A look at Melbourne within a two month span: before and after and opposing views. Discusses Melbourne's good and poor buildings, planning, arts, aesthetics etc. Melbourne does however maintain an image and individuality when compared with other cities.Original manuscript of an article published as ‘Melbourne: The symbol of Australia’s split personality’in "The Australian", 01.09.1964. Typewritten (c copy), pencil edits, quarto, 4 pagesmelbourne, urban character, city, architecture, buildings, australian image, australian culture, robin boyd, manuscript

Boyd asks "What sort of cities do we want?" Various alternatives were discussed at the 14th Royal Institute of Architects convention 1965. The theme of the convention was Civic Development, accompanied by a public exhibition "Man in the Street". A fairly clear definition of the ideal shape for our urban character emerged. It was accepted that congestion, dullness and ugliness would become even more of a problem. Boyd offers a bird's eye view of the nature of our cities as we move progressively outwards.Original manuscript of an article published as ‘New life for Cities. The choice – metropolitan excitement or Canberra order?' in The Australian, 10.4.1965.Typewritten (c copy), quarto, 6 pagesroyal institute of architects convention 1965, australian cities, arthur odell, john overall, robin boyd, manuscript

"DEATH Of MR EDWARD GROSE. General and sincere regret will be felt at the announcement of the death of Mr Edward Grose, formerly one of the proprietors of The Ballarat Star. The sad event took place at the late gentleman's residence, Raglan street north, at 2 p.m. yesterday, in the presence of the members of the family, who were hastily summoned to his bedside on the previous night. Mr Grose had been in indifferent health for several years past, but he was always able to attend to business, and up till a fortnight ago, when he took to his bed, suffering from a severe affection of the kidneys and bronchitis, it was generally considered by those who knew him that he had many years of life before him. Notwithstanding, however, the unremitting attention of Dr Hardy and of Drs Woinsraki and Hudson, who were called in in consultation, be gradually became worse, until a few days ago his case was considered almost hopeless. Mr Grose was highly esteemed amongst a large circle of friends in Ballarat and district for his integrity of character and urbanity of manner, and the news of his death will come as a surprise to the many who knew him and were acquainted with his active and energetic temperament. In 1847 Mr Grose’s parents left Plymouth, England, for Australia, and on the voyage Mr Grose was born. His father, Mr. Thos. Bolitho Grose, who lived to celebrate the fiftieth anniversary of his wedding, and died only recently, landed at Adelaide, and was connected for some time with the famous Burra Burra copper mines in South Australia. In 1851, when the Victorian goldfields were discovered, he came to the colony and engaged in mining in Ballarat and Creswick, and at the Mount Alexander, now Castlemaine, field with varying success. Ultimately he brought his wife and two sons to Ballarat, and in 1857 returned to Creswick. In 1862 Mr Edward Grose was apprenticed to the late Mr John Francis to learn printing at the Creswick Advertiser office. The late Mr F. N. Martin then purchased the paper, and on the 1st January, 1871, Mr Grose was admitted into partnership. In July, 1884, Messrs Martin and Grose purchased The Ballarat Star, which they conjointly conducted until a few months ago, when the partnership was dissolved and Mr Martin retired from business. Shortly afterwards Mr Grose also retired, having re-sold his interest to the present proprietors. While resident at Creswick Mr Grose identified himself with all local matters, and was at different times president of the hospital committee, a vice-president and member of the council of the School of Mines, chairman of the local Cemetery Trust, and a prominent member of the Creswick Horticultural Society, while he took an active interest in all charitable institutions. In March, 1873, Mr Grose was married by the late Rev. Robert Kennedy to Miss Robina Orr, the third daughter of the late Mr Archibald Fulton Orr, formerly of Johnstone, Renfrewshire, Scotland, brother of the well-known and popular sportsman, Mr Robert Orr, of this city. Our Creswick correspondent writes:— Much regret was expressed here this evening concerning the lamentable death of Mr Edward Grose. The late Mr Grose had lived the best part of his life in Creswick, where he took an active part in almost every institution in the town, and was greatly respected by all. With the late Mr F. N. Martin, he brought the Advertiser to a high standard, and the fact of the two gentlemen who played such an important part in local history dying within two months of each other has been a subject of considerable and regretful comment. The relatives of the late gentlemen may derive some comfort from the knowledge that they have the entire sympathy of the people of Creswick in their very sad trouble.” The funeral of the deceased will take place on Sunday, leaving his late residence, Raglan street north, at 1 o’clock, for the place of interment, the Creswick Cemetery." {Ballarat Star, 02 July 1897}Photographic portrait of Edward Grose, member of the Old Colonists Association of Ballarat. He was manager of the Ballarat Star. In March 1873 he married Robina Orr, daughter of Archibald Fulton Orr, at Mount Bolton.edward grose, old colonists' association of ballarat, old colonists' club

