These photos of the Bogong High Plains were all taken by Ronald George Thorn who was a cadet engineer with the State Electricity Commission. He worked on the Kiewa scheme from 1948 to 1950 doing overhead line construction and maintenance plus electrical design and drawing work. They are from his personal collection and a record of his time in the Kiewa area.Pictorial history of personal involvement in the the early days of the Kiewa Scheme.18 small black and white photographs all taken on the Bogong High Plains.Photo 1 Wallace's Hut. Photo 2 Ruined Castle - Looking towards Pretty Valley December 1948. Photo 3 Ruined Castle - Looking towards Pretty Valley December 1948. Photo 4 Ruined Castle - Looking Down Valley December 1948. Photo 5 - Mt. McKay from Ruined Castle October 1948. Photo 6 View from Rocky Valley Camp October 1948. Photo 7 Mt. Feather Top from Ruined Castle October 1948. Photo 8 View from Ruined Castle looking downwards towards Beauty October 1948. Photo 9 Rocky River from gauging station October 1948. Photo 10 Rocky Valley River from main road October 1948. Photo 11 View along little Arthur Fire Track October 1948. Photo 12 View along main road. Looking towards Beauty Valley October 1948. Photo 13 View from Little Arthur Fire Track October 1948. Photo 14 Frying Pan Spur from Rocky Valley Road October 1948. Photo 15 Mt. Bogong from Big Hill Fire Track October 1948. Photo 16 View from Big Hill Fire Track October 1948. Photo 17 Mt. Feathertop from Ruined Castle October 1948. Photo 18 Mt. Fainter from Ruined Castle October 1948. (All of the above is hand written on the back of photos in ink). bogong high plains; r g thorn; secv; kiewa hydro electric scheme; pictorial history

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury. That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek. Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek. With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.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, clara southern, main road, research (vic), heidelberg school artists trail

Photograph. The Patricia Coles (nee McLean) Collection. Golden Square Football Club Committee 1935. Original committee. Copy of a black and white photograph of 14 men, 5 seated, posed outside a timber building. Named as follows : Standing from Left - Unknown, Joe Schotterlein (employed Bendigo Advertiser), Laurie Ryan (hairdresser Golden Square), Sam Rance, Tom Brasier (Constable, Golden Square Police), Tom Whitlock (storekeeper, the old premises still stands on corner of Ophir / McKenzie?), S. Rolls, Unknown, William George Turner (Bill) (Captain Golden Square Fire Brigade, Chairman for 2 years of Country Fire Authority, Golden Square ALP, died 8/11/1943 age 47). Seated: Herb Hamill (Secretary for many years), E. Jones (Jones Hay &? Corn store, Laurel St.), Dr E. W. Turner (President), Dr P. Goodman (Vice President), Tom McLean (Vice President, Hotelier United Kingdom Hotel Golden Square). The above are named in a letter dated 7 March 2013 from John Turner, son of Bill. ** Note: there is a discrepancy between Patricia Coles and John Turner re. Names of those seated. From John's letter: 'Dad always dreamed of a team in the Bendigo League. Called some influential citizens and called a meeting at GS Fire Brigade which resulted in team being formed. First coach Alan (Snodger) Arthur. First game v Kyneton at Golden Square on April 27 1935. Possibly won a game or two in 1935 + 1936. 1937 in the Four, and 1938 Premiers (under Ree? Ford).. .. The Annual Report 1935 shows - President - Dr E W Turner, Vice Presidents - Dr P Goodman, T McLean, J McCabe, J Potter, A ? Cook (MLA) J Dutton, S Nixon, W Matthews Committee - W Turner, F Wilson, L Ryan, T? Bond, T Whitlock, W Henderson, W White, J Christopher, J Schotterlein, S Rance. Player Reps - A Arthur (coach), R Lee, C Rowe, T McMahon, G Whiteside. Time Keeper - J Harper. Surgeons - Dr Turner, Dr Goodman. Dentist - Mr W Batchelder. Solicitor - Mr E Hynam. Auditor - J J Potter, E Hynam. Treasurer - Mr E Jones. Assist Sec - Constable Tom Brasier. Secretary - Herb Hammill.' See also Jim Evans article in Bendigo Advertiser, February 28 2013, a copy of which is included in the collection.clubs, football, golden square football club, golden square football club.

This is a typical family bible from the 1880's. It was owned by the Morgan family of Allansford but from the names in the back appears to have connections to the Cumming family also of Allansford.The original owners were John and Sarah Morgan who were great grandparents of the donor.A typical family bible which has connections to a local family.Brown leather hard cover with pages edged in gold. 1125 pages.It has side notes. There is part of a inscription on the front fly. The fragment of the inscription reads "Present ** Miss Anne** on the occasion ** by her frie***. In the back is a list of names and birth dates. Moreton St Clare Cumming born 23rd February 1904 at Allansford. Thomas Arthur Clyde Cumming born 24 March 1905 at Allansford. Alice Edith Frances Cumming born 21st June 1907 at Allansford.George Henry Reginald Cumming born 2nd January 1910 at Allansford. Linda Myrtle Cumming died 30th October 1895, Ivy Stella Mary Cumming born 27 August '89 at Flaxman Street Warrnambool, Jessie Elizabeth Doris Cumming Born Warrnambool 17th August 1899 Flaxman St Wallace Alan Lancelot born 3rd July 1902 at Allansford. holy bible, morgans of allansford

