Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait

non-fictionA new open space park has been established at 14 - 16 Scott Grove, Burwoodscott grove reserve, scott grove burwood no 14 -16, playgrounds

Nillumbik Shire Council transferred to the former Diamond Valley Shire Offices in Greensborough after municipal restructuing. The offices became the official Nillumbik Shire Council Offices on 16 October 1995. The former Shire of Diamond Valley Civic Centre or Shire Office building was officially opened on 26th February 1972. Archtiects were A.K. Lines, McFarlane & Marshall and it was built by L.U. Simon Pty Ltd, The Diamond Valley Shire had been created in 1964 from part of the City of Heidelberg. On December 15, 1994 the Shire of Nillumbik was established. Under the Council amalgamations imposed by the Kennett government, the Shire of Eltham, Shire of Diamond Valley and City of Heidelberg ceased to exist with the establishment of Nillumbik Shire Council and the City of Banyule.The new Nillumbik shire surrended the west riding from Eltham to Banyule but in place gained parts of the former Diamond Valley Shire which itself had been created in 1964 from parts of the City of Heidelberg. Three unelected and non-local Commissioners were put in place by the government bringing democracy into question by many members of the local community. The Commissioners determined to abandon the former Shire of Eltham offices located in Main Road, Eltham and in turn occupy the former Shire of Diamond Valley offices located at the boundary of the new shire with Banyule, in Civic Drive, Greensborough. In July 1996 the Commissioners sold the former Eltham Shire Offices and had them bulldozed leading to many years of communiity protest over the process and future development applications. The site has remained vacant ever since. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p43 It was the need for roads that led to this district’s first council. In 1853 a committee was formed to improve the rough roads, some in Kangaroo Ground being almost impassable in winter.1 The committee fundraised by voluntary levies and grants to improve in particular, the main road between Kangaroo Ground and the Plenty River. From this committee arose the Eltham District Road Board, in 1856, which was the precursor to the Eltham Shire Council. The Board’s first chairman was Kangaroo Ground farmer, John Barr. Secretary was the former committee’s secretary, Andrew Ross, Kangaroo Ground’s first school teacher, and founder of the district newspaper, The Evelyn Observer.2 Most of the board’s income came from a toll-house north of the Lower Plenty Bridge, which funded such projects as a road from Kangaroo Ground to the Caledonia Diggings. In 1871 the Shire of Eltham was proclaimed, with its boundaries the same as those of the Road Board, and Councillor A Donaldson of Kangaroo Ground was the first president. Eltham was at the southern tip of the shire, which extended north to Kinglake and east beyond Yarra Glen. In 1878, part of Kinglake was added to the shire, while the area east of Watts River, near Healesville was removed. In 1912, then again in 1958, the shire was further reduced. Yarra Glen, Steels Creek, Tarrawarra, parts of Healesville and Christmas Hills, were transferred to the Shire of Healesville. In 1972 a smaller area, at Kinglake, was transferred to the Shire of Yea, leaving 277 square kilometres in the Eltham Shire. Perhaps no other Victorian municipality has had so many meeting places. Although from 1858 to 1904, the council convened at the office in the home of Secretary Charles Wingrove, the board, and later the council, also met at other more central locations.3 The board moved from the Fountain of Friendship Hotel to the Eltham Courthouse, to the Kangaroo Ground schoolhouse. It then met at the Kangaroo Ground Hotel, which some considered put it in danger of interruptions by people ‘the worse for liquor’.4 In 1885 the council met at the hall on Mr J Donaldson’s land at Kangaroo Ground. After Wingrove’s retirement, the council rented space at the Kangaroo Ground General Store and Post Office. Then, in 1917, the council bought the former office of The Evelyn Observer, after its printing works transferred to Hurstbridge. In 1934, fire destroyed the shire office, which was temporarily relocated to the Kangaroo Ground home of Shire Secretary, Mr P J McMahon. In 1941, the shire office moved to a new building (which included a public hall) in Eltham, at the corner of Arthur Street and Main Road, where the Eltham Village Shopping Centre was eventually built. Growth required new offices, which opened in 1965, on the former Shillinglaw property in Main Road.5 In 1994, as part of municipal restructuring under the Jeff Kennett Liberal Government, most of the Eltham Shire formed part of the new Shire of Nillumbik. It joined with the north section of the Diamond Valley Shire and parts of the Healesville and Whittlesea municipalities. The Diamond Valley Shire had been created in 1964, from part of the City of Heidelberg. Turbulence followed Nillumbik Shire’s formation. Under the Commissioners the council transferred to the former Diamond Valley Shire offices in Greensborough, and the Eltham council offices were demolished. In March 1997 the first five-member Nillumbik Council was elected. But, in October 1998, the government suspended the council and appointed an administrator . Early in 1999, shire residents voted to increase councillors to nine: comprising five ward councillors and four shire-wide councillors. Elections were held in March 1999. Then, before the March 2002 elections, nine new wards were created.6 In 2008 these were reduced to seven. Today [2008] the council governs a varied population of more than 60,000 people living in townships and on bush properties in the green wedge.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, greensborough, nillumbik shire council offices, civic drive

