1926 Don’d BARRETT 1927 Harold ROWE 1928 W. B. MURLEY 1929 N. I. SAUNDERS 1930 Frank L. SMITH 1931 Paul A. JONES 1932 John F. HARDWICK 1933 James O. SYMES 1934 Kenneth JONES 1935 Dulcie E. McDONALD 1936 Eileen ROBERTS 1937 Gwen’h SCHONFELDER 1938 Fay DOLAN 1939 John ALLEN 1940 Edna THOMAS 1941 Bernard WRIGHT 1942 Hazel GUEST 1943 Charles WRIGHT 1944 Dawn KAYE 1945 Robert GUEST 1946 Allan DALTON 1947 Lance MOUNSEY 1949 Philip RODDA 1950 Marjorie HORNER 1952 James CATTLIN 1953 Milton MILLER 1954 Wendy J. HAMBLIN 1955 Isobel NOKES 1956 John CHRYSTAL 1957 Helen HAMBLIN 1958 Jennifer BARRETT 1959 Betty LANCASTER 1960 Kevin HADDOCK 1961 Patricia COLE 1962 William BARRETT 1963 Glenda HADDOCK 1965 Kaye McLEOD 1967 Gaye SAUNDERS

Produced by John W Butler and George Stevens, relevant councils received copies of this directory in September 1865.Butler & Stevens' Sandhurst, Castlemaine and Echuca directory 1865-66 Produced in 1866. The directory has a brown fabric cover which has been embossed. The embossing has been worn down and is hard to see. The title is written in gold foiling in the centre of the cover. The directory contains 73 pages of address listings and an additional 24 pages of advertisements. Each town has had its addresses listed by street location and a separate listing of the same addresses listed in alphabetical order by name of occupant. Additional handwritten pages were placed inside the front cover (2 A4 pages folded in half). Written in pen. Inside the front cover and back cover written in pen: "E.A. Martin 17 Johnston Street Castlemaine" Title page (written in pen): "Miss Martin AMW Brotherton from Miss Martin 24th April 1951" Page 49 (written in pen) under Hargreaves Street - South to North right hand. "Dublin and Melbourne Portrait Rooms" and "-Now 102 23 Feb 1953 The slate steps up from the street, there in 1888, still there walked up there then + again today" Page 52 written in pencil next to the address for the Bank of New South Wales and the Bank of Australasia. "Completed 1861" Page 54 written in pencil under the F and G headers. "Miss Martin says had to (illegible) she meant Aitken's Street." "See Duke of Edinburgh (illegible)" Page 57 written in pencil under the S header. "Smyth '' of Hargreaves street" "Kate living at (illegible) 19/7/52" 19th century victoria, castlemaine, sandhurst, bendigo, echuca, butler & stevens, miss e a martin, amw brotherton

alan gardiner collection, maps

Devy Erlih, Town Hall, Bendigo, The Australian Broadcasting Commission presents Final Concert in the International Celebrity Concert Series. Devy Erlih-Violinist, Raymond Lambert-Piano. Thursday, 22nd October 1959, 8pm. Article with photograph about Devy Erlih. Erlih is 30, born in Paris and studied at Paris national Conservatory of Music. Established an international status at a young age.1956 engaged in international concerts. 1955 won first prize in the international Margurite Long-Jacques Thibaud competition. Concerts in Japan.1956 won the French Record Academy prize. Concert in Vienna. Bartok Concert with the Berlin Philharmonic Orchestra at Strasbourg International Festival of a concerto dedicated to him by Pierre Max Dubois. . . Article with photograph on Raymond Lambert. Lambert has made the full Commonwealth tour with some of the A.B.C.'s. most outstanding visiting artists, including Australian signers as well as several from overseas. Inherited voice of chamber music from his father, the late Edouard Lambert. He first toured Australia with his father. Australian tour 1952. Tour Europe and America in 1953 and 1955. Australia 1956.Accompaist for Mattiwilda Dobbs . . . Programme. Analytical Notes. News; of Music and Musicians. Advertisements: Philips, The Ace of Clubs, Barossa Pearl. The Australian Broadcasting Commission, Sir Richard Boyer, K.B.E., M.A., Chairman. E R Dawes, SEQ., C.M.G., - Vice Chairman. Sir John Medley, KT., D.C.L., LL.D., M.A. The Hon. Dame Enid Lyons, G.B.E. Mrs. G.L. Blyth, O.B.E., B.A. A G Lowndes, M.SC. HB Halvorsen, F.C.A., F.C.I.S. Charles Moses, C.B.E. General Manager. Ewart Chapple, Manager for Victoria. Ray Humphrey, Concert Manager for Victoria.entertainment, music, classical