The Orbost Workers' Band was started in 1889 by Donald and Archie Munro. The band folded after the town was devastated by floods in 1893. Charles Spink reformed the group in 1905. It split in 1908 and the breakaway band was named the Orbost Workers Band. The two bands, The Orbost Workers and Orbost Town Band would often compete against each other. Eventually, in 1913, the two bands amalgamated to form the Orbost Municipal band. The old Orbost Municipal Band recorded its last meeting in 1941 -a lack of effort and membership. The new Orbost Municipal Band was restarted by Clem Heather (a previous member) on Wednesday 20th September, 1961 and continued into the late 1980s when lack of interest caused it to become defunct. Members of the 1910 Orbost Workers' Band in the photograph are from back and left to right : Bill Whillance; Vic Lawless, Tom Reeves, August Redenbach, Alex Stirling, Bert McCoy, Bill Stirling, Ray Napier, Ted Swan, Albert Hight; George Jackson, Jack Richardson, Bill Clark, Wally Swan, Arthur Redenbach, Brick Richardson, Jack Healey, Dave Williams; Ossie Wehner, Charles Black, Val Perry, Charlie O'Brien, Arch Lavell; Tom Swan and Harold NapierThis is a pictorial record of the Orbost Brass Band. The various Orbost bands over the years played a major role in community activities providing entertainment and musical experiences for the many members.A black / white photograph of band members with their instruments. In the fron row are two,small boys sitting on either side of a drum. Behind them is a row of young boys, the one on far left holding a small dog. Another row is kneeling behind them and a row is standing at the back with one man centre back by himself. They are all dressed in suits or uniforms. The photograph has been glued onto cardboard.on back - "Flavel, 1910"orbost-municipal-band spink-charles heather-clem

Russian-born Nina Christesen (nee Maximoff) is regarded as the pioneer of Russian academic studies in Australia. In 1946 she became a lecturer in Russian at Melbourne University, and in 1947 established the Department of Russian Language and Literature, remaining its head until her retirement in 1977. In 1987 she was made a Member of the Order of Australia. Nina was married to Clem Christesen, founder and editor of the respected (if left-leaning) literary magazine "Meanjin". They lived at "Stanhope" in Peter Street, Eltham. Visitors included writers Patrick White and Xavier Herbert, painters Arthur Boyd and Clifton Pugh, and historians Manning Clark and Geoffrey Blainey. In 1955, both Nina and Clem were interrogated by the Petrov Royal Commission on suspicion of being Communist sympathisers, which they reputedly rebutted wittily. Nina died in 2001 and Clem in 2003. They are buried together at Eltham Cemetery. There is also a memorial to Nina at the Eltham Living and Learning Centre, in the form of a bluestone amphitheatre with a floor of hand-painted tiles. Christesen In Loving Memory Of Clement Byrne 1911 - 2003 Beloved husband of Nina Mikhailovna Christesen and Nina Mikhailovna 1911 - 2001 Beloved wife of Clement Byrne Christesen also In Memoriam Captain Mikhail Ivanovich Maximoff 1885 - 1967 Tatiana Semenovna Maximoff 2888 - 1979Born Digitaleltham cemetery, gravestones, heritage excursion, clem christesen, clement byne christesen, nina mikhailovna christesen, captain mikhail ivanovich maximoff, tatiana semenovna maximoff

Russian-born Nina Christesen (nee Maximoff) is regarded as the pioneer of Russian academic studies in Australia. In 1946 she became a lecturer in Russian at Melbourne University, and in 1947 established the Department of Russian Language and Literature, remaining its head until her retirement in 1977. In 1987 she was made a Member of the Order of Australia. Nina was married to Clem Christesen, founder and editor of the respected (if left-leaning) literary magazine "Meanjin". They lived at "Stanhope" in Peter Street, Eltham. Visitors included writers Patrick White and Xavier Herbert, painters Arthur Boyd and Clifton Pugh, and historians Manning Clark and Geoffrey Blainey. In 1955, both Nina and Clem were interrogated by the Petrov Royal Commission on suspicion of being Communist sympathisers, which they reputedly rebutted wittily. Nina died in 2001 and Clem in 2003. They are buried together at Eltham Cemetery. There is also a memorial to Nina at the Eltham Living and Learning Centre, in the form of a bluestone amphitheatre with a floor of hand-painted tiles. Christesen In Loving Memory Of Clement Byrne 1911 - 2003 Beloved husband of Nina Mikhailovna Christesen and Nina Mikhailovna 1911 - 2001 Beloved wife of Clement Byrne Christesen also In Memoriam Captain Mikhail Ivanovich Maximoff 1885 - 1967 Tatiana Semenovna Maximoff 2888 - 1979eltham cemetery, gravestones, memorials, captain mikhail ivanovich maximoff, clem christesen, clement byne christesen, nina mikhailovna christesen, tatiana semenovna maximoff

Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 Sarah’s hairstyle is late 1870s/early 1880s . The children could possibly be Sarah Ann Shillinglaw (1873-1878) and Caroline Shillinglaw (1876-1956) which would date the photo early 1878 or Caroline Shillinglaw (1876-1956) and William Shillinglaw (1877-1891) which would date the photo early 1879 as Sarah was pregnant with Elizabeth Ann Shillinglaw who was born Aug 1879.. Daughter Jane Shillinglaw (1876-1876) had died prior to the date of this image. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911878-1885, 1879, a.w. burman photographer 209 bourke st east, marg ball collection, phillip shillinglaw (1842-1914), sarah ann shillinglaw (1873-1878), sarah ann shillinglaw (nee kidd) (1850-1891), shillinglaw family photo album 1