Built by William Ellis in 1865 of local uncut stone about 30cm thick, the cottage is now a museum and home to the Nillumbik Historical Society. Ellis Cottage is historically significant for its association with the Ellis family, who were pioneers of the Diamond Creek district and the benefactors of the notable Nillumbik Cemetery gateway. It illustrates the development of farming in the area. Ellis Cottage is historically and technically significant for its rare use of uncut local stone for building purposes. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p79 Ellis Cottage, built by William Ellis, is a memorial to the courage of pioneers in the Diamond Valley area.1 Now a museum and home to the Nillumbik Historical Society, it is a fine example of an early settler’s house in Diamond Creek – and one of the few original buildings standing from the middle of the 19th century. It is a poor man’s cottage – typical of the dwellings of those who had to work hard to wrest a living in this district, because most of the land was not fertile enough for major forms of farming. The pretty stone cottage at 10 Nillumbik Square, built in 1865, is made of local uncut stone about one foot (30 cm) thick. It once stood near the centre of the 147 acres (59.4ha) Ellis bought in 1850. The property extended from Diamond Creek to Reynolds Road and from Perversi Avenue to the Wattle Glen School. It stood in the electoral parish of Nillumbik. The Nillumbik township (later called Diamond Creek) was not created until 1867. In 1912 the property was cut in half by the new railway to Hurstbridge. Ellis paid £147/10/- for the land - about three times what a Victorian farmer would usually earn in a year. Despite the poor quality soil Ellis became a very successful farmer with an orchard, vegetables and a dairy herd. Five years later, in 1855, Ellis bought 70 acres (28.3ha) from neighbour, Hugh Larimour. In 1857 Ellis bought 208 acres (84ha) at Yarra Glen. In 1877 he bought 122 acres (49.3ha) at Diamond Creek and later bought land at Greensborough and Woodstock. Ellis was born in 1815 at Blackawton, a small Devonshire village, and became a tenant farmer. It is not known why Ellis came out to Australia or settled in Diamond Creek. In 1847 he married Margaret Child at the Melbourne Presbyterian Church. Ellis and Child had no children and 18 years after the wedding, while probably living in Kangaroo Ground, Ellis built this small cottage. The simple cottage has a central hall and two rooms on each side. To maximise the small space the ceiling cavity was designed large enough to provide sleeping accommodation accessed via a ladder. Each room was heated by an open fireplace and the one in the kitchen was large enough to roast a sheep. A large cellar under the front room probably stored farm produce. Water came from a well as reticulated water did not arrive at Diamond Creek until 1914. In 1870 Ellis’ 22 year-old nephew Nathaniel joined him from England.2 Until 1890 they developed Ellis Park, praised in The Evelyn Observer, May 30,1890 as a model farm. Ellis had become wealthy, and on his death in 1896 his estate was valued at £9000. In his will he left £100 to construct memorial gates at the Nillumbik Cemetery where he was buried.3 Ellis left the farm to his second wife Louisa. As he had no children, upon her death the farm passed to Nathaniel, but he did not take it up. The farm was sold and leased several times until 1967, when engineer Phillip Lovitt bought the property and carried out major structural works. The Shire of Diamond Valley bought it in the 1980s and in 1989 restored it with the Nillumbik Historical Society. The stone walls of the cottage had been plastered with mud and straw mortar, which were removed as they were riddled with vermin. Doors, windows and a floor were replaced and the original roof of timber shingles had been replaced with slate. The well was too deeply cracked to be restored, so was used for a flower bed. Two mature Italian Cypresses at the entry are also heritage protected as they relate to similar trees planted at Shillinglaw Cottage and other early buildings in Nillumbik Shire.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, ellis cottage, diamond creek, nillumbik historical society, william ellis

