a) Cream linen pulled work. Pattern of gum leaves and gum nuts. Hem stitched edges b) Cream linen, tree, leaves in various pulled stitches.Labelled "Lenore Anne Bull"embroidery, pulled work, place mats, australia

Deep pink linen bag with drawstring of handmade cord finished with tassels. Monogram 'L' on the back of bag, inside an oval of embroidery. Edged all around in scalloped buttonhole stitch.embroidery, pulled work, schwalm, bag

Cream silk damask full slip with bands of shadow and pulled work. Hem and neckline edged in fine buttonhole stitch.embroidery, silk, underwear, slip & pants

Cream silk damask scanties with triangles of shadow work and pulled work, edged in fine buttonhole. All seams hand stitched.embroidery, silk, underwear, slip & pants

Designed and made by Moyra McNeil (U.K). Exhibited at the 1972 Georges ExhibitionGrey-green open weave linen, the design of thistle heads embroidered in white with pulled work stitches and some couching and surface stitching included.embroidery, panel, england, 1960-1980, creative embroidery

White linen tablecloth, fine Drawn or Pulled Thread Work design. H 70cm x W 70cm.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tablecloth

Sophia Alexandros was born on the Greek island of Ithaca. She married an Australian and stitched an extensive trousseau.Cream pina cloth, cream embroidery in satin stitch and pulled thread work, scalloped buttonhole top and zipped closure. Cream satin lining. Back of bag has tiny flowers and dots in satin stitch.embroidery, bags, machine made, pina cloth

Circular white linen fabric with a scalloped satin stitch edge and small broderie anglais flowers. Two birds on one side are in satin and seeding stitches. A spray of flowers and drawn and pulled thread work fillings and satin stitch is also part of the decoration.embroidery, mats, broderie anglais

Textiles, lingerie or stocking bag. Cream coloured tapestry fabric on both sides. All over pulled thread work to form lattice pattern. All over cross stitch pattern on lattice with cream coloured thread. Cream coloured 5 cm gathered lace edging on four sides. 12 cm opening on one side. Lined with pink cotton fabric. Hand made.textiles, domestic, lingerie bag.

Textiles, pink cotton lingerie or stocking bag with fold over envelope style flap at back over opening. Front has overlay of cream coloured tapestry fabric with pulled thread work embroidered with pink cross stitch and line patterns. Three decorative 2 cm pink satin ribbon bows in three corners. Fourth ribbon detached (stored in bag). 4 cm gathered cream lace edging on four sides.textiles, domestic, pink cotton lingerie bag

Horses were coupled together to form a team to pull farm machinery to work on farms. Later, petrol and kerosene equipment was used and then diesel. The Kiewa Valley consisted of farming families before the Kiewa Hydro Electric Scheme was constructed in the late 1940's at the upper end of the valley. Three large black & white photos of a horse team pulling farm equipment. 1. Mouldboard plough 2. header 3. thresher or chaff cutter. 1.& 2. are working on the farm 3. is pulling the machinery to a nearby farm. No labelsfarm equipment. horse teams. farming. crops.

Believed to have been made by Tilly Aston, this tray cloth is an example of the type of skills the Royal Victorian Institute for the Blind school taught its female students. Handicrafts was a possible method of income, and the emphasis was on producing usable pieces rather than highly decorative ones. It is a rectangular shaped tray cloth made from cotton and silk thread. The centre piece is cream coloured and consists of 2 layers of pulled thread work The cloth is edged with a beige coloured lace border. Linen cloth with crocheted edgingtilly aston, royal victorian institute for the blind

Clothing. Wide scooped neckline, edged with 1.5 cm deep cotton lace. The centre back opening is fastened with six tiny pearl shell buttons .8 cm in diameter- top button is fastened with a loop. 1.5 cm deep cotton lace trims the neckline and armholes. A .5 cm cotton braid trims the lower edge. Nine floral embroideries and pulled thread work 2.5 cm x 2.5 cm are spaced around the rounded front neckline. Below these embroideries on the left side breast, are embroidered the wearers initials-(M) MB. The owners initials are embroidered on the left front in a decorative manner, to compliment the floral embroidery. A lace ribbon, one cm wide at the waistline passes through 1.4 cm eyelets 2 cm apart. Between each set of eyelets, are groups of 4 cm long fine pintucks - 13 groups of two eyelets and 14 groups of pintucks.costume, female, wide scooped neckline camisole