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A

The fragments of pot were found in 20 meters of water off of the South Channel Light, Port Phillip Bay. They are believed to be from the ship 'Hurricane' that sank in the vicinity on April 22,1864. The Hurricane was a three-masted iron ship, weighing 1198/979 tons. Built on the Clyde, Scotland in 1853. Lbd 214.9 x 30.7 x 20 ft. It was one of the first large iron sailing ships built for the Australian trade during the gold rush, and one of the fastest clippers on the Australian run. Her maiden voyage from Glasgow to Melbourne with 256 passengers took eighty-seven days, and the return to London eighty-three days. In 1856 she was converted to an auxiliary screw vessel and continued in the Australian trade until lost. Under Captain D.H. Johnston (former master of the Lightning), inward bound from Liverpool with 2000 tons of general cargo and 19 passengers, grazed a rock entering Port Phillip, sank off Arthurs seat, 21 April 1869. Passengers and crew transferred to the tug Titan. The wreck was relatively intact until the late 1960s, when it was blasted by Ports and Harbours engineers who considered it to be a navigational hazard, spreading wreckage over a wide area. Despite this, the stern of the ship still stands about three metres above the sand. The wreck of the "Hurricane" in Port Phillip Bay and the accompanying story of the nearby lighthouse, the South Channel Pile Light, tell the story of early shipping within Port Phillip Bay, pre federation. 3 pieces of encrusted pot fragment all roughly A5 paper sizeshipwreck, port phillip bay, ship hurricane, south channel light

Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years. Harry Culliton (clerk; later bank manager) married Christina Mary Rothwell of Surrey Hills in 1897. They initially live in Canterbury Road before moving to 'Bayview' in Harding Street. They had 3 sons. The eldest Kenneth Rothwell Culliton married Molly Fanny Arthur in 1940. They continued to live in 'Bayview'. Molly was a foundation member of the Surrey Hills Historical Society.The image is significant in documenting the Surrey Hills Golf Club, no longer in existence, but also members of early Surrey Hills families. Black and white photo showing a barbed wire and post fence behind which stands a man, identified as Harry Culliton. He is wearing a suit, cap and a tie. He sports a large 'handle-bar' moustache and is gripping an iron golf club, preparing to strike a golf ball which is impaled on the barbed wire.Caption: "Harry Culliton playing from the barbed wire where his ball was impaled on the fence on the side of the coffin. To his opponent's dismay he managed to land the ball near the green and get down in two for a half."sports grounds, surrey hills golf club, riversdale golf club, clothing and dress, john arnold, harry culliton

The grey painted heavy wooden, homemade box has a freehand inscription in black on outside, which reads ‘LEVINGS To MAAT IS’. The writing refers to Alan and Marlene Levings, who began their twenty-two year career in lightkeeping with a posting to Tasman Island, off Port Arthur, in the 1960s. After four years they moved to Maatsukyer Island off south-west Tasmania, Australia’s southern-most lightstation, followed by postings to South Bruny, Eddystone Point and Wilsons Promontory. The robust box journeyed with the Levings through their postings to five lightstations and came to rest at Wilsons Promontory when Alan retired. It is not known whether the box was used in an office or domestic context. The movement of people and objects is a significant and unique theme that runs through the history of Australia’s lightstations. This historical process relates Victoria to the much bigger story of Australia’s network of lightstations. Alan Levings has been described as an extremely interesting character and artist. When Levings was a lightkeeper at Wilson’s Promontory, delivery of goods was by boat, then off the boat by a winch and onto the back of a truck. For this reason, packing boxes in earlier years had to be extremely robust. Today, anything that is not carried into Wilson’s Promontory Lightstation by foot, comes by helicopter, eradicating the need for heavy packing boxes such as Levings’. This humble box has first level contributory significance for its reliable provenance which traces its journey through five lightstations; for its association with a former lightkeeping family; and for contributing to an understanding of the pattern of lightstation life.Wooden box, light blue/grey painted. Made of horizontal pieces of timber with some tin reinforcment on the sides. Writing in black on side of box.On side of box in freehand,"LEVINGS To MAAT IS"

This portable, hand held visual signaling lamp, with trigger mechanism and inner reflective disk, was used for optical communication via Morse code, with the concave mirror tilted to focus the light into pulse signals. Larger versions of these lamps are fixed on ships or pedestals and have shutters in front of the light that are opened and closed to transmit signals. Smaller hand held versions like the Cape Nelson example have a concave mirror that is tilted to focus the light into pulse signals, and despite their size the lamps were renowned for their brilliant light. Invented by Arthur C W Aldis (1878‐1953) and pioneered by the British navy in the late nineteenth century, they continue to be used to the present day. Details on the Cape Nelson lamp include a serial number, a date of 1960 and the initials of the Department of Transport, which at that time incorporated the Commonwealth Lighthouse Service. Another lamp of the same date which is held at Wilsons Promontory was provided to the lighthouse by the Department of Shipping for signaling ships but was also used for communicating with Cliffy Island, 18 nautical miles away. Point Hicks also has an Aldis lamp and an associated case, which is painted an army green colour. A fourth lamp and case formerly at Cape Schanck disappeared from the collection sometime between 1995 and 2003. These types of lamps are not rare in museum collections.These types of lamps are not rare in museum collections however the Cape Nelson example has a reliable provenance to the lightstation and has first level contributory significance as a fine example of the Aldis lamps that were distributed to lightstations throughout Victoria and Australia.This object is comprised of a black metal encased Aldis lamp with electrical cord and associated wooden carrying case with metal clasp and red leather hand grip. yes