Strathewen Public Hall, social and spiritual centre was later lost in the Black Saturday fires 2009. The Strathewen Community decided a community hall was needed in 1901. In 1902 locals built the hall with messmate trees. It was located on the Cottlesbridge-Strathewen Road. The first function was a Grand concert and Balll attended by about 120 people. Several denominations held Church services and Sunday School services in the Hall. It survived several bushfires until after this photo was taken when it was destroyed in Black Saturday, 9 February 2009. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p89 Strathewen was settled late, largely because it was difficult to access.1 Early selectors found it a struggle to survive. They had to do everything themselves, from felling trees for buildings, to taking produce to market along bush tracks that they had helped cut. Small dairy farms were typical but fruit became the district’s prime produce. The first settlers east of Arthurs Creek were brothers John and Duncan Smith whose station Glen-Ard was probably operated as a sheep run. Other early settlers were the Mann family, who were to donate land for the hall, provide postal services and John Mann was an Eltham Shire councillor from 1916 to 1919.2 In 1873 James Mann, his wife Jane and their six children, settled on 207 acres (83.7) (Lang Fauld Farm) on both sides of Eagles Nest Road, from the foot of Mount Sugarloaf to the bank of the Arthurs Creek. In 1883 James took up another selection on Chads Creek. It was very hard work and at times he was well behind with his rent. However the family had a good social life, attending the Primitive Methodist Church at the Arthurs Creek Township and on New Year’s Eve throwing a party for all the locals. By 1874 James Mann’s younger brother, John, selected 311 acres (125.8ha) between Eagles Nest Road and upper Arthurs Creek. He called it Carseburn after his home parish in Scotland. Tragically in 1875 John drowned in the Yarra River, at Richmond.3 John Mann’s oldest son, also John, later purchased Duncan Smith’s land, which he named Violet Glen. He was to give one acre (0.4ha) of this land for the Strathewen Hall site. A Mann family diary written at Carseburn in 1897, tells how the district’s name was selected. Strathewen is derived from ‘strath’ meaning ‘broad mountain valley’ and from the name of Ewen H. Cameron, the local parliamentarian for almost 40 years. ‘George Brain came around to get a petition signed to get a post office up here and we had to vote for a name—Strathewen, Glen-Ard, or Headcorie’.4 It was at Carseburn that a public meeting in 1901, decided to build the Strathewen Hall on the Cottlesbridge-Strathewen Road. In 1902 the locals built the hall with messmate trees. The first function was a Grand Concert and Ball attended by around 120 people and several Protestant denominations took turns to hold church services and Sunday School there. Fortunately the hall has survived bushfires to be the town’s spiritual and social centre.5 The area continued to develop and in 1909 a post office operated somewhere at Strathewen and from around 1916 at Carseburn.6 It was not until 1914 that land was bought to establish the Strathewen State School on School Ridge Road. The residents paid £100 to build it on two acres (0.8 ha) while the Education Department contributed £30 and leased the building annually for £1. When teacher Miss Mary Golding opened the school in 1917, it had no equipment.7 But in 1921 the Education Department provided desks and a hexagonal shelter shed (now a rare style in Victoria) and took control in 1925.8 By 1917 Strathewen was booming.9 George Apted had built a coolstore in 1916, and local orchardists bought storage space until the 1950s. This allowed the area to supply the market in and out of season. Guesthouses catered for growing tourism. In the mid 1920s Mrs Eleanor Sparkes built the guest-house Singing Waters, which operated through the 1930s. Her daughter Mrs Vera McKimmie, ran it until the 1950s and the house remains in Chads Creek Road. In the Great Depression land was cleared for timber to be sold as firewood and there was small scale sawmilling. However the orchard industry diminished for several reasons including the 1939 bushfires and rapid changes in production methods. Today the Apteds still operate an orchard and farm at Glen-Ard, which straddles the border between Strathewen and Arthurs Creek. It includes the southern part of Duncan Smith’s original Glen-Ard selection.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, strathewan public hall

'Fulling', the half-hectare property at Pitt Street, Eltham was the home of landscape designer Gordon Ford and his wife Gwen. Ford bought the property in 1948, originally part of an orchard. The garden encapsulates the major trends of Australian garden design in the second half of the 20th century. The garden design is based on mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informality and attraction to native wildlife. The mud brick house and designed and built by Ford commenced in 1948. Several extensions were added up to 1970 and were built by Graham Rose (Source: information panel for exhibition, n.d.) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p147 A narrow timber gate opens onto a garden that has had a huge impact on natural garden development in Australia since the 1950s.1 Fulling, the half-hectare property at Pitt St, Eltham, was the home of the landscape designer, Gordon Ford, who died in 1999. The garden ‘encapsulates the major trends of Australian garden design in the second half of the 20th century...and epitomises the Eltham style of garden’.2 It in turn, was influenced by several Victorian major landscape designers of the mid 20th century – Ellis Stones, Peter Glass and Edna Walling. The gate opens onto a sandy gravel path, one of several, which wind around dramatic pools and what appear to be natural bush, but on close inspection are carefully integrated native, indigenous and exotic plantings. Retaining walls and steps of rock through the garden link different terrace levels. Lichen-covered boulders serve as steps across a pool, leading to the triple level mud-brick house. Ford bought the property, which was originally part of an orchard, in 1948. As the son of a Presbyterian minister, Ford received a good education, which included learning Latin. This was advantageous when he worked in plant sales for the Forestry Commission, before the Second World War. In the late 1940s, however, Ford turned to building and landscape gardening. He worked on the Busst house, an early mud-brick building designed by Alistair Knox and at the same time, Ford was employed by Ellis Stones. Knox described Ford as, ‘one of the funniest men of the district. ...Rocky’s (Ellis Stones) Depression stories and Gordon’s memory and quick tongue made the jobs the most enjoyable of all those hysterical times that made Eltham the centre of the eternal laugh, between the years of 1945 and 1950’.3 Ford’s house, like so many after the war, was built progressively, as more space was needed and formerly scarce materials became available. It began with an army-shed of timber-lined walls, now used as the kitchen. Ford then built what is now the lounge room, and the house grew ‘like topsy and on a shoestring,’ says his widow Gwen. A lot of second-hand materials such as window frames were used, a style made famous particularly with their extensive use at Montsalvat, the Eltham Artists’ Colony. The house was constructed as a joint venture with friends, including artist Clifton Pugh, who built Ford’s bedroom for £10. The polished floorboards and solomite (compressed straw) ceilings, interspersed with heavy beams, exude warmth. The result is a home of snug spaces, with soft light and garden vistas. Several other mud-brick buildings were constructed as needed, including a studio and units for bed-and-breakfast clients. The garden, which has been part of the Open Garden Scheme since the mid 1980s, is based on a balance of mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informal ethos and attracts native animals. Wattlebirds, scrub wrens, pardalotes, currawongs, owls and even kangaroos, have been seen at Fulling. Gwen, a former English teacher who has worked on the garden since around 1970, urged and helped Ford write his book, The Natural Australian Garden.4 Several of Ford’s favourite trees are in the garden, including the native Casuarina or She-Oak. In spring, the garden is dusted with the purple Orthrosanthus multiflorus or blue native irises and rings with the calls of birds attracted to plants like the callistemons, correas and grevilleas.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, fulling, gordon ford garden, pitt street, eltham mud brick buildings, mud brick house

