Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

If ya don’t mind, umpire?? The ball and the umpire are nowhere in sight as Richmond FC’s greatest goal scorer (and champion ballroom dancer), the always chatty publican, JACK “SKINNY” TITUS (970 goals, 294 games), reaches into his bottomless bag of sneaky tricks, and appears to be infringing Collingwood FC fullback, JACK “SNOZZLE” REGAN! It was a bad day at the office for the Tigers, and for the talkative “Skinny”. He scored six of the Tigers’ 10 goals, but Regan was mentioned in every post-game wrap-up as one of the outstanding players afield. “Snozzle” went on to win the Magpies’ 1936 Best and Fairest trophy by the narrowest of margins, no doubt helped by the votes he received in this game. I’m tipping this is one thing you wouldn’t have heard Skinny yapping about! Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Ernie Ward. Photographer notations on slide: "Richmond v Collingwood football B107" Collingwood v Richmond at Victoria Park 9 May 1936 Attendance: 25,000-30,000 (capacity); Weather: fine with a light breeze from north to south Collingwood had unfurled their 10th Premiership Flag before the game, and also officially opened their fancy new members only club rooms. After the game, the new rooms were to host a soirée on a polished dance floor larger than the one at Collingwood Town Hall (by invitation - members only). Collingwood had beaten Richmond easily in the previous year’s Preliminary Final. Both teams had come off a good Round One victory. The Sporting Press – and, since betting on football was illegal, the SP Bookies – had Richmond as slight favourites. The scene was set for one of the “games of the season”. But, alas, it was not to be. The Magpies ambushed the Tigers from the very first bounce. The Tigers won most of the aerial battles, but the ‘Pies’ small men dominated all over the ground. Collingwood had kicked eight goals straight by quarter-time. By half-time, they had 14 goals and only two behinds. In his 17th season, legendary full forward GORDON “NUTS” COVENTRY (1901-1968) had bagged seven majors by the long break, scoring an eight before the full-time bell. The contest was over by half-time. The Tigers reportedly battled out the second half as the travelling Tiger Army and the Sporting Press had come to expect! But that’s easy to say when a six-goal flogging is also a 36-point drubbing – especially when it’s the hated Collingwood FC handing out the punishment. After the game, Richmond FC were in for a “good hard look at themselves” (this is known as a “rebuild” in 2023), and missed out playing Finals for the first time since 1926. Collingwood were right on their usual track and would go on to win the 1936 Premiership. The normal order of things was restored! Collingwood 16.12.108 defeated Richmond 10.12.72. EPW Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Ernie Ward.Photographer notations on slide: "Richmond v Collingwood football B107".football, 1930-1939

GO THE PUNCH, SHEAHAN, YA LEGEND!!! MAURIE SHEAHAN, 121-game Tiger fullback and member of the “Three Musketeers” Defensive Line, tries to punch the ball, preventing Gordon “Nuts” Coventry from marking and scoring another of his eight goals for the afternoon! In his 17th season, “Nuts” was giving a by now familiar hands-on demonstration of why, 87 years later, the Coventry name should be forever emblazoned behind the Northern goal of Docklands Stadium. Another Musketeer, Richmond’s 12-season, 209-game Life Member, tough KEVIN O’NEILL (left), waits hopefully for any crumbs. DANNY GUINAINE, a rugged Tigers utility player who played 10 seasons and 110 games, is also on the scene. Maurie’s son John played 17 games, and Danny’s son Paddy played 146 games at Punt Road in the 1960s, proving again that Tiger blood will always be thicker than water. Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Ernie Ward.  Photographer notations on slide: "Richmond v Collingwood football B107" Collingwood v Richmond at Victoria Park 9 May 1936 Attendance: 25,000-30,000 (capacity); Weather: fine with a light breeze from north to south Collingwood had unfurled their 10th Premiership Flag before the game, and also officially opened their fancy new members only club rooms. After the game, the new rooms were to host a soirée on a polished dance floor larger than the one at Collingwood Town Hall (by invitation - members only). Collingwood had beaten Richmond easily in the previous year’s Preliminary Final. Both teams had come off a good Round One victory. The Sporting Press – and, since betting on football was illegal, the SP Bookies – had Richmond as slight favourites. The scene was set for one of the “games of the season”. But, alas, it was not to be. The Magpies ambushed the Tigers from the very first bounce. The Tigers won most of the aerial battles, but the ‘Pies’ small men dominated all over the ground. Collingwood had kicked eight goals straight by quarter-time. By half-time, they had 14 goals and only two behinds. In his 17th season, legendary full forward GORDON “NUTS” COVENTRY (1901-1968) had bagged seven majors by the long break, scoring an eight before the full-time bell. The contest was over by half-time. The Tigers reportedly battled out the second half as the travelling Tiger Army and the Sporting Press had come to expect! But that’s easy to say when a six-goal flogging is also a 36-point drubbing – especially when it’s the hated Collingwood FC handing out the punishment. After the game, Richmond FC were in for a “good hard look at themselves” (this is known as a “rebuild” in 2023), and missed out playing Finals for the first time since 1926. Collingwood were right on their usual track and would go on to win the 1936 Premiership. The normal order of things was restored! Collingwood 16.12.108 defeated Richmond 10.12.72.Photographer notations on slide: "Richmond v Collingwood football B107".football, 1930-1939

3480.01 - Sunshine Technical School 1973 House Captains 3480.02 - Sunshine Technical School 1973 Form 1A Back Back Row Robert Wright Alan Townson Grant Sullivan Mario Theophanidies Dominic Parker Keith Hamann Michael Barrow Rocco DiMieri David Siddall Tony Sproule Middle Row Paul Loney Tony Darcy John Dalli Peter Bell Craig Kimpton Manko Rebic John Diquattro Peter Michaelides Roy McClean Front Row Debra Ledgard Anna Piaquadio Toni Hawkins Joanne Arends Jean Clarke Monica Azzopardi Lesley Meale Debra Knight 3480.03 - Sunshine Technical School 1973 Form 1A 3480.04 - Sunshine Technical School 1973 Form 1B Back Back Row Andrew Esposito Moratio Tony Xavier Malcolm Henderson Peter Rohner Stephen Reddie Colin MacPherson Robert Bese Steven Schuliga Middle Row Stellios Ambelas Tommy Johns Drago Recek Andrew Lyons Edward Gauci Darren Holman Leonard Wells Robert Rudd Front Row Leanner Reeve Kerri Oldaker Unknown Karen Fowler Jackie Connolly Kerri Huntley Elspeth Bell Ljilja Jocinovic Doris Attard 3480.05 - Sunshine Technical School 1973 Form 1B 3480.06 - Sunshine Technical School 1973 Form 1C 3480.07 - Sunshine Technical School 1973 Form 1D 3480.08 - Sunshine Technical School 1973 Form 1E 3480.09 - Sunshine Technical School 1973 Form 1F Back Back Row Graham Hilton Tony Tedesco Silvo Camenzuli Andrew Ellis Joseph Talent Bernie Hyett 2nd Row Mary Duhaq Haydn Young Steven Kiss Richard Busutill Emanuel Pulis Mark Spiteri Carmelo Spiteri Sharon Wadley 3rd Row Peter Murphy Unknown Steven Arnott Michael Winch Raymond Vella Peter Webb Mario Abela Front Row Debra Murray Sharon Kaylerr-Thompson Unknown Kaylene Shoobert Beverly Haslett Robin Skelton Kerry Trice Julie Harvey 3480.10 - Sunshine Technical School 1973 Form 1F 3480.11 - Sunshine Technical School 1973 Form 1G 3480.12 - Sunshine Technical School 1973 Form 1H 3480.13 - Sunshine Technical School 1973 Form 2A 3480.14 - Sunshine Technical School 1973 Form 2B 3480.15 - Sunshine Technical School 1973 Form 2C 3480.16 - Sunshine Technical School 1973 Form 2D 3480.17 - Sunshine Technical School 1973 Form 2E 3480.18 - Sunshine Technical School 1973 Form 2F 3480.19 - Sunshine Technical School 1973 Form 2G 3480.20 - Sunshine Technical School 1973 Form 2H 3480.21 - Sunshine Technical School 1973 Form 3AA 3480.22 - Sunshine Technical School 1973 Form 3AB 3480.23 - Sunshine Technical School 1973 Form 3BC 3480.24 - Sunshine Technical School 1973 Form 3CC 3480.25 - Sunshine Technical School 1973 Form 3DD 3480.26 - Sunshine Technical School 1973 Form 3DE 3480.27 - Sunshine Technical School 1973 Form 3EF 3480.28 - Sunshine Technical School 1973 Form 3FF 3480.29 - Sunshine Technical School 1973 Form 3GG 3480.30 - Sunshine Technical School 1973 Form 3GH 3480.31 - Sunshine Technical School 1973 Form 5A 3480.32 - Sunshine Technical School 1973 Form 4A 3480.33 - Sunshine Technical School 1973 Form 4B 3480.34 - Sunshine Technical School 1973 Form 4C 3480.35 - Sunshine Technical School 1973 Form 4D 3480.36 - Sunshine Technical School 1973 Form 4E 3480.37 - Sunshine Technical School 1973 Form 5B 3480.38 - Sunshine Technical School 1973 Form 5Csunshine technical school, technical school, class photographs