Black and white photocopies of articles and information about the first Blamey House owned by Legacy between 1947 and 1956. It includes articles about the opening in November 1949 with Sir Thomas Blamey in attendance. It shows the property was described as "a home, a huge rambling weatherboard house with a swimming pool, flood-lit tennis court, and four acres of beautifully kept lawns and gardens." The title deed was handed over to Legacy by Sir Robert Knox, the chairman of trustees of Blamey House, Melbourne (the servicemen hostel that had been operating during the war). Other pages show the property had been built in 1930 as a holiday home for Toorak business man Mr Arthur Jack and his wife Ms Langlands-Jack. It was sold to James Picken by 1941 and it was known as 'Mossgiel'. The Pickens remained owners until 1947 when it was purchased on behalf of Legacy with money donated by the Blamey House Trustees (the servicemen hostel that operated during the war) to be used as a toddlers and childrens' home. When Legacy no longer required the property it was sold to the Beaumaris RSL (or it's precursor RSSALIA) as its clubrooms. There was controversy in 2015 when it was sold to developers for housing. The pages were copied from items held by Sandringham and District Historical Society in February 2022.Records different facts about the property that was Blamey House Beaumaris that could be useful even though there are discrepancies with other known facts about Blamey House (the Hostel) trustees donation to Legacy.Black and white A4 photocopy x 20 pages of collected information about the property in Beaumaris before and after it was held by Legacy.blamey house, beaumaris, properties

A.C. (Arthur Charles) Simon a pioneer orchardist in the Bacchus Marsh district planted this avenue of Osage orange trees in about 1883, creating an imposing entrance to his property from Taverner Street. Simon also believed that the trees on his orchard property would provide a protective shelter for his other plants. Osage orange trees (Maclura pomifera) are a small deciduous tree or large shrub, native to the south-central United States. It usually grows to about 8 to 15 metres high. The distinctive fruit, a multiple fruit that resembles an immature orange, is roughly spherical in shape, about 8 to 15 centimetres in diameter, and turns bright yellow-green in the autumn. A. C. Simon is believed to have imported the Osage orange seeds from America around the 1860s and later used them to plant the trees depicted in this image. The date of this image is not certain but it probably shows the trees around the 1900s or 1910s. The avenue of trees was known for many years in Bacchus Mars as 'Simons Avenue', and were featured in a Rose series postcard dating from around 1900-1920. The remnants of this avenue or grove of trees can be seen on some of the properties on the north side of Taverner Street Bacchus Marsh and along the Werribee River west of the FIsken Street bridge.The Bacchus Marsh Heritage Study of 1995 described the Osage Orange Tree avenue as being of regional historical significance as a landscaping practice, pioneering of its type, It was also described as of local significance as a well-known landmark due to it be being represented on widely distributed post cards which depicted scenes of Bacchus Marsh in the early part of the twentieth century. This early photographic image is evidence of this social and cultural significance.A black and white photograph print mounted on mounting board showing an avenue of Osage orange trees. trees, osage orange trees, simon family bacchus marsh, arthur charles simon 1833-1924, orchardists

Walter Withers (1854-1914) was born in Handsworth, Warwickshire, England. He migrated to Australia in 1882 and in time was to become one of the country's most famous painters. In 1887/8 he spent a year in London and Paris during which time he married Fanny Flinn. When he returned to Melbourne he was engaged by publishers doing black and white illustrations. In the late 1880's he became associated with artists who formed the renowned "Heidelberg School" and in 1890 moved to "Charterisville" at Eaglemont. He lived in the Heidelberg area until 1903 when he purchased a house on two and a half acres (one hectare) at the corner of Brougham and Bolton Streets, Eltham. He had long been attracted to the Eltham area, but needed access to Melbourne for his painting classes. The extension of the railway in 1901 made the move possible. He remained in Eltham until his death and is buried at nearby St Helena. Many of his important paintings were painted during these later years. There are important collections at the National Gallery of Victoria and the Geelong Art Gallery. His Eltham house remains and his name is honoured by a small park at the corner of Bible and Arthur Streets. Source: Information panel produced for Heritage Display exhibition by EDHS 1990.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg (duplicate of original)eltham local characters, pioneers and painters, sepp, shire of eltham pioneers photograph collection, walter withers, eltham, southernwood

Walter Withers (1854-1914) was born in Handsworth, Warwickshire, England. He migrated to Australia in 1882 and in time was to become one of the country's most famous painters. In 1887/8 he spent a year in London and Paris during which time he married Fanny Flinn. When he returned to Melbourne he was engaged by publishers doing black and white illustrations. In the late 1880's he became associated with artists who formed the renowned "Heidelberg School" and in 1890 moved to "Charterisville" at Eaglemont. He lived in the Heidelberg area until 1903 when he purchased a house on two and a half acres (one hectare) at the corner of Brougham and Bolton Streets, Eltham. He had long been attracted to the Eltham area, but needed access to Melbourne for his painting classes. The extension of the railway in 1901 made the move possible. He remained in Eltham until his death and is buried at nearby St Helena. Many of his important paintings were painted during these later years. There are important collections at the National Gallery of Victoria and the Geelong Art Gallery. His Eltham house remains and his name is honoured by a small park at the corner of Bible and Arthur Streets. Source: Information panel produced for EDHS exhibition in 1990. john withers collection, artist, sepp, shire of eltham pioneers photo collection, walter herbert withers, walter withers