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham community and reception centre, mudbrick construction

This metal frame opens from the side to allow paper to be placed between the two pieces and held into place with a metal clasp on the side. The elastic strands provide a guide to the writer to maintain a straight line of writing, with the beads allowing indication of space between words or sentences. This frame allows those who have deteriorating sight to continue writing hand written notes.1 japanned metal frame with elastic and beadsassociation for the blind, assistive devices

Colour postcard of Melbourne trams A245, advertising the Melbourne Open Tennis tournament, January 2006, in the Docklands Area. Photo Ian Green. Postcard produced by Railcard for the Association of Railway Enthusiasts, ARE No. 8/06. Has ARE logo, shop details and hours, space for small message, address and stamp.trams, tramways, melbourne, a class, decorated trams, tram 245

Metal lapel badge, gold finish with either a light or red blue gloss enamel paint background around letters, for the "Malvern Tramways Football Club". Has bird standing on a branch as part of the badge. Has the space for the year to be inscribed above the bird. On the rear is a metal pin that can be put vertically through a jacket and the manufacturers name "K. Luke Melb". The clasp for the pin has been closed so the pin cannot be opened. See Reg Item 914 for another version.trams, tramways, football, malvern depot, sports, social club, badges

Colour postcard divided back, serrated edge, with a view from the Melbourne Town Hall portico, looking south along Swanston St towards the intersection of Bourke St. shows the city square, Wales Corner, trams and traffic in both streets. Has a W2 crossing Swanston St - W2 586? - the crossing is one of the type which composed of panels that allowed for maintenance. City Square completed to Flinders Lane early 1970, Bourke St Mall opened 1983 - photo mid 1970's Back has space for name and address, stamp and a message and title of postcard. Produced by Nu-Color-Vue. Card Number ML 209, NCV 2940.trams, tramways, postcards, swanston st, bourke st, tram 586?

Full colour gloss finished postcard with a serrated edge of L 104 on the Zoo line, showing West Coburg via William St (route 55) as its destination. Photo has the Zoo brick wall in the background. On the rear of the card has the details of the tram type and the tramcar itself. Photographer (Ron Scholten). Produced by the TMSV in association with Nucolorvue. Has space for stamp and address details. NCV 1389 Used by Kevin Tierney to return a donator form and a note on the Hawthorn flyers distributed by the Connies at the Melbourne Town Hall on the 26 July 2014 Open House Day. 2 copies held.trams, tramways, l class, zoo tram, tram 104

This White Goshawk is the white colour morph of the Grey Goshawk. Is a moderate-sized hawk that measures 38 - 55 cm in length, and has a wingspan of 70 - 110 cm. It is native to Australia, and found in rainforest, forests, open forest and thickly-wooded watercourses. It mostly occurs in southeastern and northwestern Australia, and in Tasmania, all Grey Goshawks are white-phase. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This White Goshawk is white all over, with hints of beige around its eyes. The bird's legs are a yellow-beige colour, and its beak grey and white. This specimen stands on a perch, mounted upon a wooden platform, and has an identification tag tied around its leg.Swing tag: 5. / White Goshawk / See Catalogue, page 2 / Mount: 5 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, hawk, white goshawk, accipitridae

This White Goshawk is the white colour morph of the Grey Goshawk. Is a moderate-sized hawk that measures 38 - 55 cm in length, and has a wingspan of 70 - 110 cm. It is native to Australia, and found in rainforest, forests, open forest and thickly-wooded watercourses. It mostly occurs in southeastern and northwestern Australia, and in Tasmania, all Grey Goshawks are white-phase. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This White Goshawk is white all over, with hints of beige around its eyes. The bird's legs are a yellow-beige colour, and its beak grey and white. This specimen stands on a perch, mounted upon a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, hawk, white goshawk, accipitridae

