Five pages of hand written notes on the origins of our Bendigo streets and the six squares - Golden, Palmerston, Wattle, Market, Brassey and Andrew. The notes give the origin of the names. Notes written by Wes Harry.document, our streets - origin of names, surveyor urquhart, miss margaret brennan, samuel pepys, commissioner mccrae, edwin hargraves, commissioner dowling, commissioner bernal, advertiser, richard larritt, sergeant drought, senior constable stout, golden square, palmeston square, wattle square, market square, brassey square, andrew square, charles dickens, lord palmerston, viscount brassey, cosmopolitan mine, david andrew, sun ack goons, hong yick, wes harry

Belonged to Fanny Isabella Nicol Staff Nurse AIF. Refer 1795P for service history, 2317.6, 2591.4 paper & circular tin ANZAC day badges (not individually marked) .1) round paper badge "Remembrance " wattle flowers .2) square badge union jack flag and Navy flag (red) .3) round badge "remembrance." ANZAC day (1936) mauve .4) R.S.L remembrance ANZAC day (1940) yellow paper badge. .5) round metal badge ANZAC day purple / yellow .6) round badge metal ANZAC day (1939) purple/ green .7) round badge (metal) ANZAC day (1938) blue/ green with a laurel wreath + bow .8) round metal badge twentieth anniversary (1935) green/ blue .9) round metal badge "Lest we forget." brown /white) soldier with open. badges, remembrance, australian

1. Copper Rising Sun Badge, WW2, curved. 2. Rising Sun badge soldered to second hand brass plate. 3. Mid size Rising Sun Badge soldered to rectangular plate. 4. Mid size Rising Sun Badge soldered to Octagonal 2nd hand brass plate. 5. Mini size RAAF Wings soldered to rectangular plate. 6. Full size RAAF badge - inc Wattle leaves and crown. Square steel plate. 7. Small Union Jack - mounted on 2 hand brass plate. 8. Small ships anchore - disc. copper - 2H brass plate. 9. Christian cross and crucufied Jesus 2H brass plate. 10 Profile Winston Churchill and cigar.- 2 H brass plate. 11. Kangaroo side view soldered to 2H brass plate. 12. Bag of mixed patterns - steel (6).ww2, souvenirs, moulds

The Shire of Diamond Valley was a Local Government Area located about 20 kilometres northeast of Melbourne. The shire covered an area of 74.38 square kilometres and existed from 1964 until 1994. This example of a Boundary Sign was one of many located on the edge of the Shire e.g. at Wattle Glen Station; at Yan Yean Road north of Bannons Lane; 2 on Plenty Road near Larundel and Bundoora Primary School; one on the Para Road bridge; on Wattletree Road Eltham and on Kurrak Road Yarrambat. According to a former Shire employee, the signs were often stolen as quickly as they were replaced. This sign was removed when the Shire of Diamond Valley was dissolved in 1994 and is signed by a Shire employee, giving it strong provenance.Painted metal sign, cream background with green text and Shire of Diamond Valley crest.Inscribed in felt tip pen on back of sign: SDV: from Nov 1964 to 1994. 30 years. Ron Middleton, By-laws Officer and Ranger, from 9/84 to Nov 94 [signed] R. Middletonshire of diamond valley, boundary signs

These badges are unused and were possibly available for those guides who took part in the various camps or became new members. they were designed to sew on to the guide uniforms or blankets. Nancye Wallace (nee Warren) was a Guide leader.Established in 1910, Girl Guiding is now one of the largest all female organisations in the world. It is designed for girls, young and not-so-young women to join and enjoy a program of informal learning, opportunities, fun, personal development and friendship. (ref. Girl Guides Victoria). These badges used by an Orbost local reflects the history of that organisation in Orbost.Twelve cloth badges. They are unused Girl Guide badges. two are round with a black background and inside a red circle is a wattle tree. One is round with a variegated fairy wren inside a red circle. One is rectangular with an eastern rosella inside a red circle. There are four smaller square shaped badges (cut from a strip) with gold, and red print on a blue background - " 1910 Girl Guides Jubilee 1960". One is a rectangular Camp Kindamindi badge and there are three rectangular strips, white with blue print "1st Orbost".badges-cloth girl-guides