Walter Withers (1854-1914) was born in Handsworth, Warwickshire, England. He migrated to Australia in 1882 and in time was to become one of the country's most famous painters. In 1887/8 he spent a year in London and Paris during which time he married Fanny Flinn. When he returned to Melbourne he was engaged by publishers doing black and white illustrations. In the late 1880's he became associated with artists who formed the renowned "Heidelberg School" and in 1890 moved to "Charterisville" at Eaglemont. He lived in the Heidelberg area until 1903 when he purchased a house on two and a half acres (one hectare) at the corner of Brougham and Bolton Streets, Eltham. He had long been attracted to the Eltham area, but needed access to Melbourne for his painting classes. The extension of the railway in 1901 made the move possible. He remained in Eltham until his death and is buried at nearby St Helena. Many of his important paintings were painted during these later years. There are important collections at the National Gallery of Victoria and the Geelong Art Gallery. His Eltham house remains and his name is honoured by a small park at the corner of Bible and Arthur Streets. Source: Information panel produced for EDHS exhibition in 1990.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg 120 format B&W negative B&W printsepp, shire of eltham pioneers photograph collection, eltham, walter withers, artist

Six photographs from a Ballarat School of Mines Past Students Dinner. The dinner was held on 14 April 1951 in the former Ballarat Technical School (currently the Gribble Building on the SMB Campus of Federation University) .1) Twelve men pose for a photograph. The tall man standing at the back in architect L.H. Vernon. The man at left in the front row is F. Gladstone Procter (alumni and Ballarat Technical Art School teacher); and second from left is William Meinhardt. .2) Left front to rear - Donald Eltringham, Mrs Eltringham, Geoff Mounter, Mrs Mounter, Alan Wilson, Ian McLachlan. Right Front to rear- Doug Dean, Mrs Dean, Bill Meinhardt, Norman Dalton. .3) From left moving away from camera:Mavis McTaggart, Hester Darby, Cr Arthur Nicholson, Mrs Nicholson, Morgan John. On right, 6 from front is Bob Morgan .4) On the right 2nd from camera is (prof Krause?). 3rd from camera is Dick Richards. .5) Dave and Hazel Jelbart are on the right. .6) On the right moving away from camera: Albert W. Steane, Mrs Steane, Dr Pound, Ruby Lonie, F.E. Ferguson, B. Elliott, Sylvia Williams. This on the left include Beryl Pickering and Noel Pickering. ballarat school of mines, ballarat technical art school, renunion, dinner, john, nichlson, darby, mctaggart, jelbart, vernon, proctor, nicholson, glad procter, alumni, f.w. procter, gladstone procter

Bendigo Operatic Society Programme ''White Horse Inn'' Opening, 23rd November 1962 for six Nights. Bendigo Operatic Society Presents ''White Horse Inn'' by permission of Samuel French (Aust) Pty Ltd. Producer: Beatrice Oakley. Music by Ralph Benatzsky & Robert Holtz. Lyrics and Book by Robert Gilbert & Harry Graham. Cast in order of Appearance: Patricia Lyon as Kathi (the Postwoman) - Roger Sprawson as Karl ( Young Waiter) - Max Rule As Head Forester - Mary Speedy as Zenzi (a Goatherd) - Ferd Lorenz as A Courier - Arthur manning as Franz - Leonard Carr as Leopold ( Head Waiter at White Horse Inn) Gertrude Perry as Josepha (Owner of White Horse Inn) - Reginald Boromeo as The Steamer Captain - Kenneth Nichols as Bridegroom - Carolyn Pinch as Bride - Alfred Annison as John Ebenezer Grinkle (a manufacturer) - Carol McKenzie as Ottoline (His Daughter) - John Gow as Valentine Sutton 9 a Solicitor) - Fred Trewarne as Sigismund Smith 9Another Manufacturer) - Denis Cremen as Professor Hinzel - Annette Wilson as Gretel (His Daughter) - Peter Houston as The Mayor - Joan Heard as The Mayor's Lady Secretary - Bert Donovan as The Emperor - Ferd Lorenz as Ketterl (His Servant) - Peter Unmack as Landlord of the Traveller's Rest.program, theatre, bendigo operatic society

Monash Bridge spans the Diamond Creek at Hurstbridge. It was built in 1917 for the Shires of Heidelberg, Eltham and Whittlesea. It is considered Nillumbik Shire's finest engineered bridge and was construced by the engineering company of Sir John Monash. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p117 Monash Bridge is considered the Shire’s finest engineered bridge and was constructed by the engineering company of that great Australian, Sir John Monash.1 The bridge spans Diamond Creek on the Hurstbridge-Arthurs Creek Road, linking Hurstbridge with Yarrambat and Arthurs Creek. Monash Bridge, also called Hurst’s Bridge, was built in 1917, by the Reinforced Concrete and Monier Pipe Construction Company Pty Ltd, for the Shires of Heidelberg, Eltham and Whittlesea. Although Monash was probably in action overseas during World War One when the bridge was designed and constructed, he evolved the basic design in the 1900s and it was a standard design for the firm. However J A Laing, a designer at the firm, was probably the designer, as his initials are on bridge drawings held by the Eltham District Historical Society.2 The bridge is an excellent early Australian example of an open spandrel reinforced concrete arch bridge and has a single span of 29 metres. It is unusual in Victoria, but similar to many reinforced concrete arch bridges in Europe and America, built from the late 19th century. In Victoria, Monash pioneered the use of reinforced concrete – then a revolutionary construction material. His company, Monash & Anderson, had the exclusive licence for the Monier patent for the system of reinforced concrete construction for Victoria and New South Wales. A well-known example of the Monier arch bridge is the Morell Bridge in South Yarra. The sweeping arch of the Monash Bridge combines grace and utility and blends with the surrounding rural landscape. Its design and construction have allowed it to carry increasing volumes of heavy traffic, but in modern times the one lane is considered by some to prevent easy passage through Hurstbridge. However others consider this an asset to deter too much more traffic, which would diminish Hurstbridge’s charming rural character.3 This is the third bridge across the Diamond Creek at this site. The original bridge was a log bridge upstream, constructed in the 1850s by early settler, Henry Hurst, after whom Hurstbridge was named. The bridge spanned the creek, where it divided his family’s property. In the 1880s a timber bridge replaced it, known as Hurst’s Bridge. However a more permanent bridge was considered necessary when the new railway arrived in 1912, bringing with it expectations of growth in the town and the surrounding fruit-growing district. Monash Bridge’s official opening on November 3, 1917 was a gala occasion, which took place before about 1000 spectators. Two who attended the opening had a particularly sound knowledge of the locality. One was Fred Hurst, Henry’s brother, who used to ford the creek at or near the bridge’s site more than 50 years before. The other was John McDonald of Arthurs Creek, who had built the old wooden bridge over the creek about 40 years earlier.4 Although John Monash was a fine engineer, his fame came from his brilliant war career, rather than from his engineering or his many other achievements. Monash was Corps Commander of the Australian Forces. His brilliance was recognised with his awards: Knight Grand Cross of the Order of St. Michael and St. George, and Knight Commander of the Bath. Monash was also decorated by the French, Belgian, and American Governments.5 After the war, Monash worked in many prominent civilian positions, the most notable as head of the Victorian State Electricity Commission. He was a leading and loved public figure, involved in many public and private organisations. He was president of the Australian Zionist Federation and involved in the Boy Scouts. Monash University is named after him. By the 1920s Monash was probably regarded as the greatest living Australian.6 Despite most of his life working as an administrator and leader, rather than a fighting soldier, he became integral to the ANZAC legend. Monash died in 1931.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, hurstbridge, monash bridge

