four areas. A picture in with and black, against a blue background, rests in each of these quadrants and a banner with the words 'I will lead the blind by a way they know not' is centred in between them. The pictures are: a harp, a bee hive, an open book and a flag with the words 'A.D. 1867'.royal victorian institute for the blind, awards, stanley marsden, phyllis marsden, phyllis crook, alan crook, john weymouth, christopher williams, adrienne mursell, alan murphy, lurleen slaney, phyllis wilson, gordon boyle

An overview of activities and achievements during the past financial year. Articles in annual report include: opening two new offices in Coffs Harbour and Canberra, merging library services with RVIB and VAF, development of the "Do It Yourself" package with the University of Sydney and launched by Benita Collings, Behind the Budget luncheon with H.G. Nelson, Wendy Harmer and Peter Berner, a tactile art exhibition with the Sydney's Object Gallery, building a new volunteer Speakers Network and profiles of volunteers Clarys Churchill and Ian Carswell, and clients Emily McNeil, Tess Herbert, Nelson Rufatt, Jonathan Mondy, Fiona Williams, James Pittar, Rita Lucas, Noni Guthrie, Alexandra Sugis and Elizabeth Ford.1 printed volume of information about the RBS during the financial yearroyal blind society of nsw, annual reports, lauren rapley, emily mcneil, graeme innes, pearl stapleton, dick smith, clarys churchill, tess herbert, benita collings, erica chiandotto, nelson rufatt, natalie kaine, jonathan mondy, annette hayes, fiona williams, james pittar, rita lucas, cem oztan, noni guthrie, alexandra sugis, elizabeth ford, paula-jane robinson, ian carswell, andrew daddo, wendy matthews, tayla fitten, dion milton, peter berner, wendy harmer, h.g. nelson, marie bashir, walter bolin, victoria maggs, katherine purcell, michael simpson, john landau, denis lister, carol ireland, stephanie peebles, barry chapman, christopher cullen, charles cowper, frank martin, ivan cribb, keith barton, michael brown, john mumford, owen van der wall, roslyn lambert, tony miller

VA 2825 Attorney-General's Department (previously known as the Law Department)Eureka Stockade:Petition from Ballarat residents re Scobie murdertrial, charles hotham, james bentley, james scobie, james r. thomson, peter lalor, john weightman gray, william cork, peter martin, george bassar, everett gad, henry green

Peter WILSON Peter Wilson maintains a ceramic practice at Rosemont Pottery in Bathurst, NSW, as well as working as a senior lecturer in the Faculty of Education at the Charles Sturt University Bathurst Campus. He trained at Macquarie University, obtaining a Bachelor of Arts in 1976, and has been making reduced stoneware and tableware and exhibiting ceramics since 1980. Wilson writes extensively about ceramics and obtained a Graduate Diploma of Arts (Visual Arts) from Monash University Gippsland in 1993, a Master of Creative Arts from Wollongong University in 1995 and a Doctor of Creative Arts from the University of Western Sydney in 2003. Work may be marked with an incised 'Peter Wilson' or 'Wilson'.Spherical ceramic formjan feder memorial ceramics collection, peter wilson, alumni