Traditionally worked using white thread onto a fine white muslin, Ayrshire embroidery is recognisable by stylised floral motifs with areas of filled in cutwork. Developed from Dresden embroidery (a form of pulled work) and tambour embroidery, it uses a range of stitches, including satin stitch, chain stitch, eyelets and buttonhole edging as well as a range of lace filling stitches. The technique became popular in the early nineteenth century, when the previous fashion of elaborate gowns with hooped skirts was replaced by looser, simpler white cotton muslin garments. Although the elegant simplicity was favoured, women also desired some decoration. However, looms of the time could not create complex designs, so women turned to hand stitching.Using cotton muslin woven in Ayrshire, local women and girls would complete the intricate whitework to help supplement their family income. Mainly produced at home, Ayrshire whitework garments would be initially completed by one person. However, as the technique became more popular and the industry developed, to ensure high quality work, a piece would be passed around so that each embroiderer could focus on completing the stitches they specialised in.It is believed that the designs and motifs used in Ayrshire whitework were inspired by lace filling stitches found within an inset in a French Christening robe that was bought to Scotland by Lady Mary Montgomery, who then lent it to Mrs Jamieson of Ayr. She copied the stitches used within the robe and taught them to her outworkers, and she also produced plain muslin that was stamped with a water-soluble blue ink design that made embroidering the designs neater and more efficient. Ayrshire work became popular quite quickly, and it was incorporated into collars, cuffs and caps as well as children’s clothes and bonnets. Pieces were exported across Europe and the British Empire. As the decades progressed, technology advanced, resulting in looms that could incorporate decoration into the weave of the cloth, reducing the need for hand embroidered Ayrshire whitework.A triple frill of Buckingham lace, followed by two bands of fine embroidery - eyelets and satin stitch, and tucking, with small circle at crown.embroidery, whitework, bonnets, mid 19th century, scotland, garments

Handwritten notes on New Chum & Victoria Mine Manager's Report. Dates 1878 and 1879. Wm. H. Grainger Mine Manager. Items mentioned are: amount of firewood, winding engine, mishap towinding gear, winding engine driver mistake, flat ropes, rope breaking, Directors deciding to replace flat ropes with round ropes, water laid on from main to mine, Directors decided to throw out present winding gear, old machinery being pulled down and all work stopped except repairs to shaft and alterations to pithead pulleys.document, gold, new chum & victoria lines of reef, new chum & victoria mine manager's report, wm h grainger, messrs mitchell of melbourne, north old chum, mitchell & osborne, middleton safety hooks, ar

Newspaper clipping from a Melbourne paper? (Melbourne Herald? - given the dateline on the top of the cutting) dated Jan. 1956, titled "Overhead Tram Gear will go" reporting that work on pulling down the overhead will soon be started following the completion of tram services in Ryrie St on this Saturday night. Privately operated buses taking over, notes final closure on March 5, road repairs and SEC paying Councils for the road works over a 8 year period. Note on rear has a "Herald Index" of share prices. Contained originally within Reg Item 5623 at the front of this note book. For items see btm5623 loose items list.pdf.geelong, closure, overhead

Supplied to S.E.C. workers. This equipment was distributed to State Electricity workers working on the Kiewa Hydro Electric Scheme during the 1940's and 1950's.Historical: S.E.C. workers worked in remote areas where they didn't have easy access to medical facilities. Shows the development of snake bite treatment and spider bites.Cardboard brown box without lid for holding two wooden cylinders. Each cylinder can be pulled apart showing one end with a lancet which is used to cut the skin after a snake or spider bite. Each wooden container has instructions in very small red writing. Also in the box are instructions for Snakebite and Spider Bite. This leaflet is written in red on white paper and has more detail than the instructions on the lancets. It is made up of a front and back page opening up to the middle page.Pamphlet: 'The / Treatment / of / Snakebite / and / Spider Bite' and at the bottom 'Sanax'first aid, snakebite, spider bite, sanax company, state electricity commission of victoria, workers, medical