Sketches by Boz. (Illustrative of Ever day Life and Every day People) .Author: Charles Dickens. Publisher: Chapman & Hall Ltd, London. Date: 1892. (See note section this document for more information on Edition). Blue leather hardcover with title on spine in gold lettering. The spine has a Library label.fictionCharles Dickens (1812–1870) was one of the great English novelists of the Victorian era, famous for vivid characters, social criticism, and stories that were first published in serial form. He began as a journalist, rose to enormous popularity during his lifetime, and wrote major works such as Oliver Twist, David Copperfield, and Great Expectations. Sketches by Boz is Charles Dickens' first published book, a collection of fifty six short sketches originally appearing in periodicals from 1833 to 1836 under his pseudonym "Boz." It captures everyday London life through vivid observations of ordinary people and scenes. The book is divided into four sections, "Our Parish," "Scenes," "Characters," and "Tales." The first three offer non narrative portraits of urban life, while "Tales" includes fictional stories. Illustrated by George Cruikshank with forty plates, it blends humor, social commentary, and realism. Published by Chapman & Hall, London, the specified full title matches the "New Edition, Complete" or first one-volume combined edition from 1839, compiling two earlier 1836 series. Earlier parts issues ran 1837-1839; Chapman & Hall took over rights in 1837. "Ltd" likely indicates a later reprint by Chapman & Hall Ltd., but core content remains unchanged.book, the old curiosity shop, charles dickens, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, maritime-museum, flagstaff-hill-maritime-village, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road

Our Mutual Friend. Author: Charles Dickens. Publisher: Nelson & Sons, London. Date: 1900. (See note section this document for more information on Edition). Red cloth hardcover with green patterned paper stick on title to front cover. Spine has gold lettering. The spine has a Library label and no Volume information.fictionCharles Dickens (1812–1870) was one of the great English novelists of the Victorian era, famous for vivid characters, social criticism, and stories that were first published in serial form. He began as a journalist, rose to enormous popularity during his lifetime, and wrote major works such as Oliver Twist, David Copperfield, and Great Expectations. “Our Mutual Friend” is Charles Dickens’s final completed novel, and it’s a dark social satire about money, greed, inheritance, identity, and moral redemption in Victorian London. The plot begins with an apparent drowning, a dust heap fortune, and a marriage condition in a will. It then expands into a tangled set of stories involving the river Thames, corrupt social climbers, and several characters who are tested and changed by wealth.book, the old curiosity shop, charles dickens, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, maritime-museum, flagstaff-hill-maritime-village, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road

Our Mutual Friend. Author: Charles Dickens. Publisher: Oxford University Press, London. Date: 1987 (See note section this document for more information on Edition). Blue leather hardcover, Spine has Author and Title in gold lettering. The spine has a Library label and no Volume information.fictionCharles Dickens (1812–1870) was one of the great English novelists of the Victorian era, famous for vivid characters, social criticism, and stories that were first published in serial form. He began as a journalist, rose to enormous popularity during his lifetime, and wrote major works such as Oliver Twist, David Copperfield, and Great Expectations. “Our Mutual Friend” is Charles Dickens’s final completed novel, and it’s a dark social satire about money, greed, inheritance, identity, and moral redemption in Victorian London. The plot begins with an apparent drowning, a dust heap fortune, and a marriage condition in a will. It then expands into a tangled set of stories involving the river Thames, corrupt social climbers, and several characters who are tested and changed by wealth.book, the old curiosity shop, charles dickens, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, maritime-museum, flagstaff-hill-maritime-village, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road

