Weldon's Magazine of period needlework with the pattern used by Eglantine Gill to stitch the "Tree of Life" (E1843A) in 1936.Magazine with the Jacobean Tree of Life embroidered panel (1843A) on cover and its patterntree of life, crewel, jacobean, embroidery pattern

"This 'Tree of Life' is dedicated to the memory of Mercy Dickinson who some thirty years ago had an inspiration to form the Blind & Vision Impaired Pottery Group. Mercy's contribution to the Blind & Vision Impaired Community is symbolised by the tree and it's branches, which are forever blossoming and showing new growth. This Plaque was officially unveiled by the Hon Matt Foley Minister for Employment, Training & Youth and Minister for the Arts. 3rd February 2004"1 metal plate framed by woodRBF (with braille lettering below) Royal Blind Foundation Queensland "Tree of Life"royal blind foundation of queensland, mercy dickinson

Mrs Gill was a member of the British Embroiderers Guild.Weldon's Period Needlework-Art Series 5 1936. Contains Jacobean design "Tree of Life" for embroidered fire screen.pattern, crewel, jacobean

Made in UK by Eglantine Gill as a wedding gift for donor's parents in 1936. Eglantine was a member of the UK Embroiderers GuildEmbroidered panel from a screen. Depicts a Jacobean style tree of life design in crewel embroidery. Worked in silk (or rayon) thread.tree of life, crewel, jacobean

Mrs. Eglantine Gill was a member of the British Embroiderers Guild. The fire screen was made as a wedding gift to the donor's parents in 1936. Jacobean design "Tree of Life" embroidered fire screen worked in silks. Design from Weldon's Period Needlework-Art Series 5 1936.jacobean, crewel embroidery

Colour photograph of the Chinese section in the Bendigo Cemetery.A plaque states: This Pomelo Tree (known to the Chinese as the tree of life) was planted on 9 October 1996 in recognition and to the memory of the many Chinese buried at or in close proximity to this site during the 19th and 20th centuries. bendigo cemetery, graves, headstones, chinese, oven

Possibly part of an elephant Howdah. In 1980 further information received that this piece may be of Moghul embroidery c 1600 from a wealthy or Royal household or palace.Heavily decorated in Zardozi bullion work of silver and gilt threads. Tree of life design with buds and flowers and an elephant at the base. Worked on a background of silk. There is a looped edge on 3 sides.embroidery, metal thread, hanging, india

Tulle-bi-telli or Assuit shawl – a textile which marries cotton or linen with small strips of metal. The name translates roughly as "net with metal". It is heavy, and retains heat, but is favoured for its ability to drape. The embroidery is applied by hand. Thin strips of alloy are threaded onto a flat, wide needle with a flat, wide eye. Alloy is used because pure silver would blacken with age and would be impossible to clean, and gold would be too costly. Each strip is approximately 1/8" wide and 18" to 24" long. The strips are threaded into the mesh, criss-crossed, flattened with the fingernails, and cut. The fabric is then stamped down, and when the designs are finished, the fabric is passed through a roller to flatten the metal even more. References are made to its use with Egyptian linen in the Bible and there is a 3000 year old example with gold strips in a Berlin Museum. Assuit has been used in Hollywood productions such as the 1934 Cecil B DeMille film Cleopatra. It was draped on Hedy Lamaar in Samson and Delilah in 1949; and the geometric designs were popular with the Art Deco movement, beginning around 1925Metal thread embroidery using silver coloured alloy metal plate on cream coloured cotton/linen net. Creating geometric patterns and motifs of ladies, camels, birds and tree of Life.

Finely woven peacock green silk ground with woven gold all round border and end. Spotted central motifs. End border approx. 290 mms deep. Thin gold fringed braid on each end. Tree of life designs on border.weaving, stole, 1960-80, bangladesh

Document, Sheet Music, Take Me Back To Bendigo, By Alma Gray Phenomenally Successful Australian Song, written by Alan Rattray & Bert Rache. Signed on front; With all good wishes from Alma Gray,. On the back are the words & music to a song written and composed by Jack Russell titled 'Only a Leaf From the Tree of Life'''.The front has a label -W.H. Paling & Co LtdW.H.Paling & Co Limited, Sydney- Brisbane-Newcastledocument, names of bendigo pioneers, bendigo

This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration

BHS CollectionDiggers & mining. Life Of The Selectors. 2 men, 4 cattle, 2 horses, timber hut with out building, and a cart sitting nearby. There has been a timber fence constructed behind the buildings. One man is using the cattle to pull timber, the other is using an axe to chop a large tree down. Markings; Life Of The Selectors 1860-1890 Set 432 No.9. Selectors Clearing the Forest - ''The Australasian Sketcher,'' Jan. 31, 1880. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