Very old. A drawknife is used to remove large slices of wood for flat faceted work, to debark trees, or to create roughly rounded edges. Can be used to shape the curve of a cricket bat. Used by woodworkers in the Kiewa Valley.Steel frame with wooden handles at each end and a sharp steel blade attached in the middle.Ref. Page 83 Tools for all Trades Catalogue.The drawknife / drawing knife,/ draw shave, / shaving knife is a traditional woodworking hand tool used to shape wood by removing shavings. The blade is much longer (along the cutting edge) than it is deep. It is pulled towards the user. woodworking tool, drawing knife, hand tool

Bullock drays were commonly used to transport heavy loads, such as the wool clip from a large property, across long distances.In the 19th century. The yoke is worn on the neck of the bullocks and is secured by a belt around the neck. The bullocks push the yoke with their shoulders, hump and neck; therefore, the work is performed.This yoke seems to be handmade on a farm. It was used in the Kiewa ValleyA wooden bar behind a harnessed horse. It is used to balance the pull of a draught horse or other draft animal (bullock) when pulling a vehicle like a plough. A yoke is an interface between bullock power and actual work to be performed.This yoke is timber with a shape to form curved depressions that allow it to rest across the necks of two bullocks to keep them together.The bullocks were chained to the steel oblong ring - one at each end of the yoke. The middle ring was attached to the bullock or vehicle in front of them.bullock yoke, swingletree, farm equipment, plough

MEDIUM: Digital print. DESCRIPTION: A fractal exploration on 192 gsm archival matt. Image ranges from yellow, orange, and red to darker tones. Gold outer frame with a glass front. The Mandalas geometric designs are symbolic of the universe and used in Hinduism and Buddhism as an aid to meditation. The creative possibilities that exist in these sacred circles, are often based on a step-and-repeat principle, centre, and symmetry. Here we see this put into practise. The mandala has an iris quality about it with 16 pillars pulling centrally to what looks like a pupil, the centre of the mandala. This then has more points around it and then more once again. This fractal approach gives the work a textural depth. The use of blurring and merging in a kaleidoscopic fashion creates movement, the circular flow repetitive and calming. The use of reds throughout mandata art represent the glowing sun and of fire, red generally taken to be the color of life, love, joy and rage, the polar values of the color. Orange the colour of cheerfulness and gaiety, a colour mixed from red and yellow, it stands for kind-heartedness and warm-heartedness. Signed, titled, dated and editioned on image across bottom.de, print, digital, dear, amber, bead, mandala, fractal, expolration