A4 size wire-bound book compiled by Bryce RaworthINTRODUCTION: This heritage impact assessment (HIS) was prepared at the request of the City of Maroondah, the owner of the subject property at 1 Bedford Street (sic), Ringwood. It relates to a proposal to demolish the existing shop on the site and construct a multi-storey car park incorporating a commercial tenancy at the lower levels. It reviews the significance of the existing building on the site and the contribution it makes to the surrounding streetscapes, then comments on the heritage impacts of the proposed demolition in the context of the significance of the place and broader considerations. This office has previously provided an Historical Overview of the subject site (June 2020) and this assessment draws upon that previous research and analysis. The report has been prepared by Guy Murphy and Bryce Raworth. CONCLUSION: The proposed demolition of the former Blood Brothers Store at 1 Bedford Street (sic), Ringwood and the construction of a multi-storey car park on the enlarged site will result in the loss of some significance to the Heritage Overlay. The degree of loss is moderated by the partial intactness of the store, its modest character and the loss of its original setting, as well the proposal to implement a heritage interpretation strategy for the site. When considered in the context of the broader range of urban planning considerations and broader net community benefit, the proposed development is supported with respect to heritage impacts.

The Eltham Gateway Group (EGG) was established about 1987 by some Eltham residents concerned for the development of the Eltham Gateway, defined as that historically and environmentally sensitive region of land along Main Road, Eltham extending from the roundabout at Fitzsimons Lane to Dudley Street, Eltham. The gateway was a unique urban area with a strong sense of character that provided a distinctive entrance to the Eltham Town Centre. The intention of this group was to support development that preserved both the natural and historic features of the gateway region. It encouraged development sympathetic to Eltham’s traditional association with the arts and natural environment. The group was initiated in response to a planning application in December 1986 to redevelop the then Mobil service station site at 729 Main Road, Eltham on the corner of Brougham Street. This group worked with and encouraged the Eltham Shire Council to consider rezoning to protect the gateway area. A detailed Eltham Gateway Study undertaken by Tract Consultants assisted with the establishment of the Eltham Gateway Zone, the Eltham Gateway Policy and the Eltham Gateway Design and Siting Guidelines. The State Government subsequently agreed to a planning amendment to rezone the land from a Residential Zone C to an Eltham Gateway Zone under the Eltham Planning Scheme. While zoning changes over the years have altered the mix of permitted uses within this area the Eltham Gateway still looks and feels like a predominately residential style precinct, even where non-residential type uses operate. EGG was followed by the establishment of the Eltham Protection Society in about 1989 to respond to community planning issues beyond the area of the Eltham Gateway and in effect took over the role from the EGG. Jim Connor President Eltham District Historical Society 4 July 2022 During 1986/87 I was a community member on the Shire of Eltham’s Community Consultative Committee involved with the Eltham Gateway Study, which led to the establishment of the original Eltham Gateway Zone, under the then Eltham Planning Scheme The Eltham Gateway Group was the pioneer community action group dedicated to protecting the character of the Eltham Gateway. It was succeeded by the Eltham Protection Society. When the Shire of Eltham Offices were demolished by the unelected Commissioners of Nillumbik Shire Council in July/August 1996, significant community upset and protest led to the establishement of the Eltham Gateway Action Group (EGAG) which in present day form has evolved into the Eltham Community Action Group (ECAG) focussing on issues throughout Eltham and not just the Eltham Gatewayeltham community action group, eltham gateway, eltham gateway action group, eltham gateway design and siting guidelines, eltham gateway group (egg), eltham gateway policy, eltham gateway study, eltham gateway zone, eltham planning scheme, eltham protection society, jim connor, michael wilson, rodger dalling, tony mcmanus