Built by William Ellis in 1865 of local uncut stone about 30cm thick, the cottage is now a museum and home to the Nillumbik Historical Society. Ellis Cottage is historically significant for its association with the Ellis family, who were pioneers of the Diamond Creek district and the benefactors of the notable Nillumbik Cemetery gateway. It illustrates the development of farming in the area. Ellis Cottage is historically and technically significant for its rare use of uncut local stone for building purposes. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p79 Ellis Cottage, built by William Ellis, is a memorial to the courage of pioneers in the Diamond Valley area.1 Now a museum and home to the Nillumbik Historical Society, it is a fine example of an early settler’s house in Diamond Creek – and one of the few original buildings standing from the middle of the 19th century. It is a poor man’s cottage – typical of the dwellings of those who had to work hard to wrest a living in this district, because most of the land was not fertile enough for major forms of farming. The pretty stone cottage at 10 Nillumbik Square, built in 1865, is made of local uncut stone about one foot (30 cm) thick. It once stood near the centre of the 147 acres (59.4ha) Ellis bought in 1850. The property extended from Diamond Creek to Reynolds Road and from Perversi Avenue to the Wattle Glen School. It stood in the electoral parish of Nillumbik. The Nillumbik township (later called Diamond Creek) was not created until 1867. In 1912 the property was cut in half by the new railway to Hurstbridge. Ellis paid £147/10/- for the land - about three times what a Victorian farmer would usually earn in a year. Despite the poor quality soil Ellis became a very successful farmer with an orchard, vegetables and a dairy herd. Five years later, in 1855, Ellis bought 70 acres (28.3ha) from neighbour, Hugh Larimour. In 1857 Ellis bought 208 acres (84ha) at Yarra Glen. In 1877 he bought 122 acres (49.3ha) at Diamond Creek and later bought land at Greensborough and Woodstock. Ellis was born in 1815 at Blackawton, a small Devonshire village, and became a tenant farmer. It is not known why Ellis came out to Australia or settled in Diamond Creek. In 1847 he married Margaret Child at the Melbourne Presbyterian Church. Ellis and Child had no children and 18 years after the wedding, while probably living in Kangaroo Ground, Ellis built this small cottage. The simple cottage has a central hall and two rooms on each side. To maximise the small space the ceiling cavity was designed large enough to provide sleeping accommodation accessed via a ladder. Each room was heated by an open fireplace and the one in the kitchen was large enough to roast a sheep. A large cellar under the front room probably stored farm produce. Water came from a well as reticulated water did not arrive at Diamond Creek until 1914. In 1870 Ellis’ 22 year-old nephew Nathaniel joined him from England.2 Until 1890 they developed Ellis Park, praised in The Evelyn Observer, May 30,1890 as a model farm. Ellis had become wealthy, and on his death in 1896 his estate was valued at £9000. In his will he left £100 to construct memorial gates at the Nillumbik Cemetery where he was buried.3 Ellis left the farm to his second wife Louisa. As he had no children, upon her death the farm passed to Nathaniel, but he did not take it up. The farm was sold and leased several times until 1967, when engineer Phillip Lovitt bought the property and carried out major structural works. The Shire of Diamond Valley bought it in the 1980s and in 1989 restored it with the Nillumbik Historical Society. The stone walls of the cottage had been plastered with mud and straw mortar, which were removed as they were riddled with vermin. Doors, windows and a floor were replaced and the original roof of timber shingles had been replaced with slate. The well was too deeply cracked to be restored, so was used for a flower bed. Two mature Italian Cypresses at the entry are also heritage protected as they relate to similar trees planted at Shillinglaw Cottage and other early buildings in Nillumbik Shire.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, ellis cottage, diamond creek, nillumbik historical society, william ellis

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Record Book R. M. SHADFORTH. Registered 30.1.1913 - Schoolboy, 29 Wattle St. Bendigo. Apptn record - last entry 16.11.1937 - Promoted to MAJOR. Gazette Notice 31/37.Book - Cloth hard cardboard cover, khaki colour, 62 pages, black print."Record of Service Book" Issued to SHADFORTH R.M., Training Area, Area 67, Golden Square. Year of Birth 1899.passchendaele barracks trust, service book