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 St John’s Anglican Church stands like a beacon on the hill on Main Street, Diamond Creek. Today the church has a large congregation, but its early years were marked by a small congregation struggling to find enough money to survive. It was gold in Diamond Creek that resulted in the building of this National Trust registered property.1 This church is far removed from William Wilson’s humble barn (later the Bowling Green) where the first Anglican church services were conducted – probably the first in the district.2 In the mid 19th century services were infrequent as the Rev Francis Hales, travelling on horseback, also conducted services elsewhere, including at Heidelberg, Coburg, Kinglake, Arthurs Creek, St Andrews and Kangaroo Ground. In 1860 Diamond Creek came under the jurisdiction of the Eltham Parish. Until the mid 1860s the Diamond Creek settlement included only about 20 families who were struggling farmers. But this changed when gold was found in 1862. Then the township grew to 200 families, including miners, civil administration workers and shopkeepers. The resulting growth of Church of England adherents prompted them to petition the Government in 1866 for land to build a church. The area chosen, on which the original building still stands, was at the centre of the proposed township. Today church leaders believe that this conspicuous location is one of the reasons for its exceptional growth. Prominent architect Charles Maplestone designed the building as he did the Presbyterian Church at Kangaroo Ground. St John’s, which is still intact, was built in the Gothic Revival style with the traditional rectangular plan of a central nave and sanctuary at the end. It is typical of small churches built in Victoria at that time, with polychromatic hand-made bricks, a porch, diagonal buttresses and a slate roof.3 The church was officially opened by Lord Bishop Perry on November 1, 1870. But during the next 40 years, due to the varying fortunes of gold mining, the church struggled to remain viable. In 1909 it separated from the Eltham Parish to form a parish with Greensborough. Life became more difficult with the privations of World War One. Then disaster struck in 1915 when fire destroyed the Diamond Creek Gold Mine, wiping out the major livelihood of most parishioners. However the church’s morale was lifted in 1916, when it received a bequest to build the red brick hall, from late parishioner and prominent leather manufacturer, George Pizzey. As prosperity grew, in 1924 the congregation separated from Greensborough, but they rejoined in the 1930s Depression. In the 1950s the wider population soared, impacting on St John’s, and it became a separate parish, becoming responsible for six churches at St Andrews, Hazel Glen, Hurstbridge, St Helena and Yarrambat. As parishioner numbers outgrew the building, extensions were added in 1989 and then in 1993, blending in well with the original building. Church members have made a huge contribution to the local community. John Ryan was a Heidelberg Shire Councillor for 25 years from 1931, Mayor in 1939 and headed several local sporting and other organisations. His son Jock became a clergyman and a local historian heading the Nillumbik Historical Society. Another parishioner, Dr Ted Cordner, came to Diamond Creek in 1920. One of his sons Donald, who was a local doctor, won the Brownlow Medal, was President of the Melbourne Cricket Club and President of the Melbourne Grammar School Council. Roy ‘Monty’ Vale was a state Liberal MP and was related to May Vale, a member of the Heidelberg School of Artists.4 In the early 21st century St John’s Anglican Church is one of the fastest growing congregations in Melbourne. References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican 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, st john's anglican church, diamond creek

This photograph records the interior of St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St. Nicholas Seamen's Church collection. HISTORY of the Missions to Seamen: - DETAILED HISTORY of the Missions to Seamen: - The Missions to Seamen is an Anglican (Church of England) charity that has served the world’s seafarers since 1856. It was inspired by the work of Rev. John Ashley, who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired, others continued the work, founding the Missions to Seamen. It adopted a Flying Angel as its symbol, inspired by a verse from the Bible in Revelation 14. Today, over 200 world ports have Missions to Seamen centres and chaplains. A Missions to Seamen’s Club warmly welcomes sailors of all colours, creeds and races and provides a wide range of facilities. The Missions to Seamen organisation changed its name to the Mission to Seafarers in 2000, continuing to include Missions to Seamen clubs in Victoria’s cities of Melbourne, Portland, Geelong and Hastings. Flagstaff Hill’s St Nicholas’ Seamen’s Church is named after its namesake from Williamstown, Victoria, which began in 1857. Bishop Perry opened the first Sailors’ Church there, known as ‘Bethel’, on an old hulk floating in Hobson’s Bay, Port of Melbourne. In 1860, a Sailors’ Rest started operating from rented premises in Williamstown. In 1878, the Sailors’ Church moved into an old Wesleyan chapel in Ann Street. By the end of that year, they managed to purchase the building, which they had already refurbished. In 1883, they affiliated with the Victorian Seamen’s Mission. A few years later, in 1906, the building had to be demolished because it was no longer safe. While they raised funds for a new building, the Sailors’ Rest temporarily moved to premises in front of Customs House in Nelson Place. Around this time, in 1906, the Ladies Harbour Lights Guild was formed in Australia to support and raise funds for the Mission to Seamen organisation in Melbourne. Two of the most significant ladies of the Guild were founding members Ethel Godfrey and Alice Sibthorpe. During the Mission's time at Siddeley Street, Melbourne, the activities of the Guild raised funds for the Mission to Seamen's Chapel at their new, and still current, premises in Flinders Street, Melbourne, opened in 1917. The Guild continued its important work until the 1960s. In 1908, the Williamstown Mission had enough money to purchase the former Mascotte skating rink on Thompson Street, Williamstown. In August of that year, they were inaugurated into the Victorian Missions to Seamen. They continued at that venue for a few decades. In 1943, the former ES&A Bank building at 139 Nelson Place, Williamstown, was purchased to become the new Mission to Seamen’s Club. On May 6th, 1944, it was officially opened, described as a ‘distinctive little building’. Funds had previously been raised for the building and furnishing of the chapel at the rear. The chapel was named St Nicholas’ Seamen’s Church, after St Nicholas, fourth-century bishop and patron saint of sailors. Services were held on Wednesdays and Sundays. The church was supported by the Williamstown Lightkeepers’ Auxiliary, newly founded by Mrs Ethel Margaret Musther in 1943, as well as the Harbour Lights Guild and the League of Soldiers’ and Sailors’ Friends. The Williamstown Mission to Seamen’s Church operated until 1966, when large international ships no longer used the Port of Williamstown. The Commonwealth Government then leased the premises. In the formative years of Flagstaff Hill Maritime Village, the Advisory Board decided to include a Missions to Seamen Chapel and Recreation Room in its village. The Missions organisation was a significant feature of ports during the late 1800s and early 1900s, the period that the Village represents. They often erected Missions to house social and worshipful activities for seamen. Flagstaff Hill’s curator, Mr Ken Marshman, approached the Melbourne Board of Management of Missions to Seamen regarding the Williamstown branch. Consequently, the Board permitted the furnishings of the Williamstown chapel to be transferred to Flagstaff Hill Maritime Village. A provision of the transfer was that the Victoria Missions to Seamen be recognised, that the items would remain as a collection, and that the chapel would be called St Nicholas Seamen’s Church and conduct Divine services. The donation was approved on 21st May 1979. Flagstaff Hill's St. Nicholas Seamen's Church: - The idea behind Flagstaff Hill’s Missions to Seamen’s Church was partly driven by the offer of Stained Glass Memorial Windows that originated from the Warrnambool and District Base Hospital, which was undergoing multi-storey expansion in the late 1960s and early 1970s. The hospital’s Manager/Secretary was eager to see the historic window installed in a suitable place. The church, or chapel, was designed by a local architectural draftsman in collaboration with the Flagstaff Hill Planning Board and was constructed by Mr Leon Habel. The designers hoped that the church would be used for formal worship such as weddings, funerals, and multi-denominational special services like war commemorations. The design is inspired by the ‘Missions to Seamen’ buildings in Portland and the Port of Melbourne. The furniture and furnishings were placed as accurately as possible according to photographs of the Williamstown St Nicholas Seamen’s Church and with assistance from local clergy. The Recreation Room was furnished and arranged on advice from experienced members of the Missions to Seamen organisation. A framed document in the building recognises the donor of the furnishings, Victoria Missions to Seamen, and includes the names of some original donors and their donated item/s. The building’s design incorporates local features such as Warrnambool sandstone, which was no longer commercially available but was procured from demolished buildings and uniformly cut to use as a veneer over the stronger Mt. Gambier stone. Also, traditional green American roofing slate was used, sourced from the 1908 local shipwreck “Falls of Halladale” by Flagstaff Hill volunteer divers. The bell tower includes a bell believed to be from a local shipwreck. Additional furnishings were acquired locally, along with several items donated by Warrnambool residents. Light fittings in both rooms were assembled to simulate 19th-century gas light fittings. The stained-glass window at the back of the church is a memorial to Dr Connell, a well-respected member of the Warrnambool community. It was originally installed in 1928 in the main building of Warrnambool Hospital. The St Nicholas’ Seamen’s Church at Flagstaff Hill was officially opened by His Worship the Mayor, Cr. John Lindsay, on Sunday, 11th October 1981. The event included a service of thanksgiving conducted by the Warrnambool Ministers Fraternal. Since then, the Chapel has been the historic venue for many weddings. This photograph is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The building in the photograph is the former English, Scottish and Australian Bank (ES&A bank), also known as the Mission to Seamen. It is listed on the Victorian Heritage Database for having local historic and aesthetic interest. Photograph of St Nicholas Seamen's Church, Williamstown. Sepia photograph. The photograph shows the inside of the Chapel of Mission to Seamen, including organ, pews and other furniture and furnishings. There is a circular stained glass window high on the back wall depicting a sailor at the helm of a ship and a man standing behind him and pointing the way - "Christ Showing The Helmsman The Way". A Sanctuary Light is suspended from the ceiling. The Sanctuary chars are visible. This shows the St Nicholas Seamen's Church in Williamstown, the furnishings and furniture of which is now part of the St Nicholas Seamen's Church Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, chapel window, christ showing the helmsman the way, stained glass window, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild

Set of 11 Kodachrome transparencies taken on 23/10/1965 in Melbourne. 1178.1 - W7 1020 (on route 9A, Northcote via St Georges Road) with a W2 536 (Deepdene) behind at the corner of Victoria Parade and Brunswick St. East Melbourne or Fitzroy. Has Eastern Hill fire station and ICI building in background. 1020 has front dash panel ads for Queens Bridge Motors and Bridgestone tyres. 1178.2 - W5 759 (route 19, North Coburg) and W5 807 in Elizabeth St. Melbourne at the intersection of Bourke St. with the State Savings Bank building in the background. 759 has side ads, one of which is for CASTROL. 1178.3 -SW6 903 crossing Brunswick St. in Victoria Parade, Fitzroy bound for Deepdene, route 45. Photo taken after tram has passed photographer. 1178.4 - W7 1019 (route 96, East Brunswick Blyth St.) and W7 1010 (route 88 East Preston) in Nicholson St at intersection with Victoria Parade. A Herald newspaper truck is alongside 1019. 1178.5 - W7 1040 (route 96, East Brunswick Blyth St.) in Nicholson St at intersection with Albert St. Has Princess Theatre in the background. (High res scan added 26/10/2008 - copy to FOHTD) .1178.6 - W6 974 (route 89 East Preston Bell St.) in Bourke St. about to turn into Spring St. Has buildings on the south side of Bourke St in background, including Southern Cross Hotel. Note trees in tubs and red phone box by Windsor Hotel. 1178.7 - as for same location as 1178.6 - SW6 967 (route 96) and W6 971 (inbound - route 90 - City Spencer St.) 967 has Lucas ad on front dash. 1178.8 - W7 1013 (route 88 East Preston) photographed from W6 991 in Bourke St at corner of Russell St. Has Normans corner store, Treadways and Foys in background. 1178.9 - W2 553 (route 1 East Coburg) at the corner of Elizabeth St and Bourke St. Has the Leviathan, Roger David and Ezywalkin shops in the background. 1178.10 - W6 991 (route 88) and W7 (route 96) in Bourke St. at corner with Elizabeth St. Photo taken from the GPO steps. 991 has ads for BIC pens and CASTROL. In background are the State Savings Bank, Halls Books and McEwans shops. 1178.11 - Line up of north bound trams (3 +) lead by W2 449and southbound in Elizabeth St at corner of Collins St. Has Flinders St. station building in the background. Hi -res image of .10 added 22-12-2018All have date stamp of "23 Oct 1965" in purple ink. All black ink unless otherwise noted. 1178.1 - "W7 1020 turning into Brunswick St. from Victoria parade, East Melbourne (followed by W2 536) 1178.2 - "W5 799 and 807 in Elizabeth St. Melbourne at cnr. of Bourke St." 1178.3 - "SW6 903 entering reserved track in Victoria Parade, East Melbourne" 1178.4 - "W7 1019 and 1010 in Nicholson St. East Melbourne at Victoria Pde intersection" 1178.5 - "W7 1040 Melbourne's last tram (to date) in Nicholson St. at Albert St. intersection." 1178.6 - "W6 974 in Bourke St. Melbourne, about to turn into Spring St." 1178.7 - "W6 971 entering Bourke St. from Spring St. Melbourne, passes SW6 967 outward bound for East Brunswick" 1178.8 - "W7 1013 (seen from W6 991) in Bourke St. Melbourne crossing Russell St." 1178. 9 -"W2 553 in Elizabeth St. Melbourne at cnr of Bourke St." 1178.10 - "W6 991 and W7 1005 in Bourke St. Melbourne at cnr of Elizabeth St." 1178.11 - "W2 449 leads a line of Peak hour cars along Elizabeth St. Melbourne (at Collins St. corner)"tramways, trams, melbourne, victoria parade, nicholson st., brunswick st., bourke st, elizabeth st, tram 1020, tram 536, tram 799, tram 807, tram 903, tram 1019, tram 1010, tram 1040, tram 974, tram 967, tram 971, tram 1013, tram 553, tram 991, tram 1005, tram 449

2467.1 - Vol. 4 No. 2, February 1949 of "Tram Tracks - The Electric Traction Monthly" of the Australian Electric Traction Association. Magazine consists of 16 printed pages with a 12 page supplement titled "Fifty Questions and Answers about trams in Australia". Has a single staple on the saddle. Incorporated within the magazine are articles or editorials on Tramways and Tramway Experts (Sydney and bus replacement), Interurban to St Kilda (conversion of VR St. Kilda line). General news items on Brisbane, Geelong, Launceston closure, Hobart, Bourke St routes, Perth, Adelaide, NSW, Christchurch, Overseas tramways and railways. Also has letters to the Editor, plans of a Birney tram for model makers and AETA Notes. Issue has advertisements for the Model Dockyard, ARLHS, The Hobby Shop, Barnes Tennis Centre, Fleet, Christie Model Railway Equipment of Sydney, Meadmore Model Engineering, Austral Bronze, Wattle Park, Traction Publications and Robilt "O" gauge locomotives. 2467.2 - Vol 4, No. 5 - May 1949 - 20 pages - red cover, 4th year, article by Peter Duckett with photos of Board members, "PCC Trucks here", MMTB advert for staff, news from Sydney, Newcastle, Melbourne (applications for new Chairman to replace Mr. Bell), Bendigo, Perth, Christchurch, Wellington, Wanganui, Bourke St construction work (photo of poles), Brisbane tramway history, map of CBD Melbourne, Melbourne and Sydney suburban railways, AETA News. 2467.3 - Vol 4, No. 6 - June 1949 - 16 pages - green pages, tramways and private cats, news from Sydney, Newcastle, Melbourne, Launceston, Hobart, article "Scrap Sydney Tams by 1960 - Newcastle this years say London experts", buses tackle football crowds (Sydney), Fremantle (Wal Jack letter), and Melbourne and Sydney suburban railways, AETA News. 2467.4 - Vol 4, No. 7 - July 1949 - 16 pages - tramways and the public, news from Sydney, Newcastle, Melbourne, appointment of R. Risson as new chairman, Perth, Adelaide, Launceston, tramcar solenoid brakes, National City Lines USA, and Melbourne and Sydney suburban railways, AETA News. 2467.5 - Vol 4, No. 8 - August 1949 - 8 pages - tramways and politics, photo of new points for Latrobe and William Sts, East Hills Line by C. C. Singleton, general tramway news, and advertisement for Robilt model railways. .2 to .4 added 15-2-2016 from the collection of Ian Stanley. .5 added 24-3-18 - from consolidation of Melbourne Tram Museum and BTM collections)trams, tramways, electric traction, aeta, australian tramways, mmtb, pcc, closure, sydney, newcastle, brisbane

Set of 13 Metropolitan Transit Tram timetables, folded sheets, 8 to 10 sections, providing timetables for specific routes, day of week giving information on tram times at specific time points, route map, sections and fares and Transport Information Centre telephone number. All printed on yellow paper. .1 - Route 64 (65 via William St), 62 and 61 - dated January 1984. .2 - Route 3 (Darling Road via Swanston St) with route 377 bus on Sundays via Batman Ave. - July 1984 .3 - Route 5 - Malvern Burke Road - City - July 1984. Cover was printed showing route 35 via William St, but has been crossed out in pencil. .4 - Route 6 (Glen Iris - City) and Route 7 (Malvern Town Hall) - July 1984. Cover was printed showing route 36 via William St, but has been crossed out in pencil. .5 - Route 8 - Toorak - City - June 1984. Cover was printed showing route 38 via William St, but has been crossed out in pencil. .6 - Route 10 and 11 West Preston via Collins St and Route 13 via Latrobe St - March 1985. .7 - Route 10 and 12 - South Melbourne and St Kilda Beach - City (Brunswick St) via Collins St and route 17 - Park and Clarendon Sts. - Sept 1984 .8 - Route 15 and 22 - Moreland to City, July 1983 .9 - Route 15, 16 and 55 - St Kilda Beach to City via Swanston St - July 1983. Cover was printed showing route 53 via William St, but has been crossed out in pencil. .10 - Route 19 (Coburg), 18 (Brunswick) and 20 (Bell St) - City - August 1984 .11 - Routes 59 (Airport West), 49 (Niddrie), 52 (Bulla Road), 51 (Essendon Station) and 81 (Essendon Depot) - April 1985. .12 - Route 69 - Kew Cotham Road to St Kilda Beach - Sept. 1984 .13 - Route 72 (Camberwell - City), 32 via William St and route 73 (Camberwell Junction) - August 1984. .14 - Route 1 and 21 - East Coburg - City - August 1983. Full Image of .10 added 9/4/17 following a query about route 19 timetables - see image i6trams, tramways, the met, timetables, melbourne, latrobe st, la trobe st, mta, buses, route 64, route 65, route 3, route 5, route 6, route 8, route 10, route 11, route 12, route 13, route 17, route 15, route 22, route 16, route 55, route 19, route 18, route 20, route 59, route 49, route 52, route 51, route 81, route 69, route 72, route 32, route 73, route 1, route 21