HONOR BOARD Melton State School No 430 Supreme Sacrifice • BARRET, P Peter Maurice Barrett Number 5051 Rank: Private Unit: Private Date of death 18th August 1918 of wounds age 21 St Sever Cemetery Extension, Rouen, France Started school August 1904 5 years 10 months Previous school St Michaels Nth Melb Son of Maurice Barrett labourer Melton Brother of John Barrett • BLACK, William William M • EXELL, T S Number 2758 Rank: Trooper 3rd Battalion Imperial Camel Corps Date of death 30th November 1917 of wounds aged 20 years Cairo War Memorial Cemetery Egypt Started school September 1907 aged 10 Previous school Boisdale 3017 Son of George, farmer Melton Railway Station (Melton South) Year of 1918 • LANG, Horace Thomas Number 903 Rank: Corporal Unit: 24th Battalion Date of death: 5th May 1917. Court if enquiry confirmed Dec 1917. Aged 24 Date of birth 27th April 1893 Spring Hill – Kyneton Commemorated Villers-Bretonneux France Started school November 1997. Father: Thomas Lang Teacher Melton 430 Brother of Thomas Lang died 18th July 1918 buried Cairo • LANG, R William Roy Number 2818 Rank: Driver Unit: 1st Australian Light Horse Machine Gen Squadron Date of death 31st October 1917 of wounds Beersheba War Cemetery Israel Started school October 1899 Aged 9 Previous school Camperdown SS 114 Date of Birth: 24th Jan 1890 Son of William John and Mary Lang of Langlands Jandowae Queensland Nephew of Thomas Lang Melton • LANG, Thomas John Thomas NZ CC M Number 15/118 Rank: Lieutenant Unit: Army Pay Department Date of death 18th July 1918 of disease Cairo War Memorial Cemetery Started school November 1896 aged 16 years - Previous school Coliban 1920 Son of Thomas Lang, teacher Melton No 430 • McPHERSON Jas Mrs M: James Sept 1897 Previous Graham St Port Melb Son of Alexander farmer Melton • MISSEN, A P Frederick M Started school August 1899 age 7 years Son of Frederick, fruiterer Melton His sister Adelaide May 11years Previous Ascot Vale 2608 • NORTON, Lewis Thomas CC M Number 1809 Rank: Private Unit: 29th Battalion (Infantry) Date of death 30th September 1918 Cemetery Bellicourt British Cemetery, France Started school March 1901 age 9 years Previous school Galaquil Son of Thomas Norton of Parwan • O’CALLAGHAN, EJ Edward Edward M • O’CALLAGHAN, HT Thomas .. M Number 3859 Rank: Private Unit: 57th Battalion (Infanrty) Date of death 26th September 1917 Bedford House Cemetery, Belgium Started school 11th March 1901 Aged 10 years Father: John O’Callaghan farmer of Melton • PRATT, R H Robert Henry Number: 2203 Rank: Private Unit: 46th Battalion (Infantry) Date of death, 12th April 1917 Favreuil British Cemetery, France Started school in May 1903 aged 6 years Father: Matthew Pratt, Labourer Melton • RYAN J James or John David: RYAN J ? Started August 1896 Previous Christian Brother St Kilda John 11-5 or James 9-11 Charles 6-11 returned from WW1 Frank 8-5 returned Father Daniel Publican • WHITESIDE, John Edward M Number 2182 Rank: Trooper Unit 13th Light Horse Date of death 4th September 1918 of illness aged 29 years Alexandria (Hadra) War Memorial Cemetery, Egypt Started school July 1897 age 8 Son of Edward Whiteside Labourer Melton Brother of Edward. • WHITESIDE, W F Number: 3995 Rank: Private Unit: 22nd Battlion Date of death, 28th July 1916, died of wounds aged 21 years Puchevillers British Cemetery, France Started school in 1901 Year of birth circa 1895 Brother Edward died 4th September 1918 Father: Edward Whiteside. Labourer Year of 1917 • ANDREW. R H • BARRETT, J John Maurice • BLACK, Harold David • BLACKWOOD, Maxwell James A • BLACKWOOD, Roy .. • CAMERON David or (Donald) William M • CAREW, Edward Edward M • COLLINS, H John Henry H Thomas CC M • CANTLON, A Alfred CC • CHALMER, Frank Ernest CC M • COBURN, A Frederick CC M • COBURN, FS CC M • DODEMAIDE, Frank William • DODEMAIDE, Thomas .. • DODEMAIDE, W J William John M • FIELD, J • FORSYTH J • KEATING, WD William Edward M • KINNERSLY James Edward CC • KINNERSLY Norman Chas Edward CC • LANG Norman William • MINNS, J CC M • McCOLL R Alex R J. McColl • MOULSDALE Charles William M • McNULTY, Frederick James CC • McNULTY, W R CC • McPHERSON J which one? • NEAL, Elvine J Neal M • NEAL, Frank John M • NEAL, John William John M (husband of Isabella) • O’CALLAGHAN, Stephen Edward M • PRATT, David T Matthew CC M • QUINANE, David Peter • QUINANE, Peter .. • RIDDELL, William M • RYAN, Charles Daniel • RYAN Frank .. • SKINNER, Stanley John S’John CC M • SPRING, James George • TYLER, A • TYLER, George George • WATSON, Albert Ernest Alexander M • WADE, Howard James • WADE, Walter .. might be connected with CC • WILLIAMS, Percy Mr Williams • WICKHAM, George George M • WICKHAM, W M • WILSON, Stanley [ Alfred and Maude] M • WILSON, Gordon .. M SUPREME SACRIFICE Roll of Honor Melton State School No 430 Years of 1916,1917 and 1918