Fred looks back; Report: Linley Hartley, Picture: Ron Grant Teaching himself German again after 70 years is just one of the many tasks Fred Golgerth, of Greensborough, has undertaken and succeeded in during his lifetime. As the two year old tenth child of a German descendent, Fred learnt to speak German from an Aunt. But World War 1 was raging. Fred’s older brother had gone to Europe with the Australian forces, changing his name … to ….. to sound less German. “I used to get my bottom slapped for speaking German at home,” Fred said. Even his name was changed from Otto to the more anglicised Frederick. Fred claims his involvement with Eltham started two years before he was born! His sister, two years older than him, was a babe in arms when his parents bought a piece of grazing property in Mount Pleasant Rd. “It was about 24 acres on a spur of Mt Pleasant,” Fred said. “My parents bought it from Mr and Mrs Hughes. There was a two-room mud hut in wattle and daub that we lived in from time to time. “My parents had a dairy farm and dairy in West Coburg, and they bought the Mt Pleasant land to put the dry stock on. “At one stage my mother got very ill and my older sister took my younger sister and myself to Eltham for four or five months. I went down to Eltham Primary School then.” That wasn’t the only time Fred stayed in Eltham. His sister, Wilhemina, known as Willa, married Jim Watson who had the Eltham hotel for some years from the end of World War 1. Pillar to post living was the way Fred described his youth, when he stayed with one married sister after another. “After a while Will and Jim lived in the big house at the top of Pitt St, next to the Council depot, and the hotel was managed by Fitzsimmons who had a big place near the river down there on Fitzsimons Lane. There was no bridge in Fitzsimons Lane but we used to cross the river at a ford, rolling up our trouser legs so they wouldn’t get wet, and carrying our shoes. I’d o down to visit some friends I had in Templestowe. And sometimes Jim Watson took his horse drawn lorry across the ford on his way to the brewery, instead of going don through Heidelberg.” “The bridge across the Yarra in Fitzsimons was not built until 1961.” Fred Golgerth, was only a teenager when he was rolled off his pushbike under a car on the bend between Mt Pleasant Rd and the Diamond Creek bridge. He was hospitalised in the little hospital on the east side of Eltham village that served the district in those days. He still carries the scars of the burns he received from the exhaust pipe and recent x-rays have revealed several broken vertebrae. At the time of the accident he was treated for a dislocated neck and was in plaster from his hip to the base of his head for about seven months. But nothing daunted Fred. Bouncing back he began work as an apprentice to a motor mechanic in Bell St, Preston, a man who is still living (at 90) in Queensland and who still communicates with Fred frequently. “He was like a father to me,” Fred declared. He was a marine engineer as well, so I …. that as well as blacksmithing. They taught us properly then.” After finishing his apprenticeship, Fred bought himself a 30 hundredweight Fargo truck and began his own contract carting business, doing most of the work for a firm called Carnegie’s and a subsidiary of that, Howard Radio. It was in the office Fred met his wife. “He taught me to drive the truck giving me lessons in my lunch hours up the Bourke St and Flinders St extension,” she said. “After work I’d have a driving lesson and all the girls from the Howard Radio would pile in the back to get a lift to Richmond Station.” In the 1939 bushfires, the Mt Pleasant Rd property was burnt out and the hut raised. Two years later, Fred and Dorothy were married. Fred paid £7.15.0 ($15.50) for the suit in which he was married. Dorothy had pulled out of the Women’s Air Training Corps to be married. Others with whom she trained went to Darwin and were in a convoy that was bombed. Fred went into the garage business in Brighton and continued his cartage business for a while. His company was employed to do all Brown Gouge’s motor repairs and factory maintenance. Because Fred had a certificate to do steam repair work he often got jobs maintaining industrial boilers. While he was in Brighton, Fred bought an eight-seater 1925 Silver Ghost Rolls Royce from Sir Keith Murdoch. When the couple moved to Rosanna in about 1943, it became a delivery van for the dairy they operated. “I thought I’d like to get back into a dairy business” Fred said. “We used to deliver the milk in the Rolls. “But it was hard work. We couldn’t get the labour and we’d drive to the farm and pick up the milk cans, take them back to the dairy, cool the milk, bottle it and deliver it. The inspectors would come regularly and the walls for bacteria.” Fred was exhausted. The couple gave up the dairy and moved to Eltham to live on the old property where a weatherboard house had now been built. It wasn’t a big house and the glassed in Rolls Royce limousine became the daytime nursery for the Golgerth’s second daughter. We’d put her in there to sleep during the day.” “Dorothy Golgerth was known to drive the Rolls at breakneck speed along Mt Pleasant Rd. Fred took some time off work then began driving a little local bus run by the Lyon Brothers before taking a maintenance job at the Athenaeum Club in the city. He’d ride an old Harley-Davidson to the station and travel into the city by train. Later, when the family moved to Pryor St. (their house stood where McEwans car park is now) Fred could walk to and from the station. “There was no resident doctor in the early days of Eltham,” Fred said. “Dr Cordner used to come from Greensborough to a room in the old house next to the old grocery shop on the corner of York St and Main Rd, Eltham (the grocery shop is now the Eltham Feed and Grain Store). The Golgerths lived in Eltham until “Dollar Day” – the day decimal currency became official. They eventually moved to Greensborough, when they have lived since. Fred has had his share of interesting jobs since then, retiring at 65 seven years ago when he was working in the engineering department at Larundel. Recently, two of his older sisters and a brother died, within a month. They were all in their 80s. They all had a profound influence on Fred, especially during his youth. His sharp wit and amusing anecdotes are the richer for his having been the youngest of a family that made the best of every circumstance. And now, as he enjoys his retirement, he is concentrating on relearning the language of his infancy; teaching himself German from tapes and a ‘teach yourself’ manual. He is fiercely proud of his German ancestry and treasures the diary, written in German in Gothic script, kept by his grandparents during their journey to Australia. On the inside in blue pen: "To Sadie, Wal Margaret & Elizabeth with lots & lots of love & best wishes from Mother"marg ball collection, eltham hotel, herbert james watson, otto (fred) golgerth, wilhemina watson (nee golgerth)