These are the Lenses from the Klimsch Commodore Cartographic Camera that was located in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo. The KLIMSCH Commodore camera was originally introduced to the Survey Regiment in 1953 and was the largest in the Southern Hemisphere. It was replaced with a new model of the same size in 1977. These lenses are from this new model. The new model with its computer-based interface provided productivity gains with improved speed and its consistent results led to less wastage in time and materials. Its variomat lens system provided improved retention of map feature linear weights during the camera reduction process. The camera which was specially made for the Australian Army in Germany was fully automatic and power operated. It was claimed to be one of the biggest automatic cameras of its type in the world. It was made to the specifications of the Royal Australian Army Survey Corps to assist in the production of the very high standard maps for the Australian Army. THIS KLIMSCH COMMODORE CARTOGRAPHIC CAMERA was in operation 1977 - 1997". It was a Precision Darkroom Camera especially suited for Cartographic Reproduction of Line, Continous Tone, Halftone and Colour Separation. Reproduction of Negatives and Positives from a variety of Reflection or Transmission Originals. Its characteristics were: Maximum Negative Size 1.27m sq, Copy Holder (Vacuum) 2m sq, Maximum Enlargement 400%, Maximum Reduction 13%, Automatic 60, 90 and 120cm Focal Length Lens, Transmission or Reflection Originals, Pulsed Xenon, Photo Flood or Fluorescent Tube Light Source, Maximum Reflection Original 1.3m x 1.85m, Maximum Transmission Original 1.3m x 1.85m, Exposure Light Monitoring System." The camera was superseded by computerized image manipulation software associated with the Automap system. These significant and extremely high-quality Lenses were retrieved by WYCOMBE Constructions Pty Ltd during the demolishment of the camera in 1997 and then mounted on a display board. See also Item 6189.4P for more photographs of the camera.Lenses from the Klimsch Commodore Cartographic Camera mounted on a very heavy timber display board. The display board contains an engraved plate that describes the technical characteristics of the camera."KLIMSCH COMMODORE CARTOGRAPHIC CAMERA 1977 - 1997", "FUNCTION: Precision Darkroom Camera especially suited for Cartographic Reproduction of Line, Continous Tone, Halftone and Colour Separation. Reproduction of Negatives and Positives from a variety of Reflection or Transmission Originals." "CHARACTERISTICS: Maximum Neg Size 1.27m sq, Copy Holder 2m sq, Maximum Enlargement 400%, Maximum Reduction 13%, Automatic 60, 90, 120cm Focal Length Lens, Transmission or Reflection Originals, Pulsed Xenon, Photo Flood or Fluorescent Tube Light Source, Maximum Reflection Original 1.3m x 1.85m, Maximum Transmission Original 1.3m x 1.85m, Exposure Light Monitoring System." royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, litho

Hardback cover book with white Title (see above) and author text, KVERNDAL, Roald, on pink grey cover. pp 903, ills. Cover image depicts a masted galleon ship at anchor with interior lights at dusk or dawn flying from the stern of the ship is the blue BETHEL flag featuring a star and dove of peace in top and lwr corners respectively. xxviii, 903 p. : ill. ; 24 cmnon-fictionmerchant seamen, missions and charities, royal navy chaplains, missions-to-seamen, mission to seafarers, roald kverndal