Charles Peel Trophy Donor: Peter Mitcheson Deed of Gift: No Peter was the nephew of Charles Peel who was one of the designers of the Jubilee class yacht first launched with Freydis BJ1 in 1935. Peter also at one time owned the Jubilee yachts Freydis BJ1 and Sylvia BJ2. Sylvia was destroyed in a collision with a ship at the mouth of the Yarra River. First Winner: jubilees, peel, freydis, mitcheson

The five types of nails include a stamped steel nail made for wooden flooring; four copper nails used for boat building found at various locations on the island; two steel nails removed from the lantern room door during restoration in 2002 which possibly came with the Chance Bros. lantern room kit delivered in 1862; three galvanised steel nails used to pin the railway track to sleepers and decking on the jetty (the rail track carried a small trolley for unloading stores from supply ships); and a square copper nail found on the rocky shore on Tullaberga Island close to the location of the Monumental City wreck of 1853. The huge American steamer, Monumental City, was wrecked on 15 May 1853. Built in 1850, the ship was the first screw-propulsion steamer to cross the Pacific and was heading back to Sydney after dropping off Californians heading for the Victorian goldfields. Thirty-seven lives were lost, including the owner of the ship, Peter Strobel. A medal was awarded by Sydney residents to Charles Plummer who swam ashore with a line from the wreck. The tragedy renewed the urgency for a lighthouse on Gabo Island, and in 1862 when this was achieved an obelisk was erected as a memorial to those who perished. That year, Victorian PWD architect and designer of the lightstation buildings, Charles Maplestone, gave the following instructions: ‘You may remove the remains of the poor unfortunate shipwrecked of the Monumental City to the site on Gabo you propose but take scrupulous care to collect all the remains and inter them decently under the monument. Pray save any relics’.246 Heritage Victoria has 39 artefacts listed under the Historic Shipwrecks Act (S473) with a clear provenance to the Monumental City. While the copper nail has no documented provenance, it still has contributory significance as part of a diverse assemblage of relics that help to interpret the history of the Gabo Island Lightstation and the numerous shipwrecks that have occurred in its vicinity since the mid nineteenth century..1 Steel nail - flat. Stamped. This type of nail was used for secret nailing of flooring. Source of this nail is unknown. .2 Copper nails. This type of nail was used for boat building. Found at various locations around island. .3 Steel nails. Extracted from lantern room door during restoration 2002. .4 Galvanised steel nails. Used to pin railway track to timber sleepers and decking on jetty. Rail track carried a small trolley used during the unloading of stores from supply ships. .5. Copper nail square. This nail was found on the rocky shore line on Tullaberga Island close to the location of the wreck of the "Monumental City" wrecked May 1853. Nail found in June 2000.

Paper Book

A newsletter printed at Somer’s Camp in 1977. It reflects some of the activities the campers experienced. There was news of sporting events and winners of contests. Also a crossword and some cartoons. The authors are not identified but could be some of the junior Legatees. Legacy has provided camps for junior Legatees for many years. It started in the early years when Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. In later years children went to camps around Victoria. Occasionally it was to Lord Somers Camp in Somers. Some of the name mentioned in the text: Chaplain Charles Sligo, Fire officer David McPherson, Games director Peter Johnstone, PR Officer Les Phillips, Bursar Robin Kelly. Also section leaders: Keith Williamson, Peter Chapman, Fraser Zielinski, Andrew Russell, John Jones, Campbell Mathieson, John Higgins, Mark Lane. The editorial explains the aims of the camp. "Lord Somer's Camp sets out not so much to teach a method of life as to instil one by example. This may sound rather ominous, as though you are being brain washed - and perhaps in a way you are. The high-powered pressure which is put on you by Slush and by Group Leaders tries to do in less than a week what would take years by any other means. . . In fact what the pressure does achieve may be quite different for different people. . . Cooperation was discussed yesterday. Many of you have possibly already been forced to see that a group of people can achieve nothing unless they work together. Even after one day on the sports field you would realise tag in an event such as the tug-of-war you will never succeed unless every one works together in perfect harmony. . . The second ideal mentioned above was unselfishness. Nearly every problem in the civilised world today, whether it be war, social unrest, inflation, industrial strife it can be traced back to a selfish attitude on someone's part. An unselfish attitude is a very difficult thing to develop but once obtain can not only do good for the individual but for the whole community. Big Camp tries to establish this attitude on in the new participants at camp by the example of others.It is only when one realises that all the organisation of and running of this camp, and indeed of the whole PowerHouse Organisation, is on a voluntary, unpaid level that it impossible to gain some inkling of the extent of this unselfish example, to understand the amount of effort people will make to continue something they believe in." A record of the camp activities at Somers in 1978.Newsletter published at Somers Camp to highlight activities and attendees.Dated 18 January 1977 on second page.camp, junior legatee outing, lord somers camp