In 1991, the Port of Melbourne deemed the efforts of the Wattle volunteers in preserving local maritime heritage significant enough to present a plaque as a mark of respect.Wooden board with three brass plates attached. The wooden board is square at the top and curves to a point at the base. The top brass plaque is rectangular and bears an inscription, the central plate is mostly round and bears the crest of Melbourne, the bottom plate is a ribbon shape and bears the Latin inscription of the city of MelbourneEngraved on the top plate "Presented to the Steam Tug Wattle / By the Mayor, Councillors & Citizens of Port Melbourne / To acknowledge the role of the Wattle in preserving / our maritime heritage May 1991"port of melbourne, wattle, councillors, mayor, maritime heritage, 1991, volunteers, bay steamers maritime museum, heritage, plaque

The scarf was worn by Eileen Capocchi, a member of the Eureka Youth League Choir who sang at the Youth Carnival for Peace and Friendship and donated the item. The planned event had been targeted by Prime Minister Menzies as a Communist Party activity. The Commonwealth Government pressured local Sydney Councils to deny the organisers a venue. These attempts failed. The event combined sporting, athletic and musical events at a football stadium. In later years it was the subject of two documentary films. The scarf is of historic and social significance because of its association with the Peace Carnival for Peace and Friendship of 1952 and the Eureka Youth League. The scarves were worn by all participants and by Eureka Youth League members in subsequent years. The scarf records some of the musical and sporting events organised by the Eureka Youth League in most major Australian cities.Brown and yellow square rayon machine edged scarf made for the 1952 Youth Carnival for Peace and Friendship in Sydney. Central portion shows a peace dove, pink heath, flannel flower and wattle. Perimeter shows a saxophonist, ballet dancer, high jumper, hurdler, cyclist and volleyball net. "Youth Carnival for Peace and Friendship" white script on 3cm brown banner repeated 4 times around perimeter.eileen capocchi, eureka youth league choir, youth carnival for peace and friendship, eureka youth league, 1952

The Picturesque Atlas of Australasia was released in 42 supplements between 1886 and 1889 and attracted over 50,000 subscribers. Produced by the Picturesque Atlas Publishing Company in Wynyard Square, Sydney. The company was established in 1885. Edited by Andrew Garran. For detailed information search the website of the National Library of Australia. Thirty-three parts. Volume 9 to Volume 42. Volumes 1 - 8 and 28 are missing. Light tan coloured covers have a printed central rectangular double border. The title and publication information and illustrations are printed inside the border. The illustrations included are Captain Cook, a sailing ship and a sprig of wattle. The pages include many black and white illustrations. Volume 16 Separate map of Fiji. This Volume covers Bendigo as one of Victoria's country towns Volume 27 Includes separate Railway, Postal and telegraph map of Queensland. Volume 42 This last Volume contains a Miscellaneous section at the back with an Editorial Postscript and two maps - Australia and The Solar System.australasia, flora and fauna, subscription, history, exploration

Shiny black covered exercise book with hand written notes and ink illustrations, titled Nature Notes. Initials in the front J.C. 9/10/40. Written index in the front. Items mentioned are: The Dahlia, The peach, The Pear, The Cosmos, The Bathurst Burr, Autumn Leaves, Jonquil, Roots, The Wattle, Orange, An Insect, Mantis, Magpie, Mosquito, Termites, Jackass, Spider, Earth-worm, Violet, Cape-weed, Iceland Poppy, Beaks of Birds, Feet of Birds, The Snail, The Rose, Emperor Gum Moth, The Bee and the Chrysanthemum. From Page 101 on Observations in Nature. Book also includes the loose printed notes pasted to orange card titled Air, Evaporation and Smells and Growing Chrysalis. Some Nature Notes in the form of a diary at the back of the book.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - nature notes, observations in nature