Rear view of Eltham Library showing loading dock and ramp to the front of the building. Designed by multi-award winning architect, Gregory Burgess, for which he won the 1995 Royal Australian Insitute of architects (Vic.) Merit Award in the New Institutional category. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p183 Award-winning Eltham Library, with its earthy tones blending into the nearby parklands, celebrates some of the best of Eltham’s spirit. Designed by multi-award winning architect, Gregory Burgess, the library at Panther Place, won him the 1995 Royal Australian Institute of Architects (Vic) Merit Award in the New Institutional category.1 The design is typical of Burgess’ work, emphasising natural materials and forms, and the integration of building and site.2 In its distinctive architectural character, Burgess celebrated the spirit of Eltham’s artist/architect Justus Jörgenson and mud-brick builder Alistair Knox. However this library, which opened in 1994, follows decades of efforts to acquire a suitable library for local residents. It was only in 1971 that Eltham acquired its first purpose-built library. In the 1930s books were borrowed from a mobile library run by Mr Foster of Bible Street. From the 1930s to the early 1950s, adults borrowed books from the newsagency and general store in Main Road (still a newsagency) near Arthur Street. As late as the 1950s, adults borrowed books in the shire office foyer, then in Main Road near the corner of Arthur Street.3 In the early 1950s the ratepayers voted for lower rates rather than a library, in a referendum to build a public library financed by higher rates. Children depended on volunteers for their library service until 1966. In 1946 the inaugural meeting of the Eltham War Memorial Trust’s Women’s Auxiliary, decided to support the Trust by raising funds to buy land and build a Children’s Library, Baby Health Centre and other facilities. The auxiliary formed the Children’s Library Committee, which included Mrs Morrison, Mrs Bow and Mrs Currie. They ran a library service in the stage area of the Eltham Hall, at the corner of Arthur Street and Main Road. In 1952 the books were relocated to a room in the newly opened Baby Health Centre on Main Road. Then in 1961, the Children’s Library received its own hall beside the Eltham Pre-School Centre on Main Road. From there, each month, volunteers delivered books to every school in the shire. In 1966 the Children’s Library closed after 17 years of service, following the transfer of the Trust land and buildings to the Shire of Eltham. The books were donated to nine schools in the shire and to Community Aid Abroad. An important boost to the library service came in 1965, when the Heidelberg Regional Library Service was formed by the City of Heidelberg with the Shires of Eltham and Diamond Valley. Its first library service for Eltham Shire was a bookmobile van. Books for children and adults were finally housed in one building in 1966, when the shire converted the Brinkkotter house in Dudley Street, into a library. At last in 1971, the Eltham Library moved to new premises attached to the shire offices near Panther Place. However these were demolished in 1996, by State Government appointed commissioners during council amalgamations. Meanwhile the Heidelberg Regional Library Service was disbanded in 1985 and the Yarra Plenty Regional Library Service was established. The burgeoning population brought pressure for a bigger library. Eltham was one of several municipalities in the 1970s and 1980s, battling with the State Government for adequate funding for public libraries. Funds were so tight, that in 1987 Eltham councillors threatened to close the library. However public petitions persuaded them to set aside funds to replace the cramped library facilities. In 1992 the Federal Government gave $887,496 towards the $3 million cost of the 1560 square metre library.4 The result is a light and spacious building with surrounding verandas, made of sustainable natural materials including earth and recycled and radially sawn timbers. It includes a gallery and function areas. In 2004 Mr Burgess won Australian architecture’s highest accolade: the Royal Australian Institute of Architects Gold Medal. He has received more than forty professional and community awards.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, eltham library, panther place