Eleanor Hinde (1842-1902) was born in Lancashire England. In 1858, Eleanor married Richard Reynolds in the Forest Street Wesleyan Methodist Church in Sandhurst. They both gave their address as Sailors Gully Goldfields. They had seven children together. Richard was a skilled tradesman and after he died in 1872 from lung disease, Eleanor married Arculus Opie. Eleanor owned a property on the corner of Gladstone and Stanley Streets which later became an electrical substation. She sold poultry and eggs and preserves. The four folders contain family history documents and photos of the descendants of Eleanor Hinde. Robert Reynolds is the Grandson of Richard Reynolds and Eleanor Hinde. 10891.9a Family history sheet Robert Reynolds. 10891.9b Typed sheet with details and dates on Robert 10891.9c Military Entrance Regulation Authority Book issued to Robert Reynolds 10891.9d Post card Seven soldiers - on rear: Robert Reynolds standing at end right possibly taken at Watsonia 10891.9e Post card portrait of Robert Reynolds: on rear is written "to dear Frank from amelia in loving memory of my darling brother Robert, died 31st Jan 1916 10891.9f Unknown group of workers, possibly Robert standing at the right-hand side. 10891.9g Group of soldiers 10891.9h Robert Reynolds on the end of the row at Simpson Barracks Watsonia, Victoriabendigo, sandhurst, peter jorgensen, eleanor hinde, eleanor reynolds, eleanor opie, reynolds collection, amelia honorah reynolds, charles frank greenaway, charles albion reynolds, iris ellen greenaway, william donald male, ruth honora greenaway, dirk pendavingh, percy george tobias, louisa catherine reynolds, lois noelle tobias, lois mitchell, lois tobias, robert reynolds

Eleanor Hinde (1842-1902) was born in Lancashire England. In 1858, Eleanor married Richard Reynold in the Forest Street Wesleyan Methodist Church in Sandhurst. They both gave their address as Sailors Gully Goldfields. They had seven children together. Richard was a skilled tradesman and after he died in 1872 from lung disease, Eleanor married Arculus Opie. Eleanor owned a property on the corner of Gladstone and Stanley Streets which later became an electrical substation. She sold poultry and eggs and preserves. The four folders contain family history documents and photos of the descendants of Eleanor Hinde. Ruth Honora Greenaway (1930-1985) is the Great Granddaughter of Richard Reynolds and Eleanor Hinde. Ruth married Dirk Pendavingh. 10891.6a Family history sheet of Dirk Joannes Pendavingh and Ruth Honora Greenaway 10891.6b Ruth Greenaway 10891.6c Dirk Pendavingh Graduation 6th Aug 1970 10891.6d Wedding Cake 3/10/1953 Made at Emily McPherson College 10891.6e Dirk and Ruth Pendavingh (nee Greenaway) 3rd Oct 1953, Rathmines Road Methodist Auburn Vic. Flower girl Pamela Haldane, in the background Iris Greenaway. 10891.6f to 10891.6al History notes and photos of Ruth's family (Private - not published) bendigo, sandhurst, peter jorgensen, eleanor hinde, eleanor reynolds, eleanor opie, reynolds collection, amelia honorah reynolds, charles frank greenaway, charles albion reynolds, iris ellen greenaway, william donald male, ruth honora greenaway, dirk pendavingh