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. However, this postcard is the 'odd one out' in that its location is London, it has no border, it has no reference to 'Jordan' or 'Jordan Series' no reference to the printer, no 'correspondence heading', it is slightly smaller than the others, and it has text in the stamp area that refers to 'inland' and 'foreign' postage, a half-penny inland and one-penny overseas.. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. New Gaiety Theatre, Strand [London] - The New Gaiety Theatre opened in 1903 on the corner of The Strand and Aldwych, London. The second show performed in the new theatre was “The Spring Chicken” in 1905. The third show followed in 1907. The preprinted postage cost on the stamp outline is ½ d. or half penny; according to The Great Britain Philatelic Society, Great Britain Postcard Stamps were priced 1/2 d. or Half Penny from 1-Oct-1870 to 3-Jun-1916. The postcard is significant for its inclusion with a set of nine postcards, eight of which are images of Warrnambool and its district and photographed by Joseph Jordan. It is also curious for is lack of connection to Jordan. Postcard, one of nine, portrait orientation, coloured print. The image shows a tall three-storey corner building with a statue on its domed tower and smaller towers on the sides. The top two storeys have balconies with columns, and overhang the ground floor, providing cover over the footpath. The foreground has horse-drawn carriages and coaches, and motorised vehicles including a bus. Figures wearing top hats and others in long dresses are in front of the building, which has a sign on the corner advertising the building and its current show. There is no correspondence written on the card. The front of the postcard has a printed red title and an inscription on the image. The reverse has inscriptions and outlines for a postage stamp. Made in Britain.Sign on the image of the building: “GAIETY / SPRING CHICKEN / THEATRE” On the front in red: “New Gaiety Theatre, Strand” On the back in printed in green: Stamp box “INLAND / 1/2d.’ STAMP / FOREIGN 1d.” “POST CARD” “THE ADDRESS ONLY TO BE WRITTEN HERE” flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, postcard, souvenir, correspondence, cameo postcard, new gaiety theater, the strand, spring chicken, gaiety theatre, london theatre

The new Eltham Library was opened 22 May 1994 and celebrates its 30th anniversay in 2024. This audio recording, presented by Harry Gilham, President of Eltham District Historical Society at the time of the opening is a summarised history of the Eltham Library service to 1994. Eltham Library Service 1930s - 1994 Originally collated by Harry Gilham, President, Eltham District Historical Society Inc (1993-2009) (edited 2022) In the Eltham township area, in the early 1930s, library books for adults were available from E J Andrew's newsagency in Main Road. In the newsagency come haberdashery, some shelves were set aside for a lending library of adults' books. In 1935, Mr & Mrs JC Rains purchased the newsagency and continued the lending service until the late 1940s. At this time the business was extended from haberdashery to sell ladies' and men's clothing. The library section was discontinued. In the 1930s a mobile book library was also run by a Mr Foster of Bible Street, Eltham. In the 1950s adult books were available from racks in the foyer of the Eltham Shire Offices which was then located beside the Eltham Hall on the comer of Arthur Street and Main Road. In the early 1950s a referendum of ratepayers was called to seek public opinion on the issue of raising money for a public library for which the rates would have to be increased - the motion was defeated. On 11 November 1965 Eltham Shire Council, in conjunction with the City of Heidelberg and the Shire of Diamond Valley, met to form the Heidelberg Regional Library Service. Eltham was represented by Councillors Charis Pelling and John Lewis. The first library service for the Shire of Eltham from this group came in the shape of a bookmobile van which had, amongst others, a central stopover near the Shillinglaw trees outside the newly opened Shire offices at 895 Main Road, the original site of Shillinglaw Cottage and the former Shillinglaw farm. Present-day Wingrove Park was another stopover and the many recorded requests for this service can be read as denoting the areas of population or gathering points at that period throughout the Shire. 1968 saw the Shire convert the ‘Brinkkotter’ house in Dudley Street to house both adult and children's books. This library was originally staffed from the City of Heidelberg Library and records of committee meetings range from borrowing Heidelberg's old library shelving to trying to increase the Government's subsidy to a dollar for dollar basis. Book loans in the period 1966-67 totalled 30,400 and the following year ran to 52,113. With 2 books plus 1 paperback the limit per person, it was overcrowded and unable to house the range of other services which had become common library stock. Planning to extend the Shire Offices by the addition of the south wing was an opportunity to re-house the Shire's Library. The opening of the library in the extension was carried out on 17th August 1971 by the Hon R J Hamer ED, MP, Chief Secretary of Victoria. Cr Geoffrey Dreverman officiated as the Shire President. The Heidelberg Regional Library Service continued until September 1985 when it disbanded. On 21 November 1985 the Yarra Plenty Regional Library Service was established. At that time Eltham was represented by Councillors Mary Grant and Robert Manuell. By 1987, over-crowding of the Eltham Library and an inability to house the range of other services yet again rose to prominence. At a Council meeting held on 1 June 1987, the Councillors supported a resolution which threatened to close the library on 30 September 1987. Council's frustration arose from yet another re-run of the annual State Government versus Council Library funding and records show first arose in Eltham Council in 1967 with the Government of 1he day. After prolonged public anger and petitions the motion to close the library was rescinded in August 1987. Council, considering the community's concern, set up a ‘Library Review Working Party’ which a year later became the Library Occasional Committee with direct access to Council. This Committee investigated the workings of the 386 square metre library and found inadequate space for storage and display, lack of equipment, out-of-date furniture together with an increasing patronage which resulted in queues of borrowers becoming longer no matter when the library was open. Community consultation took the form of 1,000 questionnaires sent to users and non-users along with noticeboard reminders of what was planned. Council developed a strategy to set aside capital funds from 1988 on an annual basis so that preliminary planning and consultative expenses could be met, and construction could be completed early 1997. The Committee visited metropolitan libraries which were catering for a similar population as was projected for Eltham. Australia-wide Federal Government funding grants under the Local Capital Works Program became available from October 1992 for community projects endorsed by local Councils. The Eltham Council submitted a proposal, based on library findings and requirements accumulated by the Library Occasional Committee, to the Federal Grants Committee to build a new Eltham Library. The Federal Grants Committee supported the funding request allowing commencement of the library project three years earlier than planned. With finance finalised, the Council set up its Eltham Library Re-development Special Committee which was given the task of overseeing what could be the last major expansion of the Shire's Library Service as Eltham's population nears its projected maximum. The new library was designed by Gregory Burgess and Peter Ryan of Gregory Burgess Pty Ltd. Construction of the library commenced in 1993 and was officially opened May 22nd, 1994. The library building was designed to reflect its parkland setting. External features include: the roof which includes interesting aspects when viewed from Main Road; verandahs which provide ramp access and give a sheltered entrance to the building; walls which feature locally made mudbricks, conventional bricks and copper panels; and space for an outdoor courtyard/reading area which will be developed later. Internally there are several features. The building includes a foyer with a fireplace suitable for displays including artwork, a community multi-purpose room suitable for meetings or functions and an outdoor cafeteria. The ceilings are lined with Victorian Ash. The shapes for the ceiling give a free-flowing form to the building. Brush Box has been used for the circulation and information desks. The tree trunk columns are Grey lronbark from New South Wales. Arches and various-shaped windows add interest to the internal structure. The carpet design reflects the Eltham environment and compliments the natural colours and timbers used in the building. Tiles by artist Felix Bosari feature in the building and additional art by local artists added externally and internally to the building. Since 1994 the library has undergone a major extension to cater for children’s services and others. See also EDHS_02111Digital file only recorded from Audio Cassette tape on loan Converted to MP3 file; 11.1MB, 0:08:49eltham library, opening, harry gilham, harry gilham collection, 1994, audio cassette, audio recording