Typed notes for a tour of the area. Areas mentioned are: Hospital Hill, The Central Deborah Mine, New Chum Railway Mine, The Rocks, New Chum Hill, Victoria Hill, Central Nell Gwynne, Rae's Open Cut, Housing Commission Homes and Latham and Watson's. Description of machinery at the Central Deborah Mine, yields, dividends, depth of shafts and directions to get ot the various places is included.document, gold, victoria hill, bendigo branch historical society mine tour, all saints church, joseph la trobe, bendigo's first hospital, sacred heart cathedral, the central deborah mine, city council, londonderry west shaft, new red, white and blue consolidated (big blue), a roberts & sons, big deborah, the new golden fleece, new chum goldfields, central wattle gully mine chewton, virginia consols, black's quarries coldstream, thompson's engineering and pipe co ltd castlemaine, new chum railway mine, golden square methodist church, the rocks, e j dunn, gold monument, shamrock mine, mt alvernia hospital, j b lazarus, john brown knitwear factory, gold fmines hotel, david sterry, new chum hill, fortuna villa, geo lansell, theodore ballerstedt, a h q survey regiment headquarters, old chum mine, central nell gwynne, rae's open cut, theodore ballerstedt, new chum syncline, little 180 mine, victoria quartz, wittcheibe's 'jeweller's shop', adventure, advance, cinderella, j n macartney, bendigo goldfields registry 1870, wm rae, johnson's devonshire mine, snobs hill mine, ellenborough mullock heap, belmont mullock heap, sadowa, st mungo, united devonshire, mechanic's institute, log lock-up, court house, j b watson, housing commission homes, hustlers hill, latham and watsons', the great extended hustlers, a richardson

Colour photograph. Brick building partly 2 storeyed, 2 square turrets with curved shapes rooves. Ornate cast iron gate James Lerk 28.2.2000 ' Perry's Fuse Factory, Wattle St., Bendigo 'buildings, commercial, perry's fuse factory

Draft articles for RHSV (Bendigo) Newsletter, May 1972. 1. ''Golden Square Methodist Church'' by Lydia Chancellor - memories of church services, Sunday School and Bible classes. Mention of (Minister?) Mr Robert Saunders. Also - Rev B W Heath; Mr Crump, Rev Henry Worrall; reference to Jubilee of church in 1923. 2. Article submitted by Mrs E M Checcucci re the 'White Works' (clothing factory making underwear at the top of Wattle Street) - visited by Prince of Wales in 1920; 3. Handwritten and typewritten version of ''Extracts from the 'Sandhurst Library Almanac 1858', published by P M Sparkes, Bookseller and Stationer (four doors from Shamrock Hotel). Names listed of officers of the 40th Foot (Captain's detachment); Location of two cemeteries; Municipal Council of 1858 - Chairman and councillors and meeting times and place; Police Department - names listed of officers of department, Sandhurst Municipality, 'The District' and Eaglehawk Township (names for the last being only on the handwritten copy); 4. Article (w Perry) ''Australian Aboriginals on the Bendigo Gold Field’’ reference to ''King Charlie'' and finding of gold by him (reference to this in the Bendigo Advertiser 1856 & 1857). The gold purchased by a Mr Bannerman; 5. Article on introduction of gas in Bendigo (by I Hendry). Ref to ''Spotlight'' article in Advertiser of Oct 13, 1950. Mention of Mr Dondy (first user of gas in Bendigo); early use and price of gar; poor gas pressure in Eaglehawk; 6. Handwritten article submitted by John O'C Hattam re 'Indian Hawkers in Bendigo': with request to members to join him in further researching this interesting project; mention of accommodation in Hopetoun Street in terrace houses of the same design as Specimen Cottage (''now occupied by ' Glover??? Mills - but referred to in printed Newsletter of April/May 1972 as ''a site occupied by a clothing factory''); mention of hawkers by name - Rajah Singh, Mahonett Betth, Mahonett Shang, Rajah Bouth, Mahoety Bux, Abdul Rahman (last hawker)document, names of bendigo pioneers, bendigo advertiser

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. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, advertisment, eltham photographic survey exhibition, eltham shops, eltham square, fish shop, neville emerson real estate, sign, wattle studios

The letters of the completed banner were made by different churches within in the presbytery and spelled a sentence, presumably "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. One of 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.9 "R" with green and yellow wattle in fabric paint. This banner has wo tabs. "R"uniting church adult fellowship