Eleanor Hinde (1842-1902) was born in Lancashire England. In 1858, Eleanor married Richard Reynold in the Forest Street Wesleyan Methodist Church in Sandhurst. They both gave their address as Sailors Gully Goldfields. They had seven children together. Richard was a skilled tradesman and after he died in 1872 from lung disease, Eleanor married Arculus Opie. Eleanor owned a property on the corner of Gladstone and Stanley Streets which later became an electrical substation. She sold poultry and eggs and preserves. The four folders contain family history documents and photos of the descendants of Eleanor Hinde. Louisa Catherine Reynolds (1892-1953) is the Granddaughter of Richard Reynolds and Eleanor Hinde. Louisa married Percy George Tobias; their daughter was Lois Noelle Tobias. 10891.8a Family history sheet Lois Mitchell 10891.8b Lois Mitchell at Donvale 2001 10891.8c Lois Mitchell, nee Tobias (? Chapel) Kooyong 1/6/1950 10891.8d to 8ae Notes and photos of Lois's family.bendigo, sandhurst, peter jorgensen, eleanor hinde, eleanor reynolds, eleanor opie, reynolds collection, amelia honorah reynolds, charles frank greenaway, charles albion reynolds, iris ellen greenaway, william donald male, ruth honora greenaway, dirk pendavingh, percy george tobias, louisa catherine reynolds, lois noelle tobias, lois mitchell, lois tobias

Eleanor Hinde (1842-1902) was born in Lancashire England. In 1858, Eleanor married Richard Reynold in the Forest Street Wesleyan Methodist Church in Sandhurst. They both gave their address as Sailors Gully Goldfields. They had seven children together. Richard was a skilled tradesman and after he died in 1872 from lung disease, Eleanor married Arculus Opie. Eleanor owned a property on the corner of Gladstone and Stanley Streets which later became an electrical substation. She sold poultry and eggs and preserves. The four folders contain family history documents and photos of the descendants of Eleanor Hinde. Louisa Catherine Reynolds (1892-1953) is the Granddaughter of Richard Reynolds and Eleanor Hinde. Louisa married Percy George Tobias; their daughter was Joan Louise Tobias. 10891.7a Family history sheet of Percy George Tobias and Louisa Catherine Reynolds 10891.7b Joan Louise Tobias Post Card, written on rear: 5 months 3 weeks 10891.7c to 7v Notes and photos of Louisa's family.bendigo, sandhurst, peter jorgensen, eleanor hinde, eleanor reynolds, eleanor opie, reynolds collection, amelia honorah reynolds, charles frank greenaway, charles albion reynolds, iris ellen greenaway, william donald male, ruth honora greenaway, dirk pendavingh, percy george tobias, louisa catherine reynolds

Ballarat School of Mines Students' Magazine, 1965 Let Stalk Strine, Principal's Page, Diplomas Conferred 1965, Prizes Presented, Ne Pas Classique, "Camping Daze", "The Civilising Influences of Mining", Jigging in Beds, The Srurrile, Man's Neurotic Flaw, Philosophy of Games, The Sporting Pages, School Council, Members of Staff, Roll Call 1965White soft cover with black drawings on front cover, 92 pages including advertisements.ballarat school of mines students' magazine 1965, staff, sports, trevor barnett, gary bunn, roger donaldson, fred evans, ralph fenney, greg hunter, jon mcdonald, malcolm park, geoff pollard, gary roberts, peter smith, john thorne, ian weybury, ratnam nachiappan, michael chung, wayne johnson, e. j. barker, thessalie hannah, noel hooper, david bell, shane carroll, peter thomas johnson, joseph leung chi kin, ronald charles miller, noel william nugent, poh teck chye, robert james strickland, john richard davis, william ralph clarke, gordon alexander johnson, leo gerard rawlings, kevin anthony sculley, garry james titheridge, daniel yung kwan yiu, robert stephen coutts, noel keith hart, michael hutchison, anne veronica moorhouse, douglas alan monro, william robert netherway, antoinette christina walta, david martin pollard, bernard bryan, john edward kavanagh, robert george sampson, pun vun tat, john william jolly, suresh chand, kevin thomas brady, r. h. pyke, helen herde, nick wolff, hencer spocking, john costa, c. n. antonio, j. f. hollioake, j. f. sullivan, k. j. delany, g. w. mcinnes, g. s. hunter, ting pang chew, b. j. keeble, richard chong, ng see yong, goh men tien, r. g. elshaug, b. r. wilson, j. dow, p. donaldson, g. mang, k. kelly, j. gudgeon, j. iredake, c. singleton