On 15 December 1994 the former Shire of Eltham ceased to exist following the Liberal Kennett Government local council amalgamations. A new Nillumbik Shire Council was established with unelected commissioners appointed. That Council sold the former Eltham Shire Council Offices and land at 89S Main Road Eltham to Dallas Price Homes Pty. Ltd. the sale being conditional upon the granting of a planning permit for a petrol station/convenience store, fast food and video outlet. The sale was conditional that if the permit was not granted by 30 August. 1997, the contract could be avoided by either the purchaser or the vendor. The proposed development consisted of a petrol station with undercover fuelling facilities, convenience shopping, a drive through service facility for fast food, an 80 seat cafe, automated banking, a children's play area and retail space. In addition, the proposal included a 200 square metre community facility for Council use, provision of on site carparking over 2 levels for 83 vehicles, and advertising signage. An Advisory Committee consisting of Dimitry Reed and Margaret Pitt was appointed under Section 151 of the Planning and Environment Act 1987 to hear submissions on the proposal to develop the land at 895 Main Road Eltham, the site of the former Eltham Shire Offices. In September 1996, two applications were made by Contour Consultants Australia Pty Ltd on behalf of Dallas Price Homes Ply Ltd, to Nillumbik Shire Council. After extensive notification, the Council received 213 objections and a petition of over 1400 signatures. On October 9, 1996, Nillumbik Shire Council issued Notices of Decision to Grant Permit on Applications number 96/03376 and 96/0377 for the use and development of the land as a convenience Centre consisting of a petrol station, convenience store, cafe/takeaway food premises, a retail facility and a community facility, with associated advertising signs. Objectors to the proposals lodged Planning Appeals number 96/40724 and 96/40812 with the Administrative Appeals Tribunal on November 1, 1996. The grounds of appeal can be summarised as: inappropriate development, insufficient carparking, traffic and access issues, unsatisfactory design, inadequate permit conditions, the proposal being out of character with the area. and being contrary to the purpose and orderly development of the Eltham Town Centre, excessive noise, lack of consultation and unsuitable signage. On November 13, 1996, the Minister for Planning and Local Government directed the Registrar of the Administrative Appeals Tribunal. under Section 41 (1) (a) of the Planning Act 1980, to refer the Appeals to the Governor in Council for determination without a hearing or recommendation by the Tribunal. The Minister for Planning and Local Government called in the Appeals as he considered that they raised major issues of policy relating to the facilitation of development in accordance with the objectives set out in Section 4 of the Planning and Environment Act 1987, and that determination of the Appeals could have a substantial effect on the achievement of these planning objectives. The Minister required the Advisory Committee to consider the planning merits of the proposed use and development, and to address the issues raised in the objections. The Advisory Committee was required to produce a report providing: • The Committee's response to the matters detailed; • Relevant supporting information for the Advisory Committee's recommendation; and • A description of the proceedings conducted by the Advisory Committee and a list of those consulted or heard by the Committee. In March 1997, elections were held in the Shire of Nillumbik and the view of the new Council to this proposal differed from the view held by the earlier Council Hence the Submission made to the Committee by the Shire was against the decision by the Shire of Nillumbik to issue the Notices of Decision to Grant a Permit. The Recommendations of the Advisory Committee were: i. The cafe and take away food premises are as of right uses and are therefore allowable, but that shop and petrol station are unacceptable uses. A community facility is a discretionary use and is acceptable. ii. A development of the type and scale proposed is totally inappropriate for this land and that the Applications number 96/03376 and 96/0377 for the use and development of the land as a convenience Centre consisting of a petrol station, convenience store, café/takeaway food premises, a retail facility and a community facility, with associated advertising signs, be refused. iii. The land should be rezoned for public purposes and should remain in the community's ownership for community use. Following this, the Minister for Planning and Local Government, the Hon. Robert Maclellan, appointed Mr. Paul Jerome as an Advisory Committee under section 151 of the Planning and Environment Act 1987 to consider a Convenience Centre and an alternative proposal by Iha Shire of Nillumbik being the Eltham Gateway Community Precinct Concept Plan for the site of the former Shire of Eltham municipal offices at 895 Main Road, Eltham. In summary, the terms of reference for the Advisory Committee required it to: • consider the merits of the Council proposal • examine the merits of both proposals in terms of net community benefit • address the report of the previous Advisory Committee on the Convenience Centre proposal The Advisory Committee inspected the site and considered all the material before It including submissions made by all parties to the previous Advisory Committee and correspondence received by the Department of Infrastructure both before and after that Committee submltted its report. The Advisory Committee also held discussions with the following people: • Cr. Robert Marshall • Cr. Margaret Jennings • Cr. Lex de Man • Mr. Dallas Howgate of Dallas Price Properties, also Dallas Price Homes • Mr. Barry Rochford, CEO, Shire of Nillumbik • Ms. Yvonne Rust, Planning Officer, Shire of Nillumbik • Mr. Gregory Burgess, Architect of the Eltham Library and of Council’s Community Precinct Concept Plan • Mr. Jim Connor representing Mrs Thelma Barkway of the Eltham Senior Citizens Club Having considered all the material before it, the Committee arrived at two basic conclusions. First, the DPP proposal should be rejected because, on its merits, It does not sufficiently satisfy the requirements of the planning scheme which is a statutory document. The planning scheme requires that, before making a decision on the permit applications for the DPP proposal, a range of matters must be considered. It follows that consideration of these matters should Influence the decision. These matters include local policies relating to character and amenity. In particular, these policies seek • to conserve and enhance the bushland/country atmosphere, artistic heritage and strong sense of community of the Eltham Town Centre by ensuring that the design and height of any new development is sympathetic to existing buildings • to achieve a pleasing physical environment within the Eltham Town Centre by encouraging a high standard of architecture and urban design • to encourage Improvement to pedestrian amenity through such facilities as open and shattered rest areas and meeting places, crossing facilities, pedestrian arcades, pedestrian links to car parks and pedestrian weather protection • to reduce conflict between vehicular traffic and pedestrian flows, and • to encourage pedestrian thoroughfares It is submitted, as set out In the main body of this report, that the DPP proposal fails substantially to meet these policies and In so doing does not merit the exercise of discretion In Its favour with the Issuing of a permit. This finding is not offset by the investment and employment attributes of the proposal. They do not override the need to comply with the planning scheme. Second, the Council proposal, on Its own merits, substantially meets all statutory requirements applicable to this site with a possible reservation about car parking and traffic management which need further definition and assessment as the concept is refined. The Council proposal, however, has a serious weakness in that Its financial viability has not been adequately tested. The Committee refers to 'financial' rather than 'commercial' viability in recognition that Council owns the land and may enter into a range of agreements and partnerships to realise its concept some of which may be truly commercial and some of which may involve an element of subsidy arising from Council's involvement as a public body acting on behalf of its community. The Committee concludes that Council should be given the opportunity, within a reasonable timeframe to establish the financial feasibility of its concept and should develop a strategy for the future of Its land asset at 895 Main Road in the event that Its concept for the site cannot be realised. 895 main road, advisory committee, dallas price homes, eltham, eltham shire office, nillumbik shire council, planning application, administrative appeals tribunal