Set of 4 slides made from the Association of Railway Enthusiast Provincial Tramways film strip, possibly during April 1967. 1192.1 and 1192.3 mounted in Kodak Ready Mounts. The others in plain white mounts. Slides dated Dec. 1968. 1192.1 - No. 21 outbound to Golden Square in High St., between Wattle and Vine Streets. Photo taken after the tram has passed photographer. Has a sign for "Reid's Furnituorium" in the background. 1192.2 - Bendigo No. 28 dressed up as Myers Christmas tram, passing the Post Office and Courts in Pall Mall. 1192.3 - Bendigo No. 23 at Needle Loop en route to Eaglehawk. Tram has two SEC roof ads, one "Electric Cooking" and the other "Everything fine in my all electric kitchen". 1192.4 - Bendigo scrubber parked at the end of the main depot lead, alongside the depot office buildings.Details in blue ink, date hand stamped in purple ink. 1192.1 - "No. 21 heads along High St for Golden Square between Wattle and Vine Streets." 1192.2 - "Birney No. 28 in Christmas Garb, traverses Pall Mall en route to North Bendigo". 1192.3 - "No. 23 at Needle Loop on its run to Eaglehawk". 1192.4 - "Scrubber car at Bendigo Depot".tramways, trams, north bendigo, bendigo, bridge st loop, depot, tram 21, tram 23, tram 28, tram scrubber

Set of 24 transparencies taken on 20/5/1971 on Kodak mounts. 1195.1 - Bendigo 19 arriving at Charing Cross en route to North Bendigo with Fountain Plaza and the City Family Hotel in the background. No. 19 has two roof ads for the SEC. -'Electricity better for cooking' and 'Everything's under control in my all electric kitchen' 1195.2 - as above, but standing at the Charing cross stop, with the Beehive Stores and other buildings along the east side of Pall Mall in the background. 1195.3 - No 21 ex Golden Square crossing View St. trackwork in front of No. 25 waiting to depart for Quarry Hill. No.21 has two roof ads (as for No.19 in 1195.1) and No.25 has one SEC roof ad and another. Ezywalkin sign in the background, and Fountain Plaza. 1195.4 - as for 1195.3, but after 21 has arrived and 25 left for Quarry Hill. Has Ezywalkin store and the Beehive store in the background. 1195.5 - No. 5 at the Eaglehawk terminus. Photo taken with a cannon in foreground looking along High St. Eaglehawk. Has shops on the west side of High St. in the background. 1195.6 - No. 5 at the Eaglehawk terminus, close up of the rear of the tram - note tow bar arrangement. Has destination of Quarry Hill. 1195.7-Nos.25 and 5 crossing at the Thorpe St. Loop, California Gully. No. 25 bound for Eaglehawk (has SEC Briquette and electric cooking roof ads) and 5 en route for Quarry Hill with a SEC and Cinzano roof ad. 1195.8 - as for 1195.7, but after trams have passed each other. Has Borough Auto Service building in the background. 1195.9 - No. 5 in Mt Korong Road, towards Bamard Street, photo taken after tram has passed photographer. 1195.10 - No. 30 at the Golden Square terminus with the Milk Bar on the right hand side of the photograph. 1195.11 - No. 30 inbound at Fire Station Loop, High St. Golden Square. Has old fire station in the background. Passengers are boarding the tramcar. 1195.12 - No. 30 in High St, bound for North Bendigo between Vine and Wattle Streets. 1195.13 - No. 5 bound for Eaglehawk waits at Iron Bark Gully Loop, at Hayes St. 1195.14 - No. 5 and No. 2 crossing at Iron Bark Gully Loop. 1195.15 - No. 5 bound for Eaglehawk leaving the Manchester Loop, Long gully. 1195.16 - No. 5 passing William Street, Long Gully en route to Eaglehawk. 1195.17 - No. 5 just before the California Gully Crossing Loop. 1195.18 - Nos. 5 and 26 crossing at California Gully crossing Loop. No. 5 heading to Eaglehawk, 26, Quarry Hill. 1195.19 - No. 5 in High St. Eaglehawk with Bob Moyle's Victoria Hotel and the TAB in the background. 1195.20 - No. 5 in High St. Eaglehawk approaching the terminus. Photo taken after the tram has passed the photographer. Has Foodland store and J. Best Fruit supply in the background, along with Eaglehawk Town Hall. 1195.21 - No. 5 at the Eaglehawk terminus, photo taken along seldom used track along High St. 1195.22 - as for 1195.22 - but at the very end of the track. 1195.23 - No. 5 en route for Quarry Hill climbs High St. Eaglehawk with the Victoria Hotel and Eaglehawk Town Hall in the background. 1195.24 - No. 5 and 25 crossing at Jobs Gully Loop. Note 25 has a black on white destination roll, while No. 5 has a white on black destination roll. Information written on in black ink and date stamped on purple ink. 1195.1 - "No. 19 arrives at Charing Cross Bendigo from Golden Square" 1195.2 - "No. 19 about to leave Charing Cross for North Bendigo" 1195.3 - "No. 25 awaiting departure for Quarry Hill, watches No. 21 arrive at Charring Cross from Golden Square" 1195.4 - "No. 21 on North Bendigo service and No. 25 on Quarry Hill run await departure at Charing Cross" 1195.5 - "No. 5 at Eaglehawk terminus" 1195.6 - "No. 5 at Eaglehawk terminus" 1195.7 - "Nos. 5 and 25 crossing at Thorpe St. Loop, California". 1195.8 - "Nos. 25 and 5 crossing Thorpe St. Loop, California Gully". 1195.9 - "No. 5 descending Mt Korong Rd. towards Bamard St." 1195.10 - "Birney car No. 30 at Golden Square terminus" 1195.11 - "Birney car No. 30 in High Street near Thistle Street (Fire Station Loop)" 1195.12 - "No. 30 in High St. between vine and Wattle Streets" 1195.13 - "No. 25 at Hayes Street Loop Iron Bark". 1195.14 - "Nos. 2 and 5 crossing at Hayes Street Loop Iron Bark" 1195.15 - "No. 5 at Manchester Loop opposite Havilah Road, Long Gully" 1195.16 - "No. 5 passing William Street, Long Gully". 1195.17 - "No. 5 at California Gully" 1195,18 - "Nos. 26 and 5 at Thorpe St. Loop, California Gully". 1195.19 - "No. 5 in High St. Eaglehawk". 1195.20 - "No. 5 approaching Eaglehawk terminus" 1195.21 - "No. 5 at Eaglehawk terminus" 1195.22 - "No. 5 at Eaglehawk terminus" 1195.23 - "No. 5 in High St. Eaglehawk" tramways, trams, bendigo, charing cross, eaglehawk, california gully, golden square, iron bark gully, jobs gully, tram 2, tram 5, tram 19, tram 21, tram 25, tram 26, tram 30