Ray Beer was an employee of the Central Deborah Gold Mine. February 15th 2009: Bendigo Advertiser: 'MINING stalwart Raymond Beer has died at the age of 74 after a battle with cancer. He leaves behind an extended family and a legacy in Bendigo’s mining history. Ray was mine manager at the Central Deborah Gold Mine - appointed in 1978 - and led the team that made possible the underground project at the second level. He had a vision to allow visitors to go underground and experience Bendigo’s mining heritage first hand. Ray was responsible for developing the new battery, shaft and poppet head to make this a reality. It took persistence and lots of hard work. Friend and work colleague Bill McNamara said Ray was as good as 10 men. His enthusiasm and work ethic were unprecedented. Ray will be sadly missed by his wife, Thelma, six children, 15 grandchildren, seven brothers, three sisters, his extended family, and friends. He will be remembered for his kindness, tenacity and strength of character. In recognition of his contribution to Bendigo’s mining history, after more than 20 years of service at his retirement, a bronze life-sized statue was unveiled in his honour'. Central Deborah Gold Mine history: At its peak, Central Deborah Gold Mine reached a depth of 412 metres. It has 17 separate levels and 15 kilometres of drives and cross cuts (tunnels). The Central Deborah was very much a hands-on mine and the conditions that the miners worked in would be considered shocking by today's standards – being lowered underground in a cage with only two sides, often working ankle to knee deep in water, filling up to 32 ore trucks a shift by hand which were then pushed a mile or more along rails in the drives, working by carbide lamp, breathing in the fumes and rock dust and communication by bells. Geez, they were ironmen. However, at the time working conditions were considered to be among the best on the goldfields at Central Deborah, after all it was one of the only mines that had hot showers. Following Central Deborah Gold Mine's closure, the Bendigo skyline began to noticeably change. Obvious remnants of mining such as poppet heads, engine rooms, service quarters, battery houses and chimneys were steadily disappearing. After intense lobbying by the local community, the Bendigo City Council purchased the still very much intact Central Deborah Gold Mine in 1970 for a mere $6,000 to ensure that a vital link to Bendigo's historic golden past was maintained. The Bendigo Trust was then formed to oversee the operations of the Central Deborah Gold Mine, which led to the surface of the mine being opened to the public in 1971. Initially the surface was open for just 12 hours a week and as the demand for viewing a part of Bendigo's history increased, so did the opening hours. In 1974 the mine was gazetted as a Public Historical Purposes Reserve and attracted such visitors as H.R.H Prince Charles. By far the greatest shortcoming at this stage was that no one could view the underground workings, as these had become flooded. After what could only be described as a monumental effort by everyone involved, Level 2 of the mine was officially opened to the public by the Premier of Victoria, the Honourable John Cain, on 20 June 1986, which brought to fruition a long standing dream.Black and white photograph. Ray Beer, underground at Central Deborah Gold Mine, standing alongside wooden sign 'Murrell's Corner'. Sign is placed horizontally on timber supports, side of drive visible in background. Ray is wearing bib and brace overalls and hard hat with a belt around his waist. He is giving a 'thumbs up' sign. gold mining, central deborah gold mine, ray beer, mine manager

Langlands Company History: Langlands foundry was Melbourne's first foundry and iron shipbuilder established in 1842, only 8 years after the founding of the Victorian colony by two Scottish immigrants, Robert Langlands and Thomas Fulton, who had formed a partnership before emigrating (1813–1859). The business was known as the 'Langlands Foundry Co'. Henry Langlands (1794-1863), left Scotland in 1846 with his wife Christian, née Thoms, and five surviving children to join his brother Robert. By the time he arrived in early January of 1847 the partnership of Robert Langlands and Fulton had dissolved as Fulton had gone off to establish his own works. It was at this time that the two brothers took over ownership of Langlands foundry. Several years later Robert retired and Henry became sole the proprietor. The foundry was originally located on Flinders Lane between King and Spencer streets. Their sole machine tool, when they commenced as a business, was a small slide rest lathe turned by foot. In about 1865 they moved to the south side of the Yarra River, to the Yarra bank near the Spencer Street Bridge and then in about 1886 they moved to Grant Street, South Melbourne. The works employed as many as 350 workers manufacturing a wide range of marine, mining, civil engineering, railway and general manufacturing components including engines and boilers. The foundry prospered despite high wages and the lack of raw materials. It became known for high-quality products that competed successfully with any imported articles. By the time Henry retired, the foundry was one of the largest employers in Victoria and was responsible for casting the first bell and lamp-posts in the colony. The business was carried on by his sons after Henry's death. The company was responsible for fabricating the boiler for the first railway locomotive to operate in Australia, built-in 1854 by Robertson, Martin & Smith for the Melbourne and Hobson's Bay Railway Company. Also in the 1860s, they commenced manufacture of cast iron pipes for the Board of Works, which was then laying the first reticulated water supply system in Melbourne. Langlands was well known for its gold mining equipment, being the first company in Victoria to take up the manufacture of mining machinery, and it played an important role in equipping Victoria's and Australia's first mineral boom in the 1850s and 1860s. Langlands Foundry was an incubator for several engineers including Herbert Austin (1866–1941) who worked as a fitter at Langlands and went on to work on the Wolesely Shearing machine. He also founded the Austin Motor Company in 1905. Around the 1890s Langlands Foundry Co. declined and was bought up by the Austral Otis Co. in about 1893. History for Grimoldi: John Baptist Grimoldi was born in London UK. His Father was Domeneck Grimoldi, who was born in Amsterdam with an Italian Father and Dutch mother. Domeneck was also a scientific instrument maker. John B Grimoldi had served his apprenticeship to his older brother Henry Grimoldi in Brooke Street, Holburn, London and had emigrated from England to Australia to start his own meteorological and scientific instrument makers business at 81 Queens St Melbourne. He operated his business in 1862 until 1883 when it was brought by William Samuel and Charles Frederick, also well known scientific instrument makers who had emigrated to Melbourne in 1875. John Grimoldi became successful and made a number of high quality measuring instruments for the Meteorological Observatory in Melbourne. The barometer was installed at Warrnambool's old jetty and then the Breakwater as part of the Victorian Government's insistence that barometers be placed at all major Victorian ports. This coastal barometer is representative of barometers that were installed through this government scheme that began in 1866. The collecting of meteorological data was an important aspect of the Melbourne Observatory's work from its inception. Just as astronomy had an important practical role to play in navigation, timekeeping and surveying, so the meteorological service provided up to date weather information and forecasts that were essential for shipping and agriculture. As a result, instruments made by the early instrument makers of Australia was of significant importance to the development and safe trading of companies operating during the Victorian colonies early days. The provenance of this artefact is well documented and demonstrates, in particular, the importance of the barometer to the local fishermen and mariners of Warrnambool. This barometer is historically significant for its association with Langlands’ Foundry which pioneered technology in the developing colony by establishing the first ironworks in Melbourne founded in 1842. Also, it is significant for its connection to John B Grimoldi who made the barometer and thermometer housed in the cast iron case. Grimoldi, a successful meteorological and scientific instrument maker, arrived in the colony from England and established his business in 1862 becoming an instrument maker to the Melbourne Observatory. Additional significance is its completeness and for its rarity, as it is believed to be one of only two extant barometers of this type and in 1986 it was moved to Flagstaff Hill Maritime Village as part of its museum collection. Coast Barometer No. 8 is a tall, red painted cast iron pillar containing a vertical combined barometer and thermometer. Half way down in the cast iron framed glass door is a keyhole. Inside is a wooden case containing a mercury barometer at the top with a thermometer attached underneath, each with a separate glass window and a silver coloured metal backing plate. Just below the barometer, on the right-hand side, is a brass disc with a hole for a gauge key in the centre. The barometer has a silvered tin backing plate with a scale, in inches, of "27 to 31" on the right side and includes a Vernier with finer markings, which is set by turning the gauge key. The thermometer has a silvered tin backing plate with a scale on the left side of "30 to 140". Each of the scales has markings showing the units between the numbers.Inscription at the top front of the pillar reads "COAST BAROMETER" Inscribed on the bottom of the pillar is "No 8". and "LANGLANDS BROS & CO ENGINEERS MELBOURNE " The barometer backing plate is inscribed "COAST BAROMETER NO. 8, VICTORIA" and printed on the left of the scale, has "J GRIMOLDI" on the top and left of the scale, inscribed "Maker, MELBOURNE". There is an inscription on the bottom right-hand side of the thermometer scale, just above the 30 mark "FREEZING" Etched into the timber inside the case are the Roman numerals "VIII" (the number 8)flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, warrnambool breakwater, coast barometer, coastal barometer, barometer, weather warning, ports and harbours, fishery barometer, sea coast barometer, austral otis co, coast barometer no. 8, henry grimoldi, henry langlands, john baptist grimoldi, langlands foundry co, meteorological instrument maker, robert langlands, scientific instrument maker, thermometer, thomas fulton