North Bendigo Primary School operated from 1873 to 2010 when it amalgamated with Comet Hill Primary to become Lightening Reef Primary School, initially in Nolan Street before moving to a new building in Holmes Road.Digital Photograph of Honour Board from Bendigo North Primary School: Head Teachers and Principals. 1873 - 1879 Thomas Read 1879 - 1886 James Burston 1886 - 1893 Alexander Cook 1894 - 1905 James Robertson 1905 - 1908 Henry Barker 1908 - 1910 Darcy Lear 1911 - 1913 Charles McLean 1913 - 1926 James Houston 1927 George Ranson 1928 - 1938 Herbert Allen 1938 - 1944 Laurence Kennedy 1944 - 1947 Thomas Conroy 1947 - 1948 Laurence Kennedy 1949 - 1959 Donald Campbell 1960 - 1964 Noel Wearne 1965 Arthur Bryant 1966 Peter Ri\utherford 1967 - 1970 Earnest Harkin 1971 - 1977 Reginald Vogele 1978 - 1986 John Goodrich 1987 - 1989 Bryan Barras 1999 Graham Gordon Honour Board in Container 1. Decision to be made re keeping the Honour Board. Yellow Label

“Warranooke” Homestead built 1867 enlarged 1926. Shows extensive gardens at front. A very early property in our district Warranooke The main names associated with the property Ayrey - Darnell - Nicoll, later Campbell. Mrs. Campbell built Charles Ayrey's daughter. The Campbells built up the station buildings. The homestead was virtually rebuilt in brick, making it one of the largest and most elaborate in the East Wimmera. Warranooke homestead built 1867, enlarged 1926 destroyed by fire 13th Feb. 1979. Black and white fish eye photograph of a large brick cement rendered two story home. Home with a tiled hip roof. Cement archways on portico ground floor. Columns on veranda on top floor. Driveway surrounding the house with manicured gardens."Warranooke" Glenorchy. Originated in 1846. Have had the one family owning it for six generations. Nevil Campbell's son Peter now running it and hopefully his small son will later. Two front rooms original rooms of the homestead & the rest has been added, & extended about fifty years ago.glenorchy

PS Pevensey was the last vessel to be built on the Moama slipway in 1910. it was originally built as the barge Mascotte a year earlier. It is powered by a 20hp Marshall and Sons steam engine and was first used on the Murrumbidgee River where it collected wool bales and brought them back to Echuca where they were loaded onto trains and taken to Melbourne for shipping overseas. The PS Pevensey was named after the Pevensey Station on the Murrumbidgee River. In the 1950's it travelled to South Australia where it survived being burnt and sunk but continued to keep working in the agricultural industry. It was sold to the Port of Echuca in 1973 where it was restored over 3 years and is still the largest vessel operating from the Echuca Wharf. In 1982, it was temporarily renamed The Philadelphia, and starred in the TV mini series " All The River's Run" based on the books by Nancy Cato. In 1985 Prince Charles and Lady Diana visited Echuca and cruised on the PS Pevensey, although it was labelled PS Philadelphia for the occasion. It is the largest vessel operating from the Echuca wharf as it can carry 90 passengers or 120 tons of cargo. PS Pevensey is a Murray River paddle steamer from 1910 and was built at Moama in NSW opposite the Port of Echuca. It was one of the largest towing and cargo paddle steamers on the river and was known as "the great Clydesdale" of the river. PS Pevensey remained operating on the river until 1958 after a number of years lying dormant it was purchased in 1973 and restored at Echuca. It began operating again in 1976 and it is still taking trips. it is one of a small number that still operates in its cargo carrying layout and with its original reconditioned engine. Coming back to Echuca PS Pevensey brought Kevin Hutchinson OAM to work at the Port of Echuca for the rest of his life.A side wheeled paddle steamer. Originally built as a barge the barge Mascot in 1910. Rebuilt as the PS Pevensey a year later in 1911.Pevensey sign on the wheelhouse.wool bales, murrumbidgee river, all the rivers run, pevensey station, port of echuca wharf, prince charles and lady diana, the barge mascotte, kevin hutchinson.