Set of 31 transparencies taken on 25/2/1972 on Kodak mounts. 1201.1 - Bendigo No. 26 in Bond St. just after leaving Long Gully en route for Quarry Hill. Has Norris Supermarket in background. Has two SEC roof ads. 1201.2 - No. 26 climbing View St. from Charing Cross en route to Eaglehawk. Has ANZ bank and AMOCO service station in background. 1201.3 - as for 1201.3, but after tram has passed photographer. Has buildings west of Mackenzie St. in photograph. 1201.4 - Tram stop and centre of the road pole with two "CARS STOP BY REQUEST" signs mounted on pole at the corner of Mackenzie St. 1201.5 - same position as for 1201.3, but with No. 5 descending the street. 1201.6 - same position as for 1201.2, but with No. 5 descending the street. Photo taken after tram has passed photographer. 1201.7 - No. 7 in Nolan St. from across the park at Lake Weeroona. 1201.8 - No. 7 entering McCrae St from Nolan St. - distant view. Note "TRAM "sign on left hand side under tree and overhead in McCrae St. from former track that once was in this street. 1201.9 - No. 7 in High St. with Cathedral in background. Tram en route to North Bendigo. Note scaffolding around Cathedral main spire area. 1201.10 - No. 7 crossing Bendigo Creek bridge in High St. near Golden Square. Has a Caltex Service station in the background. 1201.11 - No. 7 at Golden Square terminus with Sunburst Fruit Juices and a Peters Ice cream delivery vans alongside. 1201.12 - as for 1201.11 but photo taken from behind tram, with the end of the rails in the photograph. 1201.13 - No. 7 and 21 in Pall Mall at Charing Cross with No. 5 in the background. Taken some distance away from the location. 1201.14 - No. 7 at Golden Square terminus, taken a short distance from the tram terminus. Shows Milk Bar on right hand side and the hotel on the left hand side. Taken from the south side of the roadway. 1201.15 - as from 1201.14 but taken from the north side of the roadway. 1201.16 - No 5 waiting at California Gully loop. Distant photo showing surrounds 1201.17 - No. 5 en route for Quarry Hill crossing No. 26 at California Gully. 1201.18 - No. 26 at Eaglehawk terminus with Eaglehawk Town Hall and Post Office in background. 1201.19 - No. 21 arriving at Charing Cross en route to North Bendigo. Has Alexandra Fountain in the background, ANZ bank RACV building, and other buildings on the north side of Pall Mall or Nolan St. 1201.20 - No. 26 en route for Quarry Hill at Charing Cross, with crew standing by front door. Has Colonial Mutual life building, Armstrong Tyre Service (Firestone) and a sign for Cohns Drinks in the background. 1201.21 - as for 1201.20 but with No. 5 en route to Eaglehawk now in photograph. 1201.22 - No. 26 at Quarry Hill terminus. 1201.23 - No. 26 at Quarry Hill terminus, view of front portion of tram only from a gate at the Bendigo cemetery. 1201.24 - Track at the end of the Quarry Hill line showing the point blades of the former "Y" terminus and the overhead for this. 1201.25 - No. 2 at the Quarry Hill terminus, looking along the former Trackwork. 1201.26 - as for 1201.25 1201.27 - number not used. 1201.28 - Golden Square terminus from some distance from the actual terminus, showing the Warning sign "TRAM" for motorists from the south. No. 7 at the terminus. 1201.29 - No. 7 passing through the Golden Square shopping centre. Numerous cars and pedestrians. Tram en route for North Bendigo. 1201.30 - No. 7 in High St. Golden Square, en route for North Bendigo. Photo taken after tram has passed photographer. 1201.31 - No. 7 in High St. just past Wattle St. with the Cathedral in the background. Tram has two SEC roof ads good side on photo, 'Everything's fine in my all electric kitchen' and 'Electrical cooking - clean, quick, economical'. 1201.32 - No. 7 in High St. nearing Wattle St. Has Cathedral in the background. Photo taken after tram has passed photographer.Information written on in black ink and date stamped on purple ink. 1201.1 - "No. 26 in Bond St just after leaving Long Gully" 1201.2 - "No. 26 climbing View St. from Charing Cross" 1201.3 - "No. 26 ascending View St. from Charing Cross (At Mackenzie St.)" 1201.4 - "View St. & Mackenzie St." 1201.5 - "No. 5 in View St. near Mackenzie St." 1201.6 - "No. 5 in View St. nearing Charing Cross." 1201.7 - "No. 7 in Nolan St. seen from Lake Weeroona Park." 1201.8 - "No. 7 entering McRae St. from Nolan St. Note "TRAM" warning sign on left. 1201.9 - "No. 7 in High St. passing Short St." 1201.10 - "No. 7 crossing Bendigo Creek bridge in High St. near Golden Square." 1201.11 - "No. 7 at Golden Square terminus" 1201.12 - "No. 7 at Golden Square terminus" 1201.13 - "No 7, 21 and 5 at Charing Cross" 1201.14 - "No. 7 at Golden Square terminus" 1201.15 - "No. 7 at Golden Square terminus" 1201.16 - "No 5 waiting at California Gully loop." 1201.17 - "Nos. 5 and 26 crossing at California Gully loop" 1201.18 - "No. 26 at Eaglehawk terminus" 1201.19 - "No. 21 arriving at Charing Cross from Golden Square" 1201.20 - "No. 26 at Charing Cross" 1201.21 - "Nos. 5 and 26 at Charing Cross." 1201.22 - "No. 26 at Quarry Hill terminus" 1201.23 - "No. 26 at Quarry Hill terminus seen through the gates of the Bendigo Cemetery." 1201.24 - "Quarry Hill terminus showing remains for former double track layout abandoned before 1964." 1201.25 - "No. 2 at Quarry Hill terminus" 1201.26 - "No. 2 at Quarry Hill terminus" 1201.28 - "The Southern approach to Golden Square with No. 7 standing at the terminus, "TRAM" warning sign on the left. 1201.29 - "No. 7 passing through Golden Square Shopping Centre" 1201.30 - "No. 7 in High St. Golden Square" 1201.31 - "No. 7 in High St. passing Wattle St." 1201.32 - "No. 7 in High St. nearing Wattle St."tramways, trams, bendigo, bond st., view st., nolan st., high st., eaglehawk, california gully, charing cross, quarry hill, trackwork, tram 2, tram 5, tram 7, tram 21, tram 26