In an article dated 26 March 1963, the Warrnambool Standard reported: “A cannon which has lain on the ocean floor since the barque, Children, was wrecked at Childer’s Cove on January 15, 1839, was raised by three Warrnambool skindivers at the weekend … The cannon, weighing about 750 lb. and 4-ft. 6-in. in length … is in excellent order considering the length of time it has remained underwater”. No conservation measures were taken at that time, other than chipping off the marine growth with hammers and cold chisels. The minutes for the 4 February 1974 meeting of the Flagstaff Hill Planning Board recorded that “a cannon recovered some time ago was lying in the garden of [one of the three original divers] and that it could be picked up at any time”. Peter Ronald, past Manager and Diver for Flagstaff Hill, notes that the CHILDREN cannon would have been recovered by the other divers around 1964. When the cannon came into care of Flagstaff Hill, it was given basic conservation relevant to the time. (At the same meeting, the Board was advised of the recovery of an anchor from the wreck of the CHILDREN by Flagstaff Hill divers (Peter Ronald, Colin Goodall and Gary Hayden, and Hank Howey and Andrew Coffee), and its interim relocation in the sea at the end of the Warrnambool Breakwater while awaiting conservation). About the ship CHILDREN 1825-1839: The sailing ship Children was a wooden, three-masted barque constructed of pitch pine in 1825 at Liverpool. It was felt sheathed and was coppered during an upgrade in 1837. The ship was only 29 metres long and 254 tons in weight; it had two decks and a square stern. The James Henty & Co., a pioneering family from Portland, Victoria, purchased the Children in 1837 for use as a coastal trader. The Children, under the command of Captain H. Browne, was on a voyage from Launceston to Adelaide when it foundered in rough conditions at Childers Cove, west of Peterborough, on 14 January 1839. On board were 14 crew members and 24 passengers, including 9 children. The ship’s cargo was awkwardly balanced: it carried 1500 sheep, 8 bullocks, 7 horses, 5000 London house bricks, 6 whaling boats with associated gear, and general trade goods including beef, pork, tobacco, tipe, butter, lime juice, horse hair, curtains, lead shot, beer and spirits. The hurricane-force winds drove the Children into the limestone stack at the entrance to the cove. The seas smashed it into pieces within twenty minutes. The bodies of sixteen of those who had lost their lives were spread across the shore, along with wreckage from the ship and the cargo of animals. Those who survived suffered injuries; they were rescued and taken by horse and cart to Campbell’s farm, near the whaling station at Port Fairy. They arrived at Portland eleven days after the wreck. The wrecking of the Children is one of colonial Victoria’s earliest and most significant maritime disasters. Little is left to mark the tragedy, apart from some house bricks intended for the Henty family’s Portland Bay settlement. Artefacts recovered in the 1960s to early 1970s include this signal cannon, an anchor, the bottom half of her ship’s bell, and two portions of a ship’s fitting, at one time thought to be a brass porthole frame, London housing bricks and timber flooring. Despite its poor condition, the CHILDREN’s signal cannon remains an important and interpretable record of its demise. From 2015, the CHILDREN cannon has been undergoing the first stages of further conservation.The signal cannon recovered from the Children's wreck is significant as part of the original fittings of the early 19th-century barque. It is an example of maritime defence in the early to mid-19th century. The 1839 wreck and recovered artefacts are examples of the construction methods and materials used in that era and can be used to study the evolution of shipbuilding methods and principles. The wreck of the Children is of state significance as one of colonial Victoria’s earliest and most significant maritime disasters, and one of the first vessels lost in the Western District. This is recognised by its inclusion on the Victorian Heritage Register, VHR No. S116. Little is left on the seabed to mark the tragedy, apart from some of the house bricks intended for the Henty settlement. Signal cannon: a 1.3 metre iron 6pdr cannon recovered from the wreck of the CHILDREN. The shape of the cannon tapers from a thick round breech to a flared muzzle, with an 8-centimetre bore, and two side trunnions for pivoting on a wooden gun carriage. It was recovered from the shipwreck site of the CHILDREN by local divers in 1963. This small muzzle-loading signal cannon is in poor and unrestored condition. The cannon’s upper profile of smooth grey metal casing has corroded off, leaving an extensively oxidised rough red surface of crumbling iron. The bottom half of the cannon remains intact, although the outer smooth casing also appears to be separating from the iron core of the barrel. The original grey casting is also missing from the breech and muzzle ends of the cannon. Corrosion and spalling of the upper surface layer of the cannon have removed the maker’s marks and specificationsflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwreck artefact, children, barque, three-masted, liverpool, childer’s cove, port campbell, 1839 shipwreck, 1939 wreck, james henty and co, henty brothers, captain h. browne, first mate t. gay, second mate w. wentworth, portland, portland bay, 1939, ship’s cannon, signal cannon, conservation of marine artefacts, 6pdr small bore cannon, defence

The Port of Warrnambool - In the early years the Port of Warrnambool was a busy port. Steamships and sailing ships were frequent visitors to the port. Steam navigation companies were plentiful, carrying passengers and freighting cargo such as coal, timber, food, livestock, furniture, hardware and haberdashery between Melbourne and the ports along the southwest coast of Victoria, including Warrnambool. The carts would take their loads into the township for distribution. The Breakwater was built (using 32 ton blocks of concrete) between 1874 and 1890 to provide ships with greater protection from the Southern Ocean. The Lifeboat and Rocket House - The coastline of South West Victoria has had over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it, followed in 1864 by a rocket house to safely store the Rocket Rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost one hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain and improve their skills, summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid 1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque "Fiji" at "Wrecks Beach" near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95. Valentine Publishing Company Pty. Ltd. Valentine and Sons was a printing and photography business based in Dundee, Scotland and Canada. In the early 1900's, at the height of the postcard craze, they published large numbers of postcards in the U.K., Canada, U.S., Australia and South Africa. Valentine postcards have a 6 digit serial number on the view side with the initials "J. V." in a circle adjacent to the number. The 300,000's related to views of Australia. From around 1900 (or earlier) the firm bought many images for their postcards from local and national photographers who sold publishing rights to Valentines.This postcard is significant for its association with the Port of Warrnambool and the Warrnambool Breakwater as it shows a point in time when shipping activities were an important part of Warrnambool's commerce and social development. It is also a record of the Warrnambool Lifeboat and Rocket house which was important in aiding ordinary citizens, harbour employees and the volunteer boat and rescue crew in saving the lives of sailors and passengers due to the high number of shipwrecks that occurred along the coastline. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. It is also a culturally significant example of the type of postcards that were very popular in the early part of the 20th century.Photograph of breakwater from beachFront of card - Breakwater, Warrnambool / 300,025 J.V [in a circle] Back of card - POSTCARD / VALENTINE'S SERIES / - This space may be used for communication / The address only to be written here - Miss Alice Griffen / Howard St / Warrnambool - How are you enjoying your holiday we are grand. / from / Dodo, Dodo, Dodo with love - Leura? / Marjory Craig? / BL006 / R99A / REG NO 2169flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, photograph, warrnambool breakwater, breakwater, shipwreck-coast, flagstaff-hill-maritime-village, warrnambool harbour, postcard, joseph jordan, valentine and sons, valentine publishing company, lady bay, life boat house, rocket house, steam ship, barque, jordan photography

Tiger Goal-Sneak snags third major DICK HARRIS (548 goals, 5th highest Richmond FC of all time, 196 games) scores a trademark goal from the forward pocket, despite the attentions of JACK REGAN (future fullback on Collingwood Team of the Century). A future Richmond FC Hall of Famer, Harris, described by teammate Jack “Captain Blood” Dyer as the “toughest little player I have ever seen”, is ably assisted by Tiger followers, baker DAVE BASSETT (46 games in 3 seasons until forced to retire with a back injury), and fireman BERT FOSTER (133 games,12 seasons, died on duty in 1941). Accompanying our photograph is a series of five sequential images taken by The Globe High Speed Camera of the same on-field action from the same location. These images appeared four days later on the front page of the midweek Melbourne Sporting Globe (photographer unknown). Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Ernie Ward. Photographer notations on slide: "Richmond v Collingwood football B107" Collingwood v Richmond at Victoria Park 9 May 1936 Attendance: 25,000-30,000 (capacity); Weather: fine with a light breeze from north to south Collingwood had unfurled their 10th Premiership Flag before the game, and also officially opened their fancy new members only club rooms. After the game, the new rooms were to host a soirée on a polished dance floor larger than the one at Collingwood Town Hall (by invitation - members only). Collingwood had beaten Richmond easily in the previous year’s Preliminary Final. Both teams had come off a good Round One victory. The Sporting Press – and, since betting on football was illegal, the SP Bookies – had Richmond as slight favourites. The scene was set for one of the “games of the season”. But, alas, it was not to be. The Magpies ambushed the Tigers from the very first bounce. The Tigers won most of the aerial battles, but the ‘Pies’ small men dominated all over the ground. Collingwood had kicked eight goals straight by quarter-time. By half-time, they had 14 goals and only two behinds. In his 17th season, legendary full forward GORDON “NUTS” COVENTRY (1901-1968) had bagged seven majors by the long break, scoring an eight before the full-time bell. The contest was over by half-time. The Tigers reportedly battled out the second half as the travelling Tiger Army and the Sporting Press had come to expect! But that’s easy to say when a six-goal flogging is also a 36-point drubbing – especially when it’s the hated Collingwood FC handing out the punishment. After the game, Richmond FC were in for a “good hard look at themselves” (this is known as a “rebuild” in 2023), and missed out playing Finals for the first time since 1926. Collingwood were right on their usual track and would go on to win the 1936 Premiership. The normal order of things was restored! Collingwood 16.12.108 defeated Richmond 10.12.72. EPW Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Ernie Ward.Photographer notations on slide: "Richmond v Collingwood football B107".football, 1930-1939