It is very likely that this is a painting that was presented to John 'Jack' Courier (1915-2007), who turned 80 in 1995. Courier left a bequest to the College consisting of a significant number of artworks by himself and others, including works by Peter Jacobs.Mixed media artwork, using acrylic and watercolours. Painting appears to be an abstract head and shoulders portrait of a figure, possibly a man. The figure is facing towards the right of the painting, with mouth open - the head of the figure takes up the majority of the space in the painting. The figure appears to be holding something in their right hand, which is raised. There are four semicircular shapes along the bottom edge of the painting which the figure is depicted behind. Handwritten text at the bottom of the painting reads 'Happy 80th Jack/ Jacobs '95'. The image is mounted and framed in a grey wooden frame, behind glass. There are four small auction house stickers stuck to the back of the frame. A stamp for Separation Creek Valley Productions appears at bottom centre of the back of the frame. A cord has been stapled to the back of the frame at upper centre for hanging. D-rings and a wire have also been attached for hanging at the top of the back of the frame.

This building on the corner of Main and Gell Streets, comprised of two shops, a residence and sheds at the back, was built by Jeremiah Ryan in 1886-7. It became known as "Ryan's Corner". The first usage as mentioned in the Bacchus Marsh Express was as a jewellery in one shop and a fish and oyster shop combined with Watson's agency business in the other. Over the years, a variety of businesses operated in the two shops, including a barber shop, auctioneer and land agent premises, a hairdresser, solicitor's, costumiere, and bootmaker. Joseph Burbidge operated a greengrocery on this site for several years until the corner store was purchased in 1903 and became an ABC Cafe. Various businesses continued to operate on the site, with the neighbouring ABC cafe continuing in business with a number of different proprietors. The cafe was taken over by Miss Mary O'Donnell in 1922, assisted by Mr "Bill" Day, who became a business partner in 1924. In 1935, Miss O'Donnell sold her share of the business to Mr Day, who continued to operate the tea rooms with his wife. He remained the sole proprietor until his death in 1963. Because he was a well-known shop-keeper in the town over a period of forty years, his establishment became known locally as "Bill Day's Corner". In 1968 the building was demolished for the Commonwealth Bank, which continues to operate on this site.Black and white photograph mounted on brown cardboard. Photograph of M. O'Donnell A.B.C. Refreshment Rooms with a young woman and a gentleman standing outside on the footpath. They can be identified as Virgie McCusker and W.J "Bill" Day. The corner brick building has a corrugated iron roof with a verandah supported by pillars featuring wrought iron corners. The corner pediment bears the name : Ryan's Corner 1887. The space between the corner pillars has a large sign reading: Miss M. O'Donnell. A.B.C. Dining & Refreshment Rooms. Board & Residence. Motors Catered For. The front window has an advertising sign: Cadbury's Chocolate. A sign on the door reads: Luncheon Please. Items can be seen in the window. At the corner stands an ornate iron gas lamppost.On the back: Handwritten: Corner Main & Gell Sts built by Jeremiah Ryan 1)Day. demolishe 19 (incomplete date) Site now Commonwealth Bank. C.B.A. opened 1963. Virgie McCusker, niece of Miss O'Donnell. 21/3/23.shops bacchus marsh, small businesses bacchus marsh, refreshment rooms, w.j. "bill" day 1887-1963