The dates 1907-1914 cover the first eight years of the Ballarat Technical Art School No. 15, a division of the Ballarat School of Mines. This covers that time before the custom built Ballarat Technical Art School opened in 1915.48 pieces of hand and type written correspondence relating to the Ballarat Technical Art School, covering its first eight years. .1) Transferal of money from the Ballarat Fine Art Public Gallery Association to the Ballarat School of Mines for credit to the Ballarat Technical Art School No 15. .3) Letter from Herbert H. Smith reporting on the appointment of Thomas Trengove to the position of Art Director at the Stawell School of Mines, and the appointment of Arthur Lilburne and Pridgeon as student assistants. .5) Application from Arthur M. Lilburne for a position at the Ballarat Technical Art School. .7) Resignation of Thomas Trengrove from the Ballarat Technical Art School so he could take up a position at the Stawell School of Mines, 1908. .9) Correspondence from H.H. Smith concerning expectations. 1908 .10) Report from Herbert H. Smith on the number of Art enrolments at the Ballarat West Art School, the Ballarat East Art School and the Drawing Centre. .8) Correspondence from Henry H. Hall regarding his teaching appointment, 1908 .11) A Report on architectural studies at the Ballarat Technical Art School on Clegg and Miller letterhead. .12) Report from M.C. Young. .13) Report from Arthur Lilburne .14) Reorrt from J.A. Wright, 1908 .15) Report on student numbers from Edith M. Cornell, 1908 .16) Report on classes in Freehand Geometry and Perspective by Fred Foster, 1908 .16b) Report by Decorating and Signwriting teacher John Barber, 1908 .17) Report from Esther and Lily Green from the East Public Library, 1908 .18) Report from Percy Isaac of the Ballarat East Public Library re manual training and Sloyd classes. .19) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1908 .20) Report from Arthur M. Lilburn on the Elementary Evening Classes and the State School Teachers Saturday class, 1908 .21) Report by M.C. Young on drawing classes at the Ballarat Technical Art School, 1908 ,22) Report by Fred Foster on Freehand Geometry of Perspective classes at the Ballarat Technical Art School, 1908 .24) Report by E. and L. Green on classes at the Ballarat Technical Art School, 1908 .25) Report by Miss Wright on Dresscutting classes at the Ballarat Technical Art School, 1908 .26) Report by John Barber on Signs and Decorating classes at the Ballarat Technical Art School, 1908 .27) Report by Edith Cornell on Millinery classes at the Ballarat Technical Art School, 1908 .28) Report by Percy R. Green on Manual Training ad Carpentry classes at the Ballarat Technical Art School, 1908 .29) Correspondence from Posenby Carew-Smyth and Melbourne Education Department letterhead, 1908, .30) Report on the need for instruction in Decorative Needlework at the Ballarat Technical Art School by Principal Herbert H. Smith. Ida Johnston undertook classes from Miss Macgeorge in Melbourne at the suggestion of Posonby Carew-Smyth, and H.H. Smith suggested she be appointed to teach the class, 1910 .31) Report on the Junior Technical School, 1915 .32) Quarterly Report on the Ballarat Technical Art School by Principal Herbert H. Smith, 1911 .34) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .34b) Invoice from James Ingram and Son, Booksellers and School Stationers, 1908 .35) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .36) Correspondence from F.N. King seeking employment at the Ballarat Junior Technical Scool due to the resignation of A.W. Steane, 1914 .37) Correspondence regarding the qualifications of F.N. King, including Sloyd at NAAS, Sweden, 1914 Reference from F.V. Burridge of the London County Council Central School of Arts and Crafts (incorporating The Royal Female School of Art), Southamoton Row, London, regarding Francis N. King, 1913 .40) Correspondence on Ballarat Junior Technical School letterhead when it was located at 104 Doveton Street, Ballarat (Dana Street Primary School) from Albert W. Steane. The report mentioned to appointment of R.W. Richards commencing duties as a science ad mathematics master and Francis N. King as Woodwork and Modeling instructor, 1914 .41) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .42) Correspondence on Stanley Mullen Company letterhead requesting a junior (lady) to help in designing and drawing from Needlework, 1914 .43) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .44) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914. The report includes the resignation of Donadl Johnston to take up the position of assistant to Posonby Carew-Smyth. Harold Herbert to travel to England, and Edwin Cannon to to apply his art knowledge commercially. H.H. Smith suggested they be replaced with Ken Moss and Harold Brown .45) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith .46) Hours and duties of the caretaker and attendant at the Ballarat Technical Art School .47) Letter from the J.A. Powell, secretary of the Ballarat West Art School to the Ballarat School of Mines. ballarat technical school, henry j. hall, arthur m lilburn, thomas h. trengrove, herbert h. smith, g.w. clegg, m.c. young, j.w. wright, fred foster, j. barber, etsher green, lily green, p. isaac, e.m. cornell, albert steane, f.n. king, letterhead, ballarat fine art public gallery association, richard maddern, j. powell, j.a. powell, frederick martell, ponsonby carew-smyth, stawell school of mines, lilburne, pridgeon, arthur lilburne, henry hall, edith m. cornell, john barber, east ballarat library, esther green, percy isaac, sloyd, millinery, r.w. richards, frank king, a.w. steane, naas, majorie walker, art needlework, stanley mullen company, donald johnston, ted cannon, edwin cannon, harold brown, harold herbert, art gallery of ballarat

Black and white photograph"Attached to photograph" Back Row- L to R: Edward Flynn, Bruce Graham, Graham Morgan, ?, ?, David Allan, Ken Ward, ?, Arthur Gillespie, Ken Manning. 2nd Row- L to R: Ellen Crouch, Val Anderson, Helen Bond, Elvie Hancy, Doreen Lloyd, Phylis Reardon, Valma Bisset, Bernice Dixon. 3rd Row- L to R: Patricia Mathews, Betty Stoney, June Parker, Lorna Hill, Betty Reed, Hazel Morgan, Betty Adolphson, Jean Smith, Kath Hamson, Dorothy Fyfe. Front Row- L to R: Frank Lloyd, Walter Hazelwood, Rupert Shearer, ?, Lloyd Holmes, Milton Blood, Bob Seeby, Don Martin, Bob Sievers, Edward Jackson. Teacher: Miss Paddock