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

The ES49 glider / sailplane was designed by Edmund Schneider in Germany before he migrated to Australia in the early 1950s. In Germany the ES49 was put into limited production by the Schleicher factory from 1951 to 1953 (8 produced). In Australia the ES49 is commonly referred to as the “Wallaby”; two were built by the Adelaide Soaring Club with assistance from Edmund Schneider Ltd and one independently from plans by Eric Hader and members of the Cooma Gliding Club. The Museum’s ES49 – serial number GFA-HB-36 - was built at Gawler from 1955 to 1958 and registered as VH-GLL on 15 January 1959. It was the second of the ES49s built by the Adelaide Soaring Club. Originally it had a rather distinctive appearance due to the use of a sleek P51 Mustang canopy to enclose the forward seating position of the cockpit. The glider, together with its sister VH-GDK, was used at the Gliding Federation of Australia National Gliding Schools at Gawler. In 1964 the glider was transferred to the Newcastle Gliding Club, Newcastle, in New South Wales and then in 1966 it went to the Albury and District Gliding Club, Albury, New South Wales. The Snowy Mountains Gliding Club, Khancoban, New South Wales acquired the glider in 1968 where it remained until 1974. In 1974 the glider transferred into private hands at Wodonga, Victoria, for two years and then to interests at Albury until 1985. At that stage the glider was acquired by a private owner at Bathurst, New South Wales, who undertook a restoration that included, amongst other work, the fitting of a more conventional cockpit canopy. The glider was at Warkworth, New South Wales in 1992 and became to be owned by Eric Oates who preserved it until he donated it to the Australian Gliding Museum. According to the logbook for VH-GLL held by the Museum, the glider was last flown in November 1990 and at that time had logged 2758 hours and 57 minutes from 15775 launches. The fuselage is currently under restoration at the Museum’s Dave Darbyshire workshop. The ES49 – VH-GLL – is an example of the state of wood and fabric dual place sailplane design in the late 1940s. The glider served the Adelaide Soaring Club and subsequent owners well as a training and general purpose sailplane over many years. It is a rare example of the type (one of 4 existing in the world). Tandem two seat high wing strut braced glider-sailplane finished in silver grey colour scheme.australian fliding, glider, sailplane, schneider, es 49, wallaby, oats, adelaide soaring club, hader, cooma gliding club, newcastle gliding club, albury & district gliding club, snowy mountains gliding club

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. This photo shows Charles Henry “Mick” Morris in the Morris cellar at Mia Mia near Rutherglen, Victoria. Charles Henry “Mick” Morris was born in Rutherglen, Victoria on 1st July 1928, son of Charles Tempest George Morris and Daisy Chambers. The Morris winery was started by Mick’s great grandfather, George Francis Morris who arrived in Australia in 1852. He immediately set off for the goldfields but found more profit from selling supplies to the goldfields. He purchased land in Rutherglen in 1859. By 1894 he had the biggest cellars in Australia. Mick Morris is a 4th generation wine maker. He was educated at Gooramadda Primary School, then at Rutherglen Higher Elementary School before attending Scotch College in Melbourne. He became the first member of his family to gain a university education, gaining a Bachelor of Science Degree at the University of Melbourne in 1950 before completing an Oenology Course at Roseworthy Agricultural College in South Australia. Mick returned to Mia Mia in 1952 where his first role was working in the vineyard. By the end of 1953 he had become the “semi-official” winemaker at Mia Mia. From that time his career as a widely recognised winemaker went from strength to strength, winning many prestigious awards. Mick is recognised as a pioneer of the Durif grape variety. In 1993 Mick’s son, David became a 5th generation winemaker. Morris is famous for producing some of the world’s finest fortified wines. Away from the wine industry Mick has a strong interest in sport, particularly football. Since 1933, the Morris Medal for the Best and Fairest Player in the Ovens and Murray League has been awarded annually. This award was instigated by Charles Hughes Morris, Mick’s grandfather. Mick also played in the league. Morris Wines of Rutherglen were purchased by Casella Family Brands in 2016. This image depicts a renowned winemaker of Rutherglen who has made an outstanding contribution to the development of the Australian wine industry. He was also involved in his community and his family is recognised in the annual award of the Best and Fairest medal for the Ovens and Murray Football League.A black and white photograph of Charles Henry "Mick" Morris in the cellar at Mia Mia near Rutherglen, Victoria. The photo is in a metal frame.On barrel in foreground: "FILTERED/ 4 OCT '93/ MIA FINO / 4 Hhds"morris wines, northeast victorian wineries, mick morris, winemakers of rutherglen