This framed document titled "The Victorian Missions to Seamen, St Nicholas Seamen's Church Williamstown" shows a list of donors of significant items to the St Nicholas Missions to Seamen's Church in Williamstown when the new building opened in 1944. The organisation ceased in 1966, and the furnishings were later donated to Flagstaff Hill Maritime Village in Warrnambool by the Missions to Seamen Victoria. The transcription of the document is as follows: The Victoria Missions to Seamen, St Nicholas Seamen's Church, Williamstown To the Glory of God List of Gifts Altar - Mrs. and Miss J.R. Schutt Cross - Mrs. R.J. Ewart Chalice and Paten - Mr. and Mrs. Percy Taylor 1 Pair Altar Lights - Mrs. R.J. Ewart 1 Pair Altar Lights - Mrs. M. Jackson Sanctuary Lamp - Miss C. Roberts Rerebos - Miss. M. Breaks, in memoriam Miss. L.A. Breaks Sanctuary Window - Victoria Missions to Seamen Lightkeepers' Auxiliary Missal - Mrs. R.J. Ewart Missal Desk - Mrs. R. Hodgkiss Altar Vases - Mrs. R. Kaybould Bible - Mrs. R.J. Ewart Sanctuary Chairs - Mr. and Mrs. F.H. Twist Credence Table - Mrs. F. Clark Altar Dish – Mrs L. Clark Font - Mr. and Mrs. C.V. Dyble Prayer Desk - H.M.H.S. "Centaur" Reed Organ - "Joy Club for Fighters" Collection Plates - Mr. D. MacKae Hymn Board - St. David's Musical Society, Brighton Pews, Carpet and Hangings - Williamstown Lightkeepers' Auxiliary Bell - Mrs. A.L. Feenes THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This document is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The document is socially significant as it connects the community of Williamstown with the St Nicholas' Missions to Seamen and represents the importance of the church to the community. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson's Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Document titled "The Victorian Missions to Seamen, St Nicholas Seamen's Church Williamstown". The document is a list of gifts originally given to the St Nicholas Seaman's Church in Williamstown, Victoria. The document is mounted in a decorative wooden frame with glass cover. This is one of the original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, framed document, donations to st nicholas seamen's church williamstown, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, mission to seafarers, st nicholas seaman’s church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, flying angel club, mrs. and miss j.r. schutt, mrs. r.j. ewart, mr. and mrs. percy taylor, mrs. m. jackson, miss c. roberts, miss. l.a. breaks, miss. m. breaks, victoria missions to seamen lightkeepers' auxiliary, mrs. r. hodgkiss, mrs. r. kaybould, mr. and mrs. f.h. twist, mrs. f. clark, mrs l. clark, mr. and mrs. c.v. dyble, h.m.h.s. "centaur", "joy club for fighters", mr. d. mackae, williamstown lightkeepers' auxiliary, mrs. a.l. feenes, st. david's musical society brighton

The term 'seat squabs' is no longer commonly used, but is sometimes referred to in the upholstery and motor vehicle industries. Squabs are padded cushions frequently added to wooden chairs or benches to add comfort to their hard forms. They have been made to an 18th-to-19th-century pattern using beautiful, richly coloured satin fabric and fancy cord tassels. The weighted flap at the rear of the squabs helps to keep them in place on the chair, and could be used on the top of the backrest instead of on the seat. These days, squabs are attached with fabric ties or hook-and-loop tabs. These seat squabs were once used in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St. Nicholas Seamen's Church collection. DETAILED HISTORY of the Missions to Seamen: - The Missions to Seamen is an Anglican (Church of England) charity that has served the world’s seafarers since 1856. It was inspired by the work of Rev. John Ashley, who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired, others continued the work, founding the Missions to Seamen. It adopted a Flying Angel as its symbol, inspired by a verse from the Bible in Revelation 14. Today, over 200 world ports have Missions to Seamen centres and chaplains. A Missions to Seamen’s club warmly welcomes sailors of all colours, creeds and races and provides a wide range of facilities. The Missions to Seamen organisation changed its name to the Mission to Seafarers in 2000, continuing to include Missions to Seamen clubs in Victoria’s cities of Melbourne, Portland, Geelong and Hastings. Flagstaff Hill’s St Nicholas’ Seamen’s Church is named after its namesake from Williamstown, Victoria, which began in 1857. Bishop Perry opened the first Sailors’ Church, which was known as ‘Bethel’, on an old hulk floating in Hobson’s Bay, Port of Melbourne. In 1860, a Sailors’ Rest started operating from rented premises in Williamstown. In 1878, the Sailors’ Church moved into an old Wesleyan chapel in Ann Street. By the end of that year, they managed to purchase the building, which they had already refurbished. In 1883, they affiliated with the Victorian Seamen’s Mission. A few years later, in 1906, the building had to be demolished because it was no longer safe. While they raised funds for a new building, the Sailors’ Rest temporarily moved to premises in front of Customs House in Nelson Place. Around this time, in 1906, the Ladies Harbour Lights Guild was formed in Australia to support and raise funds for the Mission to Seamen organisation in Melbourne. Two of the most significant ladies of the Guild were founding members Ethel Godfrey and Alice Sibthorpe. During the Mission's time at Siddeley Street, Melbourne, the activities of the Guild raised funds for the Mission to Seamen's Chapel at their new, and still current, premises in Flinders Street, Melbourne, opened in 1917. The Guild continued its important work until the 1960s. In 1908, the Williamstown Mission had enough money to purchase the former Mascotte skating rink on Thompson Street, Williamstown. In August of that year, they were inaugurated into the Victorian Missions to Seamen. They continued at that venue for a few decades. In 1943, the former ES&A Bank building at 139 Nelson Place, Williamstown, was purchased for the new Mission to Seaman’s Club. The official opening was on May 6th, 1944. It was described as a ‘distinctive little building’. Funds had previously been raised for the building and furnishing of the chapel at the rear. The chapel was named St Nicholas’ Seamen’s Church, after St Nicholas, fourth-century bishop and patron saint of sailors. Services were held on Wednesdays and Sundays. The church was supported by the Williamstown Lightkeepers’ Auxiliary, newly founded by Mrs Ethel Margaret Musther in 1943, as well as the Harbour Lights Guild and the League of Soldiers’ and Sailors’ Friends. The Williamstown Mission to Seamen’s Church operated until 1966, when large international ships no longer used the Port of Williamstown. The Commonwealth Government then leased the premises. In the formative years of Flagstaff Hill Maritime Village, the Advisory Board decided to include a Missions to Seamen Chapel and Recreation Room in its village. The Missions organisation was a significant feature of ports during the late 1800s and early 1900s, the period that the Village represents. They often erected Missions to house social and worshipful activities for seamen. Flagstaff Hill’s curator, Mr Ken Marshman, approached the Melbourne Board of Management of Missions to Seamen regarding the Williamstown branch. Consequently, the Board permitted the furnishings of the Williamstown chapel to be transferred to Flagstaff Hill Maritime Village. A provision of the transfer was that the Victoria Missions to Seamen be recognised, that the items would remain as a collection, and that the chapel would be called St Nicholas Seamen’s Church and conduct Divine services. The donation was approved on 21st May 1979. Flagstaff Hill's St. Nicholas Seamen's Church: - The idea behind Flagstaff Hill’s Missions to Seamen’s Church was partly driven by the offer of Stained Glass Memorial Windows that originated from the Warrnambool and District Base Hospital, which was undergoing multi-storey expansion in the late 1960s and early 1970s. The hospital’s Manager/Secretary was eager to see the historic window installed in a suitable place. The church, or chapel, was designed by a local architectural draftsman in collaboration with the Flagstaff Hill Planning Board and was constructed by Mr Leon Habel. The designers hoped the church would be used for formal worship, such as weddings, funerals, and multi-denominational special services like war commemorations. Its design was inspired by the ‘Missions to Seamen’ buildings in Portland and the Port of Melbourne. The furniture and furnishings were placed as accurately as possible according to photographs of the Williamstown St Nicholas Seamen’s Church and with assistance from local clergy. The Recreation Room was furnished and arranged on advice from experienced members of the Missions to Seamen organisation. A framed document in the building recognises the donor of the furnishings, Victoria Missions to Seamen, and includes the names of some original donors and their donated item/s. The building’s design incorporates local features such as Warrnambool sandstone, which was no longer commercially available but was procured from demolished buildings and uniformly cut to use as a veneer over the stronger Mt. Gambier stone. Also, traditional green American roofing slate was used, sourced from the 1908 local shipwreck “Falls of Halladale” by Flagstaff Hill volunteer divers. The bell tower includes a bell believed to be from a local shipwreck. Additional furnishings were acquired locally, and several items were donated by Warrnambool residents. Light fittings in both rooms were assembled to simulate 19th-century gas light fittings. The stained-glass window at the back of the church is a memorial to Dr Connell, a well-respected member of the Warrnambool community. It was originally installed in 1928 in the main building of Warrnambool Hospital. The St Nicholas’ Seamen’s Church at Flagstaff Hill was officially opened by His Worship the Mayor, Cr. John Lindsay, on Sunday, 11th October 1981. The event included a service of thanksgiving conducted by the Warrnambool Ministers Fraternal. Since then, the Chapel has been the historic venue for many weddings. This pair of seat squabs is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers’ physical, social, and spiritual needs. The organisation originated in Bristol, England, when a Seamen's Mission was formed in 1837. The squabs are also significant for their use in the St Nicholas Missions to Seamen's chapel, Williamstown, as the original building is now listed on the Victorian Heritage Register. Squabs or padded seat cushions, a pair of two. These 18th to 19th-century design squabs have crimson and cream satin fabric on top and underneath, and weighted tassels are attached to their rear corners. They can be used for comfort on hard seats and benches. The squabs were furnishings from the Missions to Seamen chapel in Williamstown, and they are now part of the St Nicholas Seamen's Church Collection.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild, squab, seat covers, cushions, squabs, religious furnishing, padded seats, seating, accessory