The Paddle Steamer Etona was named after Eton College in England. In its earlier days it served as an Anglican Mission boat closer to the mouth of the Murray River. It ended up being bought by two Echuca businessmen, Ian Stewart, a solicitor, and Phil Symons, a chemist. They spent a couple of weeks steaming it up from Goolwa to Echuca where they placed it on the slipway to undertake restoration work. Ian Stewart's Holden is seen alongside the boat. The Moama Slipway was located on the NSW side of the river directly opposite Evans Bros. Sawmill. The boats would be pulled up the slipway on cradles (visible under the boat) by the steam winch seen in the foreground. George Coop had a minor role in assisting with the restoration of the Etona. New redgum planks were bolted to her underside and these were sealed (or caulked) by Phil Symons and Ian Stewart by ramming bitumen soaked rope into the gaps. Other volunteers on hand such as George would apply a putty mixture of bitumen and cement dust over the bolt heads (resulting in the loss of two very nice khaki shirts).Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencygeorge coop collection, echuca, ian stewart, moama slipway, phil symons, ps etona, river boat

Official record of the Centennial International Exhibition Melbourne 1888-1889 containing a sketch of the industrial and economic progress of the Australasian colonies during the first century of their existence and of the exhibition held in Melbourne, Victoria to commemorate the close of that period, also records of the manner in which the work of the different sections of the exhibition was carried out, the official awards of the executive commissioners, the catalogue of exhibits together with sundry illustrations. Published by authority of the executive commissioners, printed by Sands & Mcdougall Ltd 1138 pages with a pull out map.book, exhibitions, exhibitions, centennial international exhibition, awards

Mrs. Hedwig Bruckner was born in Answar, Germany, in 1920. She emigrated to Beechworth in 1955 at age 32 with her two children. Her husband was a prisoner of war in Russia for 6 years. After emigrating, Hedwig worked at the Beechworth tannery, but worked for the majority (20+) of her working years as a housekeeper for Doctor Collins. Her husband worked the nightshift at the Forestry Commission. Hedwig's testimony paints the picture of a life that was "very hard". When they moved into their house in 1956, they had no money for doors. Their two eldest children were pulled out of the convent school due to lack of funds, and their son worked as a milkman from a young age to supplement the family's income. Hedwig's testimony notes language difficulties and the number of European emigrant families in Beechworth, with which the Bruckners formed community bonds. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mrs. Hedwig Bruckner's oral history is significant for its insight into the perspectives and experiences of European emigrant families to Beechworth, noting their unique experiences and hardships of language, food, work, forging community bonds, and adjusting to country Australian life. The oral history project more broadly is significant for its capture of the lives of ordinary Beechworth residents from incredibly divergent backgrounds, which has led to a rich, nuanced and diverse range of accounts of Beechworth.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, burke museum, hedwig bruckner

Early miners at work caption reads: "The large bucket, called kibble, is used to pull up the unwanted debris, the smaller iron buckets are used to raise the alluvial material containing gold. This material is mixed with water in the puddling barrells (foreground) and poured into the cradle (left). The rocking motion causes the gold specks to sink to the bottom from where it is collected. The remaining material may then be hand washed in the gold pan held by the miner." This photograph possibly taken at Diamond Creek.From the John Davidson collection.Photograph in black plastic frame with typed caption on matte.john davidson, diamond creek, gold miners, mines and mining