Letter (11 Pages) from Peter N Ellis to the Land Conservation Council. Letter refers to proposed State parks - Kamarooka State Park and Whipstick State Park. other areas mentioned are the Wellsford Forest, Mandurang Forest, Lockwood Forest, Waanyaraa, Fryerstown, Whipstick Hill (Flagstaff Hill) and Black Rock. Other areas are Wellsford/Axedale Forest, Sugarloaf Range, Mandurang Forest, Main Coliban Channel, Lockwood Forest, Tarnagulla/Dunolly Forest, Fryerstown, Seven Sisters (between Huntly and Goornong). Plant and tree life in each area is mentioned including the cutting of eucalypt for the production of Eucalyptus oil.person, individual, peter ellis oam, peter ellis collection, land conservation council, kamarooka state park, whipstick state park, eucalyptus oil production, fncv victorian naturalist, d j paton, bendigo field naturalists club, wellsford forest, mandurang forest, main coliban channel, lockwood forest, waanyaras, fryerstown, whipstick hill (flagstaff hill), parish of neilborough, old underground water race, puddling machine, srwsc

The world’s most ecologically distinct bird lives in the native grasslands of Victoria - but only just. The plains-wanderer is a small bird that was once widespread across the grasslands of south-eastern Australia. Today there are fewer than 1000 mature birds in the wild. The plains-wanderer is under threat due to habitat loss caused by overgrazing, cropping and suburban sprawl. Unlike most other birds, female wanderers are larger and more colourful and the males take care of the chicks. They are only about 15cm tall and weigh between 40-80g for the male and 55-90g for the female. Their intricate plumage mirrors the colours of their grassland home so they blend in perfectly with their surroundings. The plains-wanderer’s origins date back to when Australia was part of the Gondwana supercontinent over 60 million years ago. They are so biologically distinct that their extinction would result in the loss of a branch of the tree of life. A fussy grass dweller, they like neither too much nor too little grass. That is where sheep grazing can help. After years of low numbers in Victoria, plains-wanderer populations have been increasing in Terrick Terrick National Park in north west Victoria, as sheep grazing maintains the grass in the park at a suitable level. With the right management, this ecologically important bird species is continuing to survive in the native grasslands of Victoria. Managing these habitats for the plains-wanderer can also support the conservation of many other threatened plant and animal species. Object: Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from upcycled paper, internal structure steel. Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from up cycled paper, internal structure steel. native grasslands, plains-wanderer, terrick terrick national park

This is a 1985 invitation to the 50th anniversary of the re-establishment in 1935 of the Warrnambool Pipes and Drums group. The event was called a ‘ceilidh’, a celebration featuring Scottish songs, music, dance and other entertainment. The Warrnambool Pipes and Drums Inc.was originally formed as the Warrnambool Pipe Band in 1906 with the object of popularising Scottish music and in particular bagpipe music. Simon Fraser was the first Pipe Major (1906-1910) and the group featured in early events in the town, including the annual Highland Gatherings and street marches and celebrations. The group was in recess from 1916 to 1935 when it was re-formed. It has been in existence since then except for a short recess during World War Two. This card is of interest as a souvenir of a 1985 invitation to the 50th anniversary celebration of the re-formation of the Warrnambool Pipes and Drums organization in 1935. This group is important in the musical life of Warrnambool today. This is a white card with a blue border, blue printing and a logo featuring a belt, a tree and the motto, ‘Stand Sure’. Warrnambool & District Pipes and Drums Inc. 50th Anniversary Ceilidh Saturday September 28th 1985 8 p.m. Performing Arts Centre warrnambool & district pipes & drums inc., highland gatherings, history of warrnambool

A4 sized soft bound book with image of obelisk war memorial on three steps with name plaques on the faces of the obelisk which is framed by green trees; title in white, sub-title in white on black stripnon-fictionA comprehensive summary of the World War 1 service of the soldiers listed on the Terang War Memorialmilitary history, world war i, soldiers, terang, war memorials

Bertie Ernest Albert Henderson was born at Naringal in 1891 and was 24 at the time of enlistment. He fought in France and died from injuries in France on June 1, 1918. The entries relate to matters which relate to military procedures and duties, places visited in France and England, time spent at the front and on leave.For Australia, as for many nations, the First World War remains the most costly conflict in terms of deaths and casualties. From a population of fewer than five million, 416,809 men enlisted, of which over 60,000 were killed and 156,000 wounded, gassed, or taken prisoner.* Australian War Memorial Website Bertie Henderson was but one of these casualties and this diary gives an insight into the life of the average soldier. He records events from the mundane to conditions common to the war experience. Front page has photograph and typed enlistment details, followed by copy of enlistment paper and numerous pages of typed diary entries dated from July 1916. Other entries give day only with no year. Back cover has basic family tree.warrnambool, naringal, ernest albert henderson, 5th pioneer batallion, world war 1, amiens, crouy-sur somme