Set of 12 transparencies taken on 28/2/1972 on Kodak mounts. 1207.1 - Bendigo 26 and 2 at Charing Cross. 26 en route for Eaglehawk, 2 for Quarry Hill. Has the Colonial Mutual Life, Armstrong Tyre Service, and Australian Mutual Provident Society buildings and a Cohns Drinks ad. in the background. 1207.2 - as for 1207.1 but with Alexandra fountain in the foreground. 1207.3 - No. 2 in Mitchell St. heading for Quarry Hill. Photo taken after tram has passed photographer. Has buildings on either side of Mitchell St. in the background, including the Plaza Theatre. 1207.4 - No. 6 en route for Golden Square departing Charing Cross. Has the RACV and ANZ bank in the background. 1207.5 - No. 2 crossing Pall Mall to enter Charing Cross ex Quarry Hill, with the Fountain Plaza in the background. 1207.6 - No. 6 arriving Charing Cross ex Golden Square with No. 21 alongside. No. 21 has the SEC ad. 'Everything's fine in my all electric kitchen.' Has the City Family Hotel and the Fountain Plaza shopping centre in the background. 1207.7 - No. 5 at Charing Cross en route for Quarry Hill with No. 2 behind. No. 2 has two SEC roof ads, 'Everything s fine in my all electric kitchen' and 'Electricity best for cooking'. RACV building in the background. Tram crews are discussing the day in the front of the tram. 1207. 8 - No. 21 in High St. Bendigo with the Cathedral in the background. No. 21 has two SEC roof ads, 'Everything's fine in my all electric kitchen' and 'Electricity best for cooking'. 1207.9 - No. 6 in High St. Bendigo with the Cathedral in the background. 1207.10 - No. 6 in High St. Bendigo, just past Wattle St. Photo taken after the tram has passed the photographer from within the Highway Car Sales yard. 1207.11 - No. 26 bound for Eaglehawk at the end of the double track in View St., note signal contactors, tram stop and section signs mounted on pole. 1207.12 - No. 26 turning from View St. into Barnard St.Information written on in blue ink and date stamped on purple ink. 1207. 1- "Nos. 26 and 2 at Charing Cross." 1207.2 - "Nos. 26 and 2 at Charing Cross." 1207.3 - "No. 2 in Mitchell St. just after leaving Charing Cross." 1207.4 - "No.6 leaving Charing Cross for Golden Square." 1207.5 - "No. 2 arriving at Charing Cross from Quarry Hill." 1207.6 - "No. 21 waits at Charing Cross as No. 6 arrives from Golden Square." 1207.7 - "No 5 at Charing Cross with No. 2 lurking behind." 1207.8 - "No. 21 in High St. at cnr of Wattle St." 1207.9 - "No. 6 in High St. at cnr of Wattle St." 1207.10 - "No. 6 in High St. between Wattle and Vine Sts." 1207.11 - "No. 26 at end of double track in View St. near Barnard. St. 1207.12 - "No. 26 seen at dusk turning from View St. into Barnard St."tramways, trams, bendigo, charing cross, high st, view st., tram 2, tram 5, tram 6, tram 21, tram 26