An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire.POST CARD This Space may be used for Correspondence. The Address only to be written he (rest obscured by postage stamp) Date stamp / MAR 4 Orange postage stamp with portrait depicting Queen Victoria 95686 To Bessie/ Hope you are enjoying yourself/ I see there was some excitement/ at the Marysville Races/ Kind regards and/ best wishes/ & love from all of/ us at 384/ Punt Road/ & William Miss Bessie Taylor/ The Chestnuts/ Marysville Vicmarysville, victoria, nicholas john caire, watts river, fernshaw, 95686, postcard, souvenir

An early colour postcard of a brook scene in Marysville. The original photograph was taken by Nicholas John Caire in 1906. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of a brook scene in Marysville. The original photograph was taken by Nicholas John Caire in 1906.POST CARD This Space may be used for Correspondence. (FOR ADDRESS ONLY) Postmark/ Geelong/ 22/ Rest is illegible Glad to know you/ are keeping better/ & trust you will go/ on so doing accept/ love & best wishes/ for a happy Xmas/ we will be all/ thinking of you/ Yours M.P. Philip Mip Rittocto/ "Hospital"/ Lt Ryrie St/ Geelongmarysville, victoria, nicholas john caire, brook scene, souvenir, postcard

An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire.POST CARD This Space may be used for Correspondence. The Address only to be written he (rest obscured by postage stamp) Date stamp / MAR 4 Orange postage stamp with portrait depicting Queen Victoria 95686 To Bessie/ Hope you are enjoying yourself/ I see there was some excitement/ at the Marysville Races/ Kind regards and/ best wishes/ & love from all of/ us at 384/ Punt Road/ & William Miss Bessie Taylor/ The Chestnuts/ Marysville Vicmarysville, victoria, nicholas john caire, watts river, fernshaw, 95686, postcard, souvenir

Olive trees have been a boon to civilization for millennia. The oil extracted from olives can be used for everything from fuel for lanterns to medicinal balms to an essential ingredient in foods. It’s easy to understand why the tree was incorporated into so many early religious practices, but near the Mount of Olives in Jerusalem, a grove of olive trees in Gethsemane provides a direct link to ancient biblical stories. At the foot of the Mount of Olives, a small olive grove would go on to become an important site for Christianity. Gethsemane, taken from the Aramaic word for olive press, is mentioned many times throughout the New Testament as a favorite place for Jesus and his disciples to rest and pray beneath the evergreen olive trees. Today, the Church of All Nations has been constructed in a section of Gethsemane, enshrining the ground where Jesus is said to have last prayed.However, as a privilege, soldiers were given one green envelope per month in which they could send uncensored personal and private letters to loved ones. The soldier had to sign to verify that they had only included private and family matters.A small vintage brown paper WWII AUSTRALIAN Active Service envelope with faded green text explaining its use, which was for letters only. It was Revised July 1942. There is a large green lined open cross on the front with Active Service at the top and (Crown Copyright Reserved). It has an address space on the right. Inside the envelope is a small folded paper souvenir from Gethsemene Jerusalem with a black and white image on the front of a relief sculpture depicting the moment when an angel visits Jesus in the garden of Gethsemane. It is titled 'Gethsemeni'. Inside the small souvenir card is a Daily Prayer for the Dying and, glued to the opposite side, an olive leaf from the Garden of Gethsemane. On the back of the souvenir is a text titled, The Good Work of the Holy Land, which describes the work of the Friars Minor who resided in Jerusalem for seven venturies. Though undated, this document dates from WWII when the soldiers were in the Middle East.'Leaf from the Trees of the Garden of Gethsemane'

The mantel clock has a rich history that dates back to the 18th century. These smaller clocks were designed during an age when people wanted elegant timepieces that fit on mantels or shelves. Their compact size and decorative designs made them a popular choice for homes of the time. They graced the mantelpieces or tables in homes, serving as both functional timepieces and sophisticated decorations. These clocks often feature ornate wooden carvings and intricate designs, with their gentle ticking and chimes adding a cozy ambiance to living spaces. It was used by Harold and Jean Parker.An antique wooden mantel clock made in USA with an Australian made Duff brand oak case with a plain angled top with round shaped pillar styled sides. It has a white ceramic dial face with black digits and black metal hands. The dial is covered by a glass and gold trimmed covering that may be opened on the right side. Inside the case is a Waterbury Clock Co of USA key and the internal workings are visible. It is not in working order.'Duff' brand brass plaque on back of cover. The key has 'Waterbury Clock Co USA' stamped on it.clocks, timepieces, clock components, clock keys, mantel clocks