Alphabetical entries about many topics from fruit trees to Legislation, to Senate of America. George Rolfe came to Warrnambool in 1872 and by 1883 was well established on the banks of the Hopkins River at Lyndoch. In 1884 he purchased Shipley which also had frontage to the Hopkins River. He participated in the social and sporting life of Warrnambool and was a keen rower.An interesting collection of thoughts and life of one of the early merchants and farmers of the area. He was a generous benefactor of the hospital.Dark green hard cover with maroon spine and corners. Pages are lined and alphabetical. Hand written entries throughout. Inside front cover is label ”Cook & Fox, Account Book Manufacturers, Stationers, Bookbinders machine Rulers, Importers 58 Queen St Melbourne. Handwritten on front page “G Rolfe Senr. Book for extracts 1865. warrnambool, george rolfe, lyndoch, book for extracts

Students attended Sunday School classes at the Kergunyah Presbyterian Church. Sunday school was held in a little 16 foot square wooden building which came from Rocky Valley after it was no longer needed there. Ewen Wallace's father initiated and organised the move. C2011 the building was knocked down because of white ants. The Presbyterian Church will be 125 years old in 2015.Historical: Religious Education: This book was used by students who attended the Sunday School classes at Kergunyah Presbyterian Church. Religion: Presbyterian Church at Kergunyah, in the Kiewa Valley, celebrates its 25th anniversary in 2015 after being handed over to the Uniting Church in the 1970s.Pale blue, small book with print in black including the title, a picture of a tree underlined by a ribbon with two Latin words printed in it. Border is two black lines on front and one decorated black line on the back. 16 pages inside cover. Bound by 2 staples. Teachers and Parents Price 2/6religion, catechism, general assembly of australia, christian, religious education, ewen wallace, sunday school

The obituary is of Harry Vyner, who came to work for the SECV on the KHES in 1938This is an example of one man's life and how he came to live in the Kiewa Valley and his contribution to the development of Mount Beauty as a thriving community.A4 Sheet with family tree details of Harry Vyner / McKendrick families Newspaper cutting re Obituary of Harry Vyner dated December 1979harry vyner, country roads board, high plains road

This commemorative badge identifying the wearer as a Girl Guide and was used in the 1970's and later. The Girl Guides "World Camps" was founded in 1924 and each subsequent "camp" was in other global countries. The Camp Baree was held in 1947/1948 in Pennsylvania in the USA. In Victoria, Australia, a Barree Regional location for Girl guides, encompasses the Kiewa Valley and its regions. Girl guides in rural areas covered the same developmental programs as in the city areas but the bush settings of annual camps did not have the same impact as for city based guides. The comradeship however, bringing together girls from a widely diverse background, was still a very important objective of the Girl Guide movementThe significance of this badge is that the Girl Guides held a World Camp in the Barree region which included the Kiewa Valley.This world wide attention(Girl Guides) to this region paid special attention to the "home side" girls and highlighted in particular those girls in the Kiewa Valley who participated in the Girl Guide movement. The ability to have such a personal contact with so many girls from so many world regions helped to break the somewhat isolated regional life. The fundamental lessons of the girl guides was and still is to enrich young girls knowledge of skills which provides self esteem, pride in achievements and the togetherness with like minded girls. Social barriers are left behind and good friendships are formed. Some of these friendships continued as life long links.This round badge made from brass and has coloured enamel sections outlining various "Barree Region" scenery. In the far distant horizon are snow capped mountains. These are coloured brown with white tipped summits.The central focus is a blue stream with a dark blue "gum" tree to the left and a brass etched tent pegged onto green grass. These pictures are framed within a house structure. A red coloured boomerang lies under the "house" frame with the name of the region on it,"BARREE REGION" The badge is fastened onto a lapel or other clothing by two "L" shaped hooks extending from the back of the badge.On the front of the badge (on the sketched boomerang "BARREE REGION". On the back in raised lettering is"BERTRAM BROS MELB."societies, girl guides, barree region, metal identity badges