Vision Australia Foundation staff and clients were asked to make a square representing their base, which would be sewn together to represent the multi-faceted nature of the organisation. Unfortunately the patchwork wall hanging incorporating them was not made, but these squares were sent in: Warragul - sun and sunshine, clouds and water, a house on a hill with flowers around it, trees, water, people, a cow on a green hill that has daffodils and Pindari sewed upon it. Ballarat - Kelaston sown in same lettering as Ballarat, large fabric flowers with button centres, a mine head, a person panhandling, a person with a pickaxe. Warrnambool - sun and clouds over a seaside, a boat and whales in the water, a large fir tree and lighthouse. Hamilton - thick plaited stalks with fabric leaves and yellow pom poms as wattle. Digital imagevision australia foundation

Photo - see pdf file for further information. Number Brief Description RSC1 PCC 1041 at the gates of Preston Workshops on a test run without its trolley retriever RSC2 PCC 1041 in Glenhuntly Road on Route 67 en-route to Carnegie crossing the Railway Gates at Glenhuntly Station RSC3 W2 482 stored at Malvern Depot with Olympic Park on the Destination RSC4 Cable Car Set 64 in Swanston Street outside Princess Bridge Station in bound with open top Double Deck Bus, Trak Motors ? Departing from Flinders St Station RSC5 W3 669 in St George Road at Sumner Street en-route to Preston Workshops for scrapping RSC6 