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, great hall, montsalvat

Alistair Knox Park, an oasis of peace and beauty. Covered under National Trust of Australia (Victoria) Landscape Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p173 It is hard to imagine that the Alistair Knox Park, an oasis of peace and beauty beside busy Main Road, Eltham, was once the township’s rubbish dump. It was only in the 1970s that the tip was transformed into this beautiful six hectare space, which later earned it a National Trust Landscape classification. Before its life as a dump, the area was used for small farms. Thanks largely to the foresight and efforts of local environmental builder Alistair Knox, the park was designed sympathetically with the character of the wider Eltham landscape. Then, appropriately, the park was named after Knox, who was an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. The park designers were four major forces in the urban bush landscape garden –Knox, landscape designer Gordon Ford, artist Peter Glass and landscaper Ivan Stranger. The National Trust citation for the park, originally called Eltham Town Park, includes the Eltham railway trestle bridge and the Shillinglaw Cottage. The citation states ‘the semi-natural setting of the parkland provides a landscape which is evocative of the history of the area’. Manna Gums (Eucalyptus viminalis) and Candlebarks (Eucalyptus rubida) are significant features. Most of the park’s construction was directed by Bob Grant, Superintendent of the Parks and Gardens Department for the Eltham Shire Council. First plantings occurred in Arbour Week in 1973, then the lake and botanic area were completed in 1975, with Federal Government funding, and the toilet block in 1978. Bounded by the Eltham railway line, Panther Place, Main Road, Bridge and Susan Streets, the park is in a valley about a kilometre wide overlooked by steep hills at the east and west. The Diamond Creek flows through it and the picturesque historic timber trestle railway bridge edges the north. Informal plantings of Australian indigenous and native species in open and undulating grassed settings blend with the natural landscape of the Diamond Creek to the west. The bush-style plants, particularly around the creek, balance with open lawns, paths and a cascade flowing from a small lake to another below. A footbridge over the creek leads to the park’s west. The park includes an adventure playground and barbecue areas. The park stands on part of the land bought from the Crown in 1851 by Josiah Holloway, who subdivided it into allotments and which he called Little Eltham. Most of the land was subdivided into residential lots, but the creek valley, on which the park stands, was subdivided into farm-size lots, used mainly for orchards and grazing. One of the earliest owners was John Hicks Petty, who in 1874 bought a plot from Holloway. Other families who owned properties in that area, included Rees, Clark, Waterfall, Graham, Hill and Morant. In 1901 the railway was built through the area. Jock Read, an Eltham resident since around 1920, remembers several farms in the 1920s and ’30s that occupied the site of today’s park. A poultry farm, which extended from present day Panther Place, was owned by the Gahan family. Next to that farm was another for grazing cattle owned by Jack Carrucan. Beside this was land owned by John Lyon. A doctor lived beside this, and at the north-west corner of Bridge Street and Main Road stood a memorial to the soldiers who died in World War One, which was later moved to the RSL site. Mr Read also remembers other farms and orchards west of the creek In the early 1960s the Eltham Council began buying these farms and in the late 1960s turned the areas east of the Diamond Creek into a garbage tip. When this was filled above the creek’s flood plain, the tip was moved to the west of the creek.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, alistair knox park, eltham