This book is a visitor's guide to the William Rickett's Sanctuary in Olinda and is also a detailing of Rickett's spiritual beliefs. Ricketts (1898-1993) was an artist who was profoundly distressed by environmental destruction and was an early advocate for Aboriginal rights. Notwithstanding Ricketts' strong sympathy for Aboriginal people, his depiction of them in the Sanctuary combined with aspects of his beliefs have some problematic elements. The Sanctuary has been closed since 2021 due to fallen trees.This booklet explains and illustrates the beliefs of William Ricketts, a significant Dandenongs-based artist, as depicted in the Sanctuary that he created.Booklet approximately A4 size. Color photographs throughout interspersed with text. 38 pages.On front of booklet: 'Australiandia: Land of the Holy Spirit' and at the bottom right of the cover: 'That is how I know you / Sacred - Secret - Silent / A Flowing of Life / In the Dreaming / The Divine Transcendence / Through all Eternity / William Ricketts'william ricketts, olinda, aboriginal people, sculptures

The Ballarat Junior Technical School (BJTS) was the junior division of the Ballarat School of Mines.The honor board was unveiled on 17 June 1922 by Sir Alexander Peacock, the Minister for Public Instruction. it was witnessed by a large gathering of parents, friends, students, past student, Albert Steane (Headmaster) and the president, Council and Staff of the Ballarat School of Mines. At the conclusion of the ceremony the junior Technical School was opened for public inspection and afternoon tea was provided by a ladies committee. The Honour Board contains 28 names and of these only one lost his life on active service. this was Francis G. Davis. After the unveiling his father, A. Davis, planted a tree in the grounds of the Junior Technical School in memory of his deceased son. The following names are on the Honour Board Adair, S.H. Allen, W.I Bennett, H.G Bernaldo, Allan Borradale, Robert Brittain, C.C.. Burge, A.A. Burrow, B.C. Carmichael, N.C. Carnegie, G Collins, H.A. Crick, R.J Cunningham, C Davis, Francis G (killed) Edwards, S.F. Frank, P.C. Gilbert, J.H. James, J.F. Leech, G.J. McGrath, D.G. McNab, J.C. Parkin, R. Paterson, W.J Ronaldson, L.A. Shannon, G.O. Steele, S.L. Terry, W.R. Townsend, S.H. A timber honour board with names written in gold. The board was designed by H.H. Smith, Principal of the Ballarat Technical Art School. A central case holds a copy of the Victorian Education Department War Service Book. The Photorgraph was taken when it was in the SMB A Building. C1923 it was taken to J Building - the former Ballarat Junior Techncial School. world war one, ww1, ballarat school of mines, ballarat junior technical school, alexander peacock, world war 1, world war i, honour roll, hh herbert, francis davis, frank davis, s.h. adair, w.i. allen, h.g. bennett, allan bernaldo, robert borradale, c.c. brittain, a.a. burge, b.c. burrow, n.c. carmichael, g. carnegie, h.a. collins, r.j. crick, c. cunningham, s.f. edwards, p.c. frank, j.h. gilbert, j.f. james, g.j. leech, d.g. mcgrath, j.c. mcnab, r. parkin, w.j. paterson, l.a. ronaldson, g.o. shannon, s.l. steele, w.r. terry, s.h. townsend

This story was written by Brenda Johnson and details her time in Orbost from 1959 -1966 settling on land at Lake Road in Newmerella.This book is a useful and interesting reference tool on life in Newmerella in the mid 20th century.A thin stapled paperback book of 31 pp. It is titled "The Orbost Story 1959 to 1966 Lake Road Newmerella Victoria". The cover is shiny silver with black print. In the centre is a black/white photograph of the block with numbers ( 2 3 ?) carved into a tree. There is a Land Rover in the background.Stapled inside back cover - "Bob Johnson" with telephone details and email address.newmerella-history johnson-brenda rural farming

One small Broadhurst Dickens Series side plate Mr Pickwick Glides One large dinner plate. Both have white background and oak tree branches as border. Small plate illustration in centre is of people sliding on ice. Large plate centre illustration is David Copperfield + friends on a horse buggy riding bthrough town.Front of smaller plate - Mr Pickwick Glides Front of larger plate - My first fall in life - David Copperfield Back of both "Ironstone Broadhurst Staffordshire England. Dickens series underglaze... plates pottery broadhurst domestic-items china

Craig Price 1988 Entrant No. 148 Ref: Series 34, Items 37, 38, 109, 110 No negative (or missing) SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, craig price, yarra river

Robyn Price 1988 Entrant No. 73 Ref: Series 34, Items 91, 92 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, robyn price, film - fuji 400, scan - 35mm negative

Angela Wall 1988 Entrant No. 129 Ref: Series 34, Items 30, 101, 102 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, angela wall, film - kodak ga 100 5095, scan - 35mm negative