Yellow Sunshine Technical School Windcheater with a printed caricature of teacher on front with listing of students and teaching staff on back. Pin to the tag is a label with Peter May written on it.Front S.T.S. 88 V.C.E. T.12 Back Sunshine Technical School Students of '88 (Students 1st Column) Michelle Alcock Michelle Arends Suzanne Attard Mark Barnard Dianne Barnes Vladimir Begovic Diedre Bell Anthony Bettin Tina Bogdaovska Kylie Bower Jeanne Calvitto Belinda Cameron Nicole Caran Roda Caruana Carol Chesters Andrew Chrysanthou Glenn Chubb Michael Clark Nicole Dean Joe Demicoli Christine Eudey Sammy Farrugia Fawsi Girgis (Students 2nd Column David Gogerly Anthony Grench Sharron Greeno Peter Hall David Henderson Peter Herrewyn Carmen Hili Eric Hurt Adrain Iodice Glen Johnson Mehmet Kahriman Peter Karmoutsos Jenny Kitchenham Kim Lawson Monica Locke Mark Logan Kevin Markovski Livio Manfre Bill Micallef Nardeen Miles Mandy Mitchell Tanya Nagle (Students 3rd Column) Glen Newman Leigh Parfrey Brett Paten Shelley Quinn Ayn Rosener David Scheurer Marc Sirett Bernadette Smith Steven Spiteri Matthew Stafford Lisa Steele Jo-Anne Steers Anthony Stockwell Deborah Stonier Julie Suffolk Craig Tatlow Sheree Tippet Louey Trajcevski Steven Vella Shane Williams Tanya Wolfe Technical Year 12 Co-Ordinator Me. Irene Alexandrou Principal Mr. Peter Forbes Vice Principal Mr. Don Burrage Registrar Mrs. Faye Rowe (Teachers 1st Column) Andrew Lecky Steven Loosely Peter Haby Janine Langenberg Ian Roberts Steven Penna Doug Parr Mike Tancredi Gordon Shaw Micke Croker Alistair McCarter Robert Sanders (Teachers 2nd Column) John Paterson Robert Merrigan Joe Vella Prinzi Sarino Abdullah Ford Rick McClean Peter Gerrard Debbie Fischer Chris Mooney Robert Foley Gizelle Forbes Angela Trunong (Teachers 3rd Column) John Henry Mona Raghdo Alison Cassar John Thorpe Vern Dewey Ruth O'Meara Chris Wheat Marie Milojevic Linda Allen Sue Nagle clothing, sunshine technical school, technical school, derby road, sunshine

Kids of all ages enjoy the Miniature Railway. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p163 On Sundays in Eltham thousands of children, mums, dads and grandparents can be seen travelling around Lower Eltham Park in tiny trains. They are among the two and half million passengers who have travelled on the Diamond Valley Railway since it officially began in 1961. The miniature railway originally operated from the 1940s at Chelsworth Park, Ivanhoe, until flooding caused it to be moved to the Eltham Lower Park in 1959. The railway is modelled on the 1920s era – the heyday of passenger rail travel – and the trains are built on a scale of two inches to the foot (1/6). Although not exact replicas, trains include models of the Spirit of Progress, Puffing Billy, The Overland, Dog Boxes, Vic Rail S class, G class and a NSW 81 Class. The three and a half kilometres of track is set amongst native plants and picnic areas. A friendly hoot or the clang of a bell occasionally punctuates the tranquillity as a train emerges from a treed bend with passengers excitedly waving to onlookers. For $3 the train takes you on a 13-minute two-kilometre ride. Passengers sit in single file in the narrow train, which clatters along tracks built to the scale of the Australian narrow gauge of three feet six inches (1.1m). These are used in Queensland, South Australia, Tasmania and Western Australia. Safety standards are stringently kept. Even before you buy a ticket notices tell you that you must wear closed shoes. You can even borrow these, and you are given a pair of socks for the ride! Blue-overalled volunteers check tickets, see you aboard, and drive the train. They are mainly retired men who can at last devote their time to what little boys dream of – playing with trains. Passengers are instructed in safe behaviour, then the station master waves a white flag and off we go. The guard sits at the back with his whistle and green flag at the ready. The winding track, fringed by native trees and bushes planted by volunteers, stands on crown land managed by Nillumbik Council. The train clatters along the track and crosses a bridge over a drain elevated by name to The Blow Fly Creek. We pass by Meadmore Junction at a speed of three kilometres an hour. Then on through a tunnel, accompanied by squeals of delight, and after a few moments of blackness, light glimmers at the end. On we go, past the original platform, along another route past busy Main Road through Pine Creek Station, over a bridge and through another tunnel with more screams of delight.Then a signal stops us before the ‘all clear’ to return to our original point of departure. The railway services its passengers – the largest number of any miniature railway in Australia – with a fleet including: six diesel locomotives, three steam locomotives, eight sets of passenger cars and one battery electric Dog Box set. Members also privately own 20 locomotives and powered carriage sets as well as four carriage sets.1 All the trains are stored on-site in workshops, sheds and a tunnel. The railway is entirely run by volunteers, so that all ticket money is used for maintenance and extensions, and some goes to local charities. Since 1991, the entire railway has been rebuilt, including an upgraded signalling system. About half of the 120 volunteer members are active with about 35 working each Sunday, and a dozen or so working every Wednesday. Members are trained to positions of station assistant, booking officer, train guard, train driver or signalman. Members construct new carriages and locomotives as well as maintaining track, signalling and rolling stock.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, diamond valley railway, eltham lower park

This tiny picturesque building near the corner of John Street has served the community since 1878. At that time it served as an agency of the Heidelberg branch of the Commonwelath Bank of Australia. It has a small space inside measuring about 3.6 metres by 4.5 metres. It was built by George Stebbing who was also responsible for other heritage buildings nearby in Eltham. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p93 The tiny picturesque building on Main Road, Eltham, near the corner of John Street, has served the community since 1878. At that time the building, which inside measures only about 3.6m by 4.5m served as an agency of the Heidelberg branch of the Commercial Bank of Australia. The yellow and orange Victorian brick structure was built by Mr George Stebbing.1 Mr Stebbing, who also built the Anglican and former Methodist churches and the Shillinglaw Cottage, had come from England and lived in Pitt Street. The bank is a fine example of a once common but now rare building style – the single room bank. It compares with another in the municipality, also a former Commercial Bank of Australia branch, the timber Little Bank Building in Hurstbridge, built around the early 1900s.2 The Eltham bank, which was said to store gold from the Eltham - Research mining areas, has had exciting moments. A bullet hole still visible in a cedar bench testifies to the drama in 1949 when a youth held up the bank. After the 19-year-old opened an account as John Henderson, he walked to the door and then turned pointing a pistol. But it was shots fired by the clerk, Lindsay Spear, that saved the day, frightening the youth, who drove off empty-handed in a grey sports car. He was later apprehended and given a two-year sentence. Soon afterwards the agency was upgraded to a branch. However by 1954 the bank no longer needed the branch and the adjoining Methodist Church bought the building. It proved useful for the Church’s young people who furnished it and used it for their meetings. A youth club developed, led by young adult member, Ross Gangell. The building was also used as a Sunday School, which with junior membership numbered 27.3 Around 1960, Mrs Alma Bell, of the Methodist Church Women’s Guild, suggested using the building as an opportunity shop to raise funds for a chaplain at the Eltham High School. The women later asked the nearby St Margaret’s Anglican Church to help them in the shop. In 1960 the Eltham Combined Churches Opportunity Shop was established and staffed by Methodist and Anglican parishioners, notably Methodist Mrs Gwen Miller. The shop originally opened on Child Endowment Days to help the needy, but later for years, it opened twice a week. In 1962 it donated clothing and shoes to the Eltham Bushfire Appeal. By 1963 the chaplaincy scheme ceased. So the £450 raised was then donated to the Council for Christian Education and to the participating churches. Funds were also donated to local charities including the Eltham and Research Fire Brigades, the Austin Hospital Auxiliary, the Benevolent Society, the Red Cross and the Diamond Valley Hospital.4 In 2008 the Opportunity Shop volunteers continue to work together to help the local community. Although crammed with second-hand goods, the simple, almost stark interior, is still evident and is relieved only by a front rectangular window and an unused fireplace. Outside, the chimney, the corrugated iron peaked roof, and the surrounding varied plants, add to the charm of this sound building which continues to serve the community well.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, cba bank