Built in 1878, the orange polychromatic brick structure replaced a slab building which had been used since 1951. The building has changed little with its handsome bricks buttressed on both sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also pine. The walls have arched oblong leadlight windows. In 1977 the congregaton decided not to join the Uniting Church, whcih amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground's three public buildings. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p91 The small Presbyterian church in Main Road, Kangaroo Ground, has been a spiritual centre for more than a century. Built in 1878, the orange polychromatic brick structure replaced a rude slab building, which had been used as both a church and school since 1851. Earliest settlers, who were Scottish farmers, had worshipped together since 1841 in a barn owned by farmer James Donaldson and led by a layman called Smith.1 However, from 1843, the Reverend Peter Gunn conducted church services. Prominent early church members include the Donaldson, Bell and Cameron families. In 1851, Samuel Furphy (father of author Joseph) built their first church building, a 30 feet x 18 feet (9m x 5.5m) slab structure on half an acre (0.2ha) donated by Mr Donaldson. Conditions could be very uncomfortable in extreme weather.The green slabs of timber and sapling logs, covered partly with mud, had centimetre-wide cracks, allowing rain and wind through, when not blocked out by folds of paper.2 However this did not deter the first couple marrying there in 1857: John Wilson of Nillumbik and Christina Macpherson of Christmas Hills. The Reverend Peter Gunn seldom visited so it was usually left to Andrew Ross, the settlement’s first teacher and founder of the newspaper The Evelyn Observer, to lead the divine services instead.3 In 1877 the settlers raised £355/19/- and hired architect, Charles Maplestone and builder, Mr Self, to construct today’s church building. Each family rented a pew or pews for ten shillings a half-year; they also paid quarterly subscriptions for the minister’s stipend.4 It was not until 1886 that the church celebrated its first wedding, that of John Bell (junior) from Violet Bank and Elizabeth Charlton of Cunis Nillen. The Sunday School’s first recorded meeting was also held that year. In 1892 a weatherboard vestry was built, and the following year John Bell donated a church bell, which the fire brigade used as a warning for several years. Conditions have varied greatly during the century. In 1893 the Reverend Darroch had to travel more than 2000 miles (3220km) to attend to his scattered parishioners. Then in the Depression, the minister Mr Brown, subsisted only on lodgings with no stipend. The Sunday School ceased for many years because of the small population, but reopened in 1949. The building has changed little with its handmade bricks buttressed on both long sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original and in fine condition. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also of pine. The walls have arched oblong leadlight windows. One window has stained glass commemorating Mrs Jessie Agnes Cameron and her ancestors – the pioneering Bell family. It depicts The Sower because the family comprised farmers who came to a strange land to sow the seeds of their faith as much as their crops. Thistles signify their Scottish ancestry and the pigeons are a symbol of Pigeon Bank, the Kangaroo Ground farming property where Jessie Cameron was born.5 Other historical ties are seen on two marble memorial tablets and carved wooden chairs dedicated to former members. The Church still has the original Bible with gold edged paper, presented by the women of the congregation in 1871, although it is no longer used. In 1977 the Presbyterian congregation decided not to join the Uniting Church, which amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground’s three public buildings.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, kangaroo ground presbyterian church

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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 gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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 gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

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

St Peter's Church was established in 1861 in the school house. In 1864 the question of building a church was seriously discussed. A foundation stone for the church was laid on 16 November 1864 by Bendan S. Hassell. The architect was Charles Davenport Cuthbert; the trustees were Somerville Learmonth, W.P. Whitcombe, Robert Wynne and J.B. McQuie. The church building committee consisted of Horace walker, J.S. Carver, John M. Fisher, Robert Williams, Thomas Gibson, John E. Hodgson and W. Lindisay Richardson. The foundation stone of the Soldier's Chapel was laid on 06 April 1917. The beautiful stained glass in the chapel was donated by Mrs W. Tunbridge and H.C. Curwen-Walker, in memory of their sons who were killed during World War One. In 1929 a new three manual organ by London's Hill, Norman and Beard was installed. It was the first in Ballarat with electro-pneumatic action.White soft covered booklet outlining the first 100 years of St Peter's Anglican Church, Ballarat. The book includes information on each of the ministers until 1961, a programme of the Centenary Celebrations, and black and white photographs of the exterior and interior of the church. Images include the Pittard Memorial Windows, the Crocker Memorial Windows and baptistry, and H.W.H. Adeney.st peter's anglican church ballarat, churches, religion, charles d. cuthbert, stained glass, w. tunbridge, h.c. curwen-walker