Black and white photograph - Grade 2B, 1953"Attached to photograph" Back Row- L to R: Ian Clarkson, Peter Hill, John Forbes, Arthur Wigley, ?, Ian Simpson, ?, Ian Weist, Hubert Schroor, Chris Harris, Ian Wilton, Lyall Reeves. 2nd Row - L to R: Sadie Amos, Janice Bomford, Wendy Mariner, Margaret Cleator, ?, ?, Vivian Pincott, ?, Lois Caird, Carol Pavey, Enid Robinson, ?, Margaret Allsop. 3rd Row - L to R: Sue Dorman, ?, Heather Trout, Helen Boyle, Merlyn Bruce, Jeanette Langmead, ?, Olwyn Hayes, Kathleen Haywood, Suzan King. Front Row - L to R: Barry Jacobs, Alan Leviston, Ian Marshall, ?, Colin ?, Robert Penny, Ian McLeave, John Oliver, Ken Gowers, Keith Dale. Teacher:

Black and white photograph."Attached to photograph" Back Row- L to R: John Oliver, Lyall Reeves, Arthur Wigley, Ian Weist, Bert Steegstra, ?, ?, ?, ?, Hubert Schroor, ?, Peter Oliver, ?, Barry Stevenson. 2nd Row- L to R: ?, Jeanette Langmead, Wendy Marriner, Janis Bomford, Margaret Allsop, Vivien Pincott, ?, Lois Caird, Sadie Amos, Helen Boyle, ?, Dawn Riedel. 3rd Row- L to R: ?, Helen Milne, ?, Sue Dorman, Enid Robinson, ?, Kathleen Haywood, Olwyn Hayes, Carol Pavey, June Robinson, Margaret Cleator, Merlyn Bruce, Heather Trout. Front Row- L to R: ?, Richard Burlock, Ian Clarkson, John Forbes, Peter Ford, Ian Marshall, Ken Gowers, Ian McCleave, ?, Alan Leviston, Ron Albert, John Spencer. Teacher:

This photograph was taken of the debutantes and their partners presented at the annual debutante ball.This photograph is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.Laminated black and white photographic print (copy print) on card. Front of card, top centre: 'Young Chinese League debutante set 1938'. Front of card, bottom centre. 'Back row: Claude WONG HEE, Jack GOON, Arthur WHEE, Gordon NAM, Gordon LOUEY, Owen YOUNG, Stanley AH MOUY, Harold KONG, Dennis QUON, G TYE DIN, Harold MEW. Next Row: Linda YOUNG, Doris WHEE, Rose YIN, Phyllis POON, Violet TOW, Thelma WING JAN, Kim SHEE, Violet LOUEY, Eunice CHIN, Edna KONG, Betty WHEE, Jean LIM, Norma YOUNG'. Back of card, top right hand corner. Number '1938' has been written in blue pen. Sticker text 'P735 (another version = P587) 93.2.1'.young chinese league, debutante balls, melbourne

The Melbourne cable tramway system operated between 1885 and 1940.Former Melbourne cable tram bell used for fortnightly and annual meetings of Ringwood Apex Club, mounted on timber base with metal shields showing presidents for each year from 1966 to 2003. Ringwood Apex Club closed in 2003-04.This dinner gong, formerly a Melbourne cable tram bell, was donated by inaugural secretary Wal Hodgson 21.10.67. President shields - Martin Verhoeven 1966-68, Colin Steel 1968-69, Neville Fuller 1969-70, John Ritchie 1970-71, Allan Penman 1971-72, Graeme Kruse 1972-73, Graeme Bathie 1973-74, Terry Amos 1974-75, Richard Baxter 1975-76, Noel Stokes 1976-77, Neville Burns 1977-78, Wayne Barlow 1978-79, David Collyer 1979-80, Don McKinnon 1980-81, Ken Rice 1981-82, Vic Beesley 1982-83, Geoff Bonsall 1983-84, Peter Phillips 1984-85, John McGowan 1985-86, Harry Bell 1986-87, Ross Barry 1987-88, Steve McMahon 1988-89, Peter Hookey 1989-90, Philip Pomaroff 1990-91, Keith Walker 1991-92, Greg Cowan 1992-93, Peter Watts 1993-94, Bernard Klewer 1994-95, Mark Burton 1995-96, Colin Robertson 1996-97, Stuart Gay 1997-98, Barry Williams 1998-99, Tom Jackson 1999-2000, Trevor Hallum 2000-01, Ashley Crow 2001-02, Trevor Hallum 2002-03, Michael Pumpa 2003-04.

Possibly photographed shortly before marriage to Charles Edward Aldous in June 1880. Sarah is not wearing a ring in this image. (Duplicate copy in Album 2 (05664) Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 Sarah’s hairstyle is late 1870s/early 1880s . The children could possibly be Sarah Ann Shillinglaw (1873-1878) and Caroline Shillinglaw (1876-1956) which would date the photo early 1878 or Caroline Shillinglaw (1876-1956) and William Shillinglaw (1877-1891) which would date the photo early 1879 as Sarah was pregnant with Elizabeth Ann Shillinglaw who was born Aug 1879.. Daughter Jane Shillinglaw (1876-1876) had died prior to the date of this image. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991a.w. burman photographer 209 bourke st east, marg ball collection, shillinglaw family photo album 1, 1878-1885, 1880, sarah aldous (nee shillinglaw 1854-1925)