Boyd muses over Melbourne and its "schizophrenic or split-urbanity", exploring the contrasts that make its character. Poses question "Why don't I live in Sydney?", weighing the "humility" of Melbourne versus the arrogance of Sydney. Every creative movement of importance in Australia in the twentieth century had its origins in Melbourne, therefore Melbourne, Boyd argues, is the moral capital of Australia.Original manuscript of an article published in "The Australian", 04.03.1969. This is the first of a series of three articles about Melbourne published on consecutive days (see D023 and D024).Typewritten carbon copy, quarto, 8 pagesPencil annotationsmelbourne, collins street, alexandra avenue, george miles, boomerang, robin boyd, manuscript

Describes Canberra as a city that has minimal architectural character, as it is mainly characterised by its natural landscape and roadways. The new phase in Canberra refers to several civic projects that will serve to define Canberra as a national capital.Original manuscript of the article 'A New Phase for Canberra' published in Sunday Australian, 05.09.1971.Typewritten (c copy), quarto, 9 pagescanberra, urban planning, walter burley griffin, capital circle, capital hill, campbell park, australian architecture, harry seidler, robin boyd, manuscript, national capital

An attempt to define Melbourne's character. Boyd sketches a history of Melbourne's architectural periods. He muses on the importance of public taste as necessary for periods of architectural flourish. He thinks Australia is in a "trough between the waves of progress."Typewritten, foolscap, 5 pagesmelbourne, urban conservation, robin boyd, manuscript

This photograph captures a historically significant streetscape in Westmeadows, formerly known as Broadmeadows Township, looking north from Fawkner Street. The image features a dirt road with a vintage automobile parked along its path, flanked by trees and modest residential buildings in the background. A tall utility or signpost stands prominently, indicative of early infrastructure in the area. The scene reflects the semi-rural character of Westmeadows prior to its suburban expansion in the post-war period. The presence of unsealed roads and early 20th-century vehicles suggests a time when the township served as a quiet residential and agricultural community, before the development of the Broadmeadows Housing Commission estate in the late 1940s. Historically, Westmeadows was a key waypoint along the Old Sydney Road, and its built environment—including bluestone bridges and early civic buildings—offers insight into Melbourne’s colonial and interwar development. This photograph contributes to the visual documentation of the City of Hume’s transformation from rural township to suburban district.This photograph holds historical and cultural significance as a visual record of Westmeadows, a township in Melbourne’s north-west, during the early 20th century. Captured from Fawkner Street looking north, the image depicts a dirt road flanked by modest residential buildings and mature trees, with a vintage automobile parked in the foreground. The presence of a tall utility or signpost adds to the authenticity of the streetscape. The image is emblematic of Westmeadows’ semi-rural character prior to its suburban transformation in the post-war era. It reflects the township’s role as a quiet residential and agricultural community, shaped by its proximity to the Old Sydney Road and its historical function as a waypoint for travelers. The architectural style and infrastructure visible in the photograph provide insight into the urban morphology and transport conditions of the time. As a primary source, the photograph contributes to the documentation of Melbourne’s suburban expansion, offering valuable context for researchers, historians, and urban planners studying the evolution of the City of Hume. It is significant for its ability to convey the lived experience, landscape, and development patterns of a community in transition.Sepia tone photo. Two cars on road. Trees, some buildings behind. Open land. Street view.'Looking north Fawkner Street Westmeadows'/'PH-0018' (old catalogue number)westmeadows, fawkner street, north, car

Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97'