Between 1915 and 1951, military topographical mapping in SA was conducted by Royal Australian Survey Corps (RASvy) units based outside the state. In February 1952, Army HQ Field Survey Section (Central Command Detachment) was established in Adelaide in a drill hall at Largs Bay. It was tasked with providing map coverage in the Woomera and Southern areas of the state. The section was subsequently reorganised as Central Command Field Survey Section moving firstly to Hampstead Barracks, Hampstead in 1953 and then into accommodation at Keswick Barracks in 1954. In 1957 the Section commenced mapping operations in the NT. The Unit was relocated to the old cavalry stables in 1961 and was redesignated Central Command Survey Unit and remained there till 1973. In 1970 the Unit was redesignated 4 Fd Svy Sqn and engaged in operations conducted in PNG from 1972 to 1974 inclusive. In 1973 the Squadron moved into a brand new two-storey specially designed and purpose built building adjacent to the old building. The old building then became the Squadron Q and Map store with an interconnecting lobby to the new building. Since 1975 the Unit was involved in the 1:50,000 Mapping Programme in WA, NT, QLD, SA and conducted many other operations within Australia and overseas. Post disbandment of the Corps the old Squadron building (cavalry stables) now houses the Army Museum of South Australia (AMOSA). The Royal Australian Survey Corps was amalgimated into the Royal Australian Engineer Corps in July 1996. In the lead up to this amalgamation, 4 Field Survey Squadron Keswick Barracks, Adelaide, South Australia was disbanded in 1995. A closing Ceremony was held on 25 November 1995 at 4 Fd Svy Sqn Keswick Barracks attended by about 208 former members of the Unit. A photo was taken of attendees at that event on the day and a list was prepared of attendees. All attendees were sent a copy of the photograph and the list of names as a momento of the Unit and the ceremony..1P A4 Print of an original photo of attendees at the 4 Fd Survey Sqn Closure Ceremony at Keswick Barracks 25 Nov 1995. .2P A4 Print of the names of the attendees at the 4 Fd Survey Sqn Closure Ceremony at Keswick Barracks 25 Nov 1995. Approx 208 attendees.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, 4 fd svy sqn

1932 – Betty Blood 1933 – Monica Galvin 1934 – Geo. D. Conboy 1935 – Lorna Sullivan 1936 – James O’ Connor 1937 – Bern.D. Fitzpatrick 1938 – William Brucey 1939 – Bertrom Martin 1940 – Edward Carroll 1941 – Paul White 1942 – Patricia Boag 1943 – Margaret Roper 1944 – Lorna McShanag 1945 – Yvonne Roper 1946 – Kevin Sambell 1947 – Alfred Roper 1948 – Elaine Shiells 1949 – Leslie Mackie 1950 – Valma Trethowan 1951 – Maurice Adams 1952 – Kath Mildern 1953 – Dawn Hoppner 1954 – M Frederiksen 1955 – Susan Clarke 1956 – Mary Sneddon 1957 – Frances Mason 1958 – Genowpa Sikora & Krystyna Lucjan 1959 – Anthony Kane 1960 – J. McMenneman 1961 – Mary Bertuch 1962 – Ray Robertson 1963 – Chris Dalton 1964 – Christine Polinelli 1965 – Gwenda Waller 1966 – Moira South 1967 – Colleen Brookes 1968 – Ross Maloney 1969 – Ray Thompson 1970 – Janine Loftus 1971 – Alison Watson 1972 – Kevin Curran 1973 – Judith Bell 1974 – Mark Rowley