The mantel clock has a rich history that dates back to the 18th century. These smaller clocks were designed during an age when people wanted elegant timepieces that fit on mantels or shelves. Their compact size and decorative designs made them a popular choice for homes of the time. They graced the mantelpieces or tables in homes, serving as both functional timepieces and sophisticated decorations. These clocks often feature ornate wooden carvings and intricate designs, with their gentle ticking and chimes adding a cozy ambiance to living spaces.A small vintage decoratively carved dark timber steeple mantel pendulum clock with a white cardboard face, black roman numerals and black metal hands. There is a brass trim around the face. The turned wooden frame at the front has has It is in working order. The very ornately white painted pattern on the glass door has a leaf and floral pattern. The door opens with a small decorative brass catch to reveal the inner workings. It has an ornate hanging brass pendulum and the internal workings are visible.There are two spirit plumb levels inside, one is aluminium metal and is attached to the wall. There is a brass key which does not wind the mechanism. clock keys, clock components, timepieces, clocks, mantel clocks

The Bellamy Gardner mask was in use by 1905 and was the first British mask for the open administration of ether. This mask combines the features of the Bellamy Gardner mask with a tower frame designed by Ogston. The Museum's "Penn catalogue", circa 1970, describes this mask: "this followed closely upon Ferguson's lead, but has an enormous amount of "dead-space" contained within the apparatus."Open wire ether mask with inner dome (Bellamy Gardner mask) and outer wire frame tower (Ogston frame).Moulded into connector clip: BRITISH MAKEbellamy gardner, ogston, open ether administration, henry peter penn

A laryngoscope is an instrument used to view the larynx (voice box), which is the opening to the trachea and lungs. It consists of a “blade,” which goes into the patient’s mouth, and a handle. Prior to 1943 when Macintosh introduced his curved blade, most laryngoscope blades were long and straight. The straight blades were used to directly hold the epiglottis. Macintosh’s curved blade works differently: it indirectly opens the epiglottis by applying pressure to a space between the root of the tongue and epiglottis, called the vallecula. The flange running along the left lower edge of Macintosh’s blade was also a novel innovation. It was designed to move the tongue to the side, which improved the view of the larynx and made more room for a breathing tube. The Macintosh Laryngoscope remains one of the most popular blades worldwide. (Source: Wood Library Museum) This laryngoscope was previously owned by John Mainland, as evidenced by the name etched into the handle. Mainland graduated from the University of Melbourne in 1950 with a Bachelor of Science degree. After researching and completing his medical degree, Mainland entered into the field of anaesthetics, training at the Royal Women's and Royal Children's Hospitals, later Alfred Hospital, in 1959. He completed training in 1964 and remained at the Alfred Hospital. During his career, he also became the first anaesthetist appointed to the position of Professor in Victoria. His other achievements include manufacturing a respiratory monitoring module that accompanied astronauts on the United States moon landing and developing a stimulator to lessen the risk of deep vein thrombosis in surgical patients. Mainland became a Fellow of the Australian and New Zealand College of Anaesthetists in 1992, retiring from the profession in 1997.Oblong shaped handle with textured grip. Attached is a laryngoscope blade in a cruved shaped with light tube running through one side.Etched into top of handle: J.F. MAINLAND •Stamped into top of handle: REGD TRADE MARK / PENLON / MADE IN ENGLAND •Stamped into base of handle: CLOSE [arrow] •Etched into base of blade: MAC / 4 •Stamped into side of blade: REGD TRADE MARK / PENLON / MADE IN ENGLAND •Stamped into side of blade: STAINLESSmacintosh, robert reynolds, new zealand, laryngoscope, mainland, john, alfred hospital, moon landing

The cabinet appears to be homemade and purposely built for the storage of a collection of vinyl records. The records are stored vertically in a 'holder' with a rectangular wooden base with soft covered wire strips well spaced and each extended to fit up to 50 records. See KVHS 18 . The stands then fit into the cabinet with the base of the holder resting on wooden ledges glued on each side allowing the records to fit in all directions. There are two levels - one on the bottom and one halfway up. Holding approximately 100 records altogether. The cabinet's door is opened with a silver push button latch. Many men made their own furniture as they had the equipment and experience to do so. During the 1950s vinyl records were played to entertain families and to educate children in the areas of music and dance. Mt Beauty didn't have TV until much later than the cities and furniture wasn't always available at the local shops.Wooden cabinet with 4 legs and a door with a silver push button latch. Inside are small ledges on each side at the bottom and halfway up.vinyl records, music, wooden cabinet

1888 school opened. 1890 children attend (50ft x 20ft room. 90 children, 3 teachers)1922 land purchased on Tirana St. site. 1930 brick building built for upper grades. 1950's timber rooms added, later burnt down. 1967 Junior classes to brick extension Tirana St. 2008 2 large learning spaces built.Sepia photograph of Mitcham school (Grade 7 and 8) taken outside in front of a plant covered wall. The photograph was taken in 1937. This is a class of 37 children. Teacher on the right.mitcham state school no 2094, class photo, 1937