The rocket rescue crews used a sand anchor at a beach rescue site to weigh down the rescue apparatus. The crew would connect the steel cables to the connecting cable and then join heavy ropes or chains to the connecting cable. They would then bury the anchor in a trench about three-quarters of a metre deep, keeping the connecting cable’s end free. The length of heavy rope or chain was attached to a pulley block onto the heavy hawser line. The block and a crotch pole were used to keep the hawser line high and taught, keeping the survivors above the sea as they were hauled to shore on a line or in a breeches buoy. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it. In 1858 the provision of rocket and mortar apparatus was approved for lifeboat stations in Victoria, and in 1864 a rocket house was built to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s, the lifeboat and rescue equipment had become obsolete. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to a rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy apparatus was in use. The apparatus was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket rescue method became the standard in Victoria. His two-stage rockets, charged by a gunpowder composition, could fire the line up to 500-600 yards, although 1000 yards range was possible. Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a lightweight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part of the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. This sand anchor is part of the rocket rescue equipment and is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.The sand anchor comprises a plank with steel cables and a connecting cable. The rectangular wooden bevelled-edged plank with two pairs of square metal plates bolted through it. Each metal plate has an eyelet and the two steel cable lengths are permanently attached by their eyelets to the plates. The eyelets at each end of the cable lengths are reinforced with rope work and one length also has a ‘U’ bolt shackle connection. The steel connecting cable also has reinforced eyelets at both ends. The plank has a black stencilled inscription on the upper surface. Stencilled in black paint "ANCHOR" "BACKER"flagstaff hill maritime museum & village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, maritime accidents, shipwreck victim, rocket crew, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, rocket apparatus, beach apparatus, breeches buoy, rocket house, rocket equipment, rocket launcher, rocket line, marine technology, beach rescue set, traveller, block, running block, pulley, hawser, faked line, lady bay, warrnambool harbour, port of warrnambool, volunteer lifesavers, volunteer crew, breakwater, rocket rescue method, rocket rescue apparatus, shore to ship, rocket apparatus rescue, stranded vessel, whip line, endless whip, harbour board, sand anchor, rocket set, anchor backer, rescue anchor, beach anchor, backer, anchor, steel cable, wire cable, connecting cable

The breeches buoy and traveller block are part of the beach rescue apparatus used by lifesaving crew overseas and in Australia in the 1860s to 1960s. The breeches buoy (or chair bucket or petticoat breeches) were invented by Lieutenant Kisbee by the 1850s. It looks like a pair of canvas shorts with a cork lifebuoy ring attached around the top. The set-up works similar way to a zip wire and allows for two-way travel. Saving lives in Warrnambool – The coastline of South West Victoria has had over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it, followed in 1864 by a rocket house to safely store the Rocket Rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost one hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain and improve their skills, summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Rocket Rescue Method - The first use of a lifesaving rocket rescue system is often credited to Captain Manby and his invention of a life mortar, first used in 1808 to fire a line onto a ship to rescue lives. Henry Trengrouse’s invention of 1820 was the first to use a sky rocket’s power to throw a line, and his invention included a chair for carrying the shipwrecked victims to shore. In 1832 John Dennett invented a rocket specifically for shore to ship rescue. It had an iron case and an 8 foot pole attached and could shoot the line as far as 250 yards (about 230 metres). From the 1860s the rocket rescue apparatus was in use. It comprised a breeches buoy and traveller block that was suspended on a line and manually pulled to and from the distressed vessel carrying passengers and items. Colonel Boxer, who had invented an early line-thrower, designed a rocket in 1865 with a range from 300 to 470 yards. It was the first two-stage rocket, with two rockets placed one in front of the other in a tube that carried the rescue line. The hemp line was faked, or coiled, in a particular way in a faking box to prevent twists and tangles when fired, and the angle of firing the rocket was measured by a quadrant-type instrument on the side of the rocket machine. Schermuly invented the line-throwing pistol around 1920, which used a small cartridge to fire the rocket. Victoria’s Government adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain, which used Colonel Boxer’s rocket apparatus rescue method. The British Board of Trade published instructions in 1850 for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a light-weight line attached, then firing it across the stranded vessel. A tally board was then sent out with instructions in four languages. The ship’s crew would haul on the line to bring out the continuous whip line and attach the whip block to a mast or sturdy part the ship. The rescue crew on shore then hauled out a heavier hawser line, which the ship’s crew fixed above the whip block. The hawser is then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the buoy to and from the vessel, rescuing the stranded crew one at a time. The rocket system could also be used from one ship to another. This item is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Breeches buoy and traveller lock; white canvas breeches (shorts) with lifebuoy ring attached to its waistband, with ropes for attaching it to the traveller block. Wooden traveller block has double brass inline sheaves and brass rollers on each cheek of the block, and each shell is scored for the strop. The thimble attached to the strop has a wooden slat for quick release of the breeches buoy. The ropes comprise of two equal lengths of rope that have been bunched together to form two loops, then bound together just below the loops, while the four hanging ends are looped around the lifebuoy, equally spaced, with each end finished in an eye-splice. The apparatus is suspended by the loops at the top and attached to the traveller block, which has a quick release device.flagstaff hill maritime museum & village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, maritime accidents, shipwreck victim, rocket crew, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, rocket apparatus, beach apparatus, petticoat breeches, breeches buoy, rocket house, rocket shed, lifeboat men, rocket equipment, rocket machine, rocket head, rocket launcher, rocket line, marine technology, william schermuly, line-firing pistol, line throwing gun, schermuly pistol, pistol rocket apparatus, beach rescue set, traveller, block, running block, pulley, hawser, faking, faking box, faked line, rescue boat, lifeboat, lady bay, warrnambool harbour, port of warrnambool, tramway jetty, volunteer lifesavers, volunteer crew, breakwater, lifeboat warrnambool, rocket rescue method, rocket rescue apparatus, captain manby, mortar, henry trengrouse, sky rocket, john dennett, shore to ship, colonel boxer, two-stage rocket, italian hemp, quadrant, schermuly, line-throwing pistol, line throwing cartridge, rocket apparatus rescue, stranded vessel, tally board, light line, whip line, endless whip, petticoat buoy, traveller chair, traveller block, her majesty’s coast guard, harbour board, line thrower, line throwing, beach cart, hand barrow, sand anchor, hawser cutter, life jacket, faking board, irish hand barrow, government of victoria

Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, with the MTA logo or symbol. Issued under the name of L. A. Strouse as Chairman. Continues from Reg Item 1058 "Met Lines" - printed in an A3 version, Now a monthly version printed in an A4 size. Major tram and bus items listed. Tramway and bus names only listed, not railway. .1 - Vol 1 No. 5 - August 1985 - 20 pages - announcement of trams for Hong Kong, Minister Tom Roper, tram posters, an article on the work of the TMSV with photos. Retired tramway employees association, Minister visiting Brunswick depot, Melbourne Brighton Bus Lines joins the Met - has photos of staff. .2 - Vol 1 No. 6 - September 1985 - 20 pages - tram emergency crew - derailment of 34 at Russell and Burke and Emergency crew at work and in front of truck, Joe Saccasan foreman at South Melbourne and artist, Doncaster Bus depot, The Met Transporter at the Royal Melbourne show. .3 - Vol 1 No. 7 - October 1985- 20 pages - front page Emery Worldwide courier Elizabeth Sciberra with driver John Edwards, competition to detail a photo of cable tram conductor with very large safety pins (for the bell punch tickets), Hong Kong Kowloon-Canton KCRC inspection tour of Preston Workshops, new tram track construction, Essendon depot Soccer Club premiers winners, Malvern Depot photos and story, Norm Cross and making of Malcolm, Conductor training at Hawthorn depot, photo of enthusiast Paul Jordan, Bus and Coach Society of Victoria article with photos of MMTB Double Decker 244 and a Thornycroft bus No. 14. Article on MMTB uniforms - cable trams, PMTT with photos. .4 - Vol 1 No. 8 - November 1985 - 20 pages - front page cable sketches of cable trams - Met Annual Report, Personnel management, 100 years of Melbourne's tram - many photographs, history timeline for trams, Marketing new posters (See Reg Item 585), tram tours, the Outer Circle Railway - bike path, Essendon depot to be redeveloped, lunch at Hawthorn Training School, tram wheel grinding - James Hajjar. .5 - Vol No. 9 - December 1985 - 20 pages - MTCO Conductor competition - Ray Marsh, Met Posters, Footscray Bus Depot, Scrubber trams, calendar, tram centenary celebrations a success, old Bourke St head office plaque unveiling by Tom Roper and Keith Kings of TMSV, Eric Hobday MMTB Relieving Depot Master remembers the cable trams last day, Alan Jennings retirement, lists personnel movements within The Met. For next year 1986 - see Reg Item 1086trams, tramways, mta, the met, cable trams, conductors, bell punch, hong kong, tram track, malcolm, training, hawthorn, bscv, buses, uniforms, pmtt, mmtb, annual reports, personnel, 100 years of electric trams, posters, outer circle railway, footscray depot, scrubber tram, tmsv, posters, melbourne brighton bus, brunswick depot, r10 vehicle, emergency, derailments, tram 8w, tram 11w, tram 34