A tyre bender is used to bend and shape metal rims for wooden wagon wheels. This tyre bender’s model first appeared in the Day Bros catalogue in 1884 as the “Giant” model. The catalogue of 1883 only showed a lighter duty model called the “Lion”. It can be assumed that this later “Giant” model was a heavy duty improvement over the 1883 "Lion" and other smaller models which were still being advertised for sale in 1884. The Day Bros foundry, makers of this tyre bender, was operating as the manufacture of wheel right and blacksmith tools and general machinery in the 19th century in the USA and successfully exported their goods all over the world. Wagon tyre benders would have been very common circa 1850-1920, so there were probably many makers over the years. Early on, it would have become clear to the blacksmiths about which designs worked best so, eventually, the various makers would have made similar products to each other. This tyre bender was once used by Harry Goodall of H. Goodall & Sons Pty. Ltd. corner of McKinnon and High Streets, Terang. Victoria. Henry Goodall & Sons Henry Goodall (1870-1936) was proprietor of garages as H. Goodall & Sons Pty. Ltd., at both Terang (McKinnon and High Streets) and Mortlake (Dunlop Street). His business was in operation in at least in 1916 and perhaps well before, considering the date of the tyre bender and its use for wagons with wooden wheels. It was still in operation in 1953, chasing up debtors in Mount Gambier Court. Amongst the employees of H. Goodall & Sons Pty. Ltd. was Ernie Entwistle, a blacksmith (a soldier who died in 1916 ) and Alfred Hodgetts, radio expert (killed in a fatal accident in 1943, when he was in his early 30s ). Henry Goodall was involved in the community as a Justice of Peace, a deputy coroner, President of the Mortlake Hospital, trustee of the Soldiers’ Memorial Hall, and as a prominent Freemason. He and his wife had two sons (Charles and John) and one daughter (Mrs. Chas. Newton, of Skipton). The tyre bender is significant as it demonstrates how blacksmiths or wheelwrights could make new metal rims for wagon wheels for carts, wagons, stage coaches and carriages over a 135 years ago. The machine is a part of our social history as it demonstrates part of the process of making wagon wheels, which played an important part in aiding the continuation of daily transport needs that people had at the time, such as farming, personal transport and commercial activities. The machine or tool is locally significant as it was used by a local company in Terang and Mortlake in their blacksmith, wheelwright and garage business. Steel tyre bender mounted on timber base, used for wagon wheel steel rims. Made from cast iron and steel, double geared with four cogs to unite the upper and lower steel rollers. There are adjustable guide collars to keep the iron in line while it is being bent. It can also be used with two cranks for heavy duty work utilising the use to two operators. It is the Giant model, made in 1884 by Day Bros. of Philadelphia. This tyre bender once belonged to Harry Goodall & Sons, blacksmith's of Terang. Victoria. “DAY BROS. PHILAP. PA” cast into the side of machineflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, machinery, wagon wheel, wheelwrights, blacksmith, steel rim wheels, tyre bender, tire bender, the giant tyre bender, henry goodall (1870-1936), terang, wheelwright tool, blacksmith trade, blacksmithing equipment and supplies, wagon tyre bender, day bros. philadelphia pennsylvania, h. goodall & sons of terang, terang blacksmith, h. goodall & sons pty ltd, mortlake, ernie entwistle blacksmith, alfred hodgetts radio expert, charles goodall, john goodall, mrs. chas. newton nee goodall