This 1979 group photograph of Grade 3 students and their teacher at Jacana Primary School provides a valuable insight into the everyday experiences of school life in Melbourne’s northern suburbs during a period of significant social and urban change. Established in 1959, Jacana Primary played a central role in the local community, serving as both an educational institution and a hub for social connection until its closure in the early 2000s. The image illustrates the school’s emphasis on inclusive and supportive learning environments and subtly reflects the increasing cultural diversity of the Jacana area in the late 20th century, as suburban expansion brought together families from varied backgrounds. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education shaped community identity, fostered social cohesion, and influenced the lives of generations of children and families in Melbourne’s outer suburbs.This 1979 group photograph of Grade 3 students and their teacher at Jacana Primary School is a historically significant visual record that captures the educational and social character of Melbourne’s northern suburbs during a time of rapid urban expansion and demographic change. As a representation of a public school community, the image reflects the values, diversity, and everyday experiences of students and educators in late 20th-century Australia. Jacana Primary School, established in 1959 and operating until its closure in the early 2000s, played a vital role in shaping the identity and cohesion of the local community. The photograph documents not only the individuals present but also the inclusive and supportive environment fostered by the school. It offers insight into the evolving cultural landscape of Jacana, where families from diverse backgrounds came together through shared educational experiences. This image is significant for its contribution to understanding how public schools functioned as social anchors—promoting belonging, continuity, and collective memory. It stands as a testament to the enduring impact of local education on community development and the lives of generations of children and families.Colour Photograph on Matte Paper, with white borderBack: Top Left Corner: (White label): PH-5012/ (Blue Label): PH-5599, Centre (in pencil) J.P.S., Manufacturers Mark; this paper/Manufactured/ by kodakjacana primary school, education, photograph, group photograph, 1979, class photograph, grade

Waverley Novels Vol 8 Rob Roy, Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1838fictionThe subject volume from the “Waverley Novels Rob Roy Vol 8” published by Fisher Son & Co (1838) is part of a collected edition of Sir Walter Scott's works, containing stories from the "Tales of My Landlord" series. "Tales of My Landlord" forms a key subset of Scott's Waverley Novels, presented as fictional tales gathered by characters like Peter Pattieson from the landlord of the Wallace “Inn at Gandercleugh”. The series spans multiple books across four sub-series, including “The Black Dwarf” (1707 setting), “Old Mortality” (1679–1689), “The Heart of Midlothian” (1736), “The Bride of Lammermoor” (1709–1711), “A Legend of Montrose” (1644–1645), “Count Robert of Paris” (1097), and “Castle Dangerous” (1307). Vol 46 in the 1838 Fisher edition reprints later entries like “Count Robert of Paris” or “Castle Dangerous” from the fourth series, as these stories originally appeared in Scott's Magnum Opus collected volume editions, the first from 1816. With the influential 48-volume “Magnum Opus” edition from 1829–1833 by Robert Cadell, serving as the basis for later collected published sets like Fisher's. First appearing as a three-volume set in December 1817, Rob Roy became one of Scott's most popular works, later standardised as Volume 8 in various Waverley Novels editions from the 1820's onward, such as the 1830 Magnum Opus issue. Early collected editions, like those from Adam & Charles Black (1878) or Fisher, Son & Co. (1836), often split it across two physical volumes labelled as "Vol. VIII," reflecting the series' format for lengthy novels.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

" Imperial Album of London Views is a charming pictorial record of London during the early twentieth century, presenting a collection of photographic views that capture the grandeur, history, and daily life of Britain's capital. Produced as a large-format souvenir album, it showcases many of London's most celebrated landmarks, streets, and public spaces, preserving a visual record of the city at a time when horse-drawn vehicles, early motor traffic, and Edwardian architecture still dominated the urban landscape. The photographs offer a fascinating glimpse into a London that was rapidly modernising while retaining much of its Victorian character. " [taken from Antique Books Australia] Blue album with a blue thread tied through the left edge. Gold writing on the cover and a black and white photograph of a stone memorial surrounded by people with heads bowed. There is a white sticker label in the top left corner with WWI handwritten. Album contains brown card pages with protective page between each. The right side pages contain one 6x8 photograph on each. The verso of each protective page displays a text box of print in brown ink.'WWI' [handwritten in blue ink on the sticker label on the front cover] 'Presented to / Returned Army Nurses Club / by E.M.Hall / 4th [?] 1st A.I.F. / 1949' [handwritten in black ink on the inside front cover.]london, pictorial london 1930s, visual history