The image portrays how the Celia Little room (Celia Little plaque on the wall) was used mid 20th C. and date of similar image (see record 0221) The inclusion of the bell from the 'Moreton Bay' vessel dates the image to post 1957 when the bell was presented to the Mission. Used as a sitting room or lounge area at the Mission to Seafarers Melbourne. The image also shows the style of dress and style of magazine covers of the time. On the table stands the shield for the annual competition by crew of merchant ships presented by Wally Nancarrow, Sydney. (see item 0608)The photograph is significant in that it captures the essence of the Mission to Seafarers mid-20th century. It identifies the main use of the Celia Little room as a reading area. It also helps date and track locations of other objects in the heritage collection. A black and white photograph of two men in the Celia Little room at the Mission to Seafarers Melbourne. The top left of the photograph is a bell fixed to the wall that has a bell pull with a long piece of decorative knot-work attached to the clapper. The room is set up as a lounge area with at table left of the centre against the wall. The table is laden with magazines and papers on top of a tablecloth. A picture frame is sitting on the table and leaning against the wall that has a 'shield' or 'coat of arms' displayed. (see also VC records 221 and 0608) One of the men is standing central in the photograph, in a white jumper holding a magazine and half turned towards the wall.The second man is sitting in a chair in the bottom right side of the photograph and appears to be reading. A few tops of chairs are seen at the very bottom of the photo and on the wall are a plaque to the left, a framed picture to the right of the first man's head and another in the far right top corner. The room appears to be lit from the left.melbourne, bell, men, magazine, chairs, wains coting, papers, mission-to-seafarers, celia-little-room, bell-pull, picture-frame, 1940s, celia little, plaque, shield, soccer, football

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events

Date estimated to be circa 1912 based on the style of printing on the reverse of the card - Kodak Austral paper for real photo postcards, the paper was manufactured c.1908-1914 (See also POSTCARDS ON KODAK PAPER - IS IT POSSIBLE TO "DATE" THEM? http://tps.org.au/bb/viewtopic.php?t=115) Brougham Street was created in Josiah Holloway's 1851 subdivision of Little Eltham. It was one of several east-west streets shown on the subdivision plan as crossing the Diamond Creek. The western part was named Wellington Street on the subdivision plan but was later changed to conform with the name of the eastern part as acknowledgement of the continuity of the street. It is not known when the first bridge was constructed in Brougham Street however it was certainly mentioned at Council’s meeting of 2 June 1884 as being in a dangerous state of repair. This photo (c.1895) of an old bridge shows a very low-level simple log girder bridge crossing the creek at a right angle and so the approaches involved bends in the road alignment. This bridge was generally known as Kaylocks Bridge or Kaylock’s Crossing after the owner of the adjoining land. It was most likely built from around the mid-1850s, or a crossing of some fashion established as Richard George Kaylock, butcher of Little Eltham and his wife Emily Ann settled there in 1854. His property was in Wellington Street (now Brougham Street) and apparently extended across the Diamond Creek. The land on the western side of the creek was farmed, the house being on the eastern side. Kaylock's Bridge formed part of the original coach road to Eltham and in 1922 was described as an "old rustic bridge". Its low level and insubstantial construction made it susceptible to flood damage, necessitating frequent closures until repairs could be carried out. In September 1922, Council called for tenders for a new timber bridge to be constructed at Kaylock’s crossing. An engineering assessment carried out for the Council by Macleod Consulting at the time of the replacement suggested that the construction details indicate that it was in the 1900s, however this dating could possibly have been the result of numerous repairs undertaken over the years to flood damage. The tender was awarded to Mr Weller of Kangaroo Ground who commenced work in February 1923 on a higher-level timber trestle bridge. Work was slowed due to illness of the contractor and the accidental death of a man in March 1923 following the collapse of the bank after he had jumped into a hole that had just been blasted. The bridge was completed around July 1923 at which point the old structure was pulled up, marking what was described in the ‘Advertiser’ newspaper as the passing of an old and well-loved landmark in the district. In April 1924 the approach to Kaylocks bridge was washed away during the heavy flooding that destroyed the Main Road bridge. The western side was repaired, and an extra span was added to the eastern side using timber from the destroyed Main Road bridge. The bridge was again severely damaged four months later in August 1924 When a lack of finances delayed repairs to the Bridge Street bridge in 1931 (also referred to as Obelisk Bridge at the time), traffic had to detour via Brougham Street for some time. Local residents feared that the Bridge Street bridge might never reopen. Kaylocks Bridge was constantly subject to damage by floods. In the 1934 flood it was submerged by two feet of water. In more recent times the bridge was again severely damaged by flooding and repairs made. A new bridge and adjoining footbridge were constructed in 2009.Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 2 Sep. 2022michael aitken collection, eltham, postcards, bridge, brougham street, diamond creek (creek), kaylocks bridge, wellington street