K2,3 and4 are of the Kiewa River and two of the bridges spanning the river along the valley. K3 and K4 would have been taken in the 1880's and show the type of trees and plant growth along the river prior to land clearing for farming. K5 is of the Running Creek Cricket Team and therefore there was sufficient population in the area to form and maintain a team as well as have other teams in the relatively near vicinity to provide competition. Note the horse drawn cart which provided transport. Date taken is unknown but possibly c 1910. The Mt. Buffalo Chalet was built in 1910 by the Victorian Government. It was Australia's first ski resort and has served generations of skiiers, hikers and families over the years. It was built for 3195 pounds and has had stories and wings added since and is the largest timber building in Australia. B4 is the earliest photo in this group as the garden is in early stages of development - the other photos show the growth of the shrubs and would be taken about c 1920. Note the cars and motor bikes. It closed in 2006. The other photos are of general interest only but interesting to see that there were donkey's grazing. There is no information as to their purpose on Mt. Buffalo. Four different Kiewa Valley families are represented in the photographs. Their descendants still live in the Valley and carry on the traditions of beef and dairy farming. Of particular interest is the photo of Miss Marjorie Clemence, the first School Teacher of Upper Gundowring School. Gundowring pastoral run was taken up in 1838 and occupied by framers in the 1860's. The area was known as Gundowring and Upper Gundowring. The Gundowring School was opened in 1871 and most likely the Upper Gundowring school would be built at the same time. It was School No. 2733 and situated in Boyd Road. It closed in 1953 when the Kiewa Consolidated School opened. The newspaper page describes the activities in which the local community of Kergunyah were in engaged in that period - Red Cross, Fire Brigade, cattle round up and some of the identities involved. The article photocopied from the Yackandandah times states that he (Norman Coad) "was sent to the Ovens District Hospital, Beechworth for treatment" which would mean that this was the closest hospital to the Kiewa Valley for emergencies in 1912.The Kiewa Valley photographs are of social significance showing two of the early bridges allowing the community easy access to both sides of the river and also the tree and plant growth before land clearing for farming. The photos of Mt. Buffalo Chalet have social, architectural and historical significance. the Chalet has been used by skiers, bush walkers and day trippers since its completion in 1910 and its closure in 2006. It is listed in the Victorian Heritage Register. The family photographs are of social and historical significance as they are of early farming families in the Kiewa Valley and also depict the dress, of both men and women) in the late 1880's. The write up in the Weekly Times has social significance as it depicts the social and farming activities and photos of the local residents from around that area. The article from the Yackandandah Times is of a personal nature with concern for the individual involved. Note: There is a photo of the gentleman mentioned in the article (Mr. Norman Coad) in the Families of the Kiewa Valley (F4) as above.30 black and white photographs - 5 of the Kiewa Valley, 8 of families of the Kiewa Vallley and 17 of Mt. Buffalo. Various sized photos. Page from the Weekly times and copied article from the Yackandandah Times on A4 sheet.(Note for easier identification they have been numbered and grouped - K1-5 (Kiewa Valley), F1-8 (Families) and B1-17 (Mt. Buffalo). K1: handwritten in ink, lower L hand corner "Bogong in the distance". K2: handwritten in ink lower L hand corner "Mongan's Bridge or Towonga". K3 handwritten in ink "Taken from Mongan Bridge looking up stream". K4 - no inscription. K5: handwritten in ink, back of photo "Running Creek Cricket Team". F1: handwritten in ink on back "Mrs. Heap" and lower down in pencil "1880's". F2 handwritten in pencil at top of back phot "Land at Tawonga TROVE The Y'dah Times 20/2/1913" and lower down in ink "Henry Ellis Larkin". F3: handwritten in ink bottom edge "Mrs Coad". Note that this photo is a postcard. F4: Written in ink lower edge "Norman Coad". Note this photo is also a postcard. F5: Lower left corner in Ink "Harry Larkin". F6: lower half back of photo, in ink "Bernie Maddison". F7: on back of photograph in ink "Miss Marjorie Clemence first School Teacher Upper Gundowring: and underneath, in pencil "C1880's". F8: Handwritten in ink on back of photo "Frank & Mrs. Keat & Lesley of Tawonga". Lower down in pencil "c1912-1914". B1: Back of photo in ink "The Chalet Mt. Buffalo". B2: no inscription. B3: "chalet at Bufflo" in ink lower left corner. B4: This is a post card. Written in ink is "Mt. Buffalo Chalet". B5 - B10 printed in ink, lower left corner "Buffalo". B11: no inscription. B12: "Mt. Buffalo" lower R corner. B13: "Buffalo?". B15: Printed in ink lower edge "Picnic at Buffalo". B16: "Donkeys on Mt. Buffalo" printed in ink lower edge. B17: handwritten in ink across back of photo "Donkeys & top of Mt. Buffalo with the Monileith in the distance". A4 sheet of paper describing an accident to Mr. Norman Coad. Under article is : Yackandandah Times (Vic: 1890 - 1931), Thursday 18 July 1912, page 3. A page torn from the Weekly Times, June 14, 1961 and entitled "Kergunyah has picturesque setting". kiewa valley, farming, families, kergunyah, gundowring upper, mt. buffalo chalet, briggs family, larki family, coad family, clemence family, laskowski collection

Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Wertheim sewing machine in carry case, hand operated with two spindles, handle with locking pin, which turns lever between spokes of main handle, hand brake. The machine is table-mounted with a Turkish walnut base. The base can be attached to a cast iron table with a foot treadle as an optional extra. The walnut base has marquetry to the front set out as a measure for material. There is also an accessory box inside the carry case containing 20 additional items for use with the machine. Wertheim brass trademark badge riveted to the body of the machine of a crouching dwarf with a hammer with the name of the company Wertheim and Frankfurt. Gold filigree decoration in gold paint adorns the main body of the machine. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand operated sewing machine, crank handle sewing machine, wertheim, dressmaking, taylor, domestic, clothing, hugo wertheim, joseph wertheim

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

This is the Minute book of the Intermediate Legacy Ladies Club, from February 1983 - October 1993, detailing the activities and decisions of the ILLC. The Intermediate Legacy Club was established by Junior Legatees who had outgrown the junior activities. Initially just males but later the Intermediate Ladies also formed a club. From this book it appears to have functioned from at least 1953 to 1990. Background: The ILC was formed in 1929 with a total membership of 18. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together. Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing.Records of financial information and fund raising activities undertaken by the ILLC to assist Melbourne Legacy.Red mottled covered book with faint blue numbered pages. Yellow envelope and calendar fixed to inside cover with sellotape. Poem, Heroes of England inserted loosely between front cover and fly leaf. Two letters pinned to fly leaf 1- typed in blue thanking Intermediate Legacy Ladies Club for raising $1200.00. 2- letter in black type from the Honarary Secretary (Intermediate Legacy Ladies Club) to Mr Denstan Executive Officer Melbourne Legacy. A breakdown of amounts raised and from whom the funds were raised. Yellow envelope contains Statement of receipts and expenditure for years 1985/86/87/88/90/91/92.Cover, gold print "Collins 3880 series" underlined. Spine, gold print, Faint and paged. Lined and un-numbered page, handprinted Intermediate Legacy Ladies Club. In blue biro. Handwritten Minute Book. 1983 (February) in blue biro. Other notations have been inserted or stapled at pages 59, 96, 108 and 141.minutes, ilc, illc

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Photograph of a group of adults attending an exhibition entitled Artists of Kew. Two people have been identified in the photograph - Cr WHS Dickinson and Alma Figuerola at centre. The location of the exhibition is at the old Kew Town Hall in Walpole Street. Both Miss Figuerola and Cr Dickinson were foundation members of the Kew Historical Society.Reverse: "Artists of Kew Exhibition. Founder of KHS Cr Dickinson in dark suit. Miss Alma Figrierola [sic] to his left". "KH-97" kew historical society - members, alma figuerola, cr whs dickinson, exhibitions - kew (vic), southesk - cotham road - kew (vic), kew town hall - walpole street

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Studio photograph of Bert, a cousin of the Figuerola sisters. The photo was in the family photo album of the artist. "Cousin Bert age 12 mths"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'.alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'. "Proof only. This proof remains the property of the photographer K Lerfiniere Ross and must be returned No 137-1"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Photograph of an oil painting of a woman which may be of Alma Figuerola. The photo was in the personal photo album of the artist. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Cropped photo shot of Alma Figuerola at an art exhibition. The photo was in her personal photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Alma Figuerola, sitting on a rustic seat in what is probably her garden at her home D'Estaville, in 1950. She is nursing her pet pekingese 'Rebecca'. The photo was included in her personal photo album. "Rebecca and Alma, 1950"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Alma Figuerola in the garden of what is probably her home D'Estaville, with her pet pekingese 'Rebecca'. The photo is from her personal photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.The east side of D'Estaville (built for Sir William Stawell). It was the home of the Figuerola sisters from the 1940s to the 1990s. The large ground floor room at centre was used by the artist as her studio. The photograph is from the Alma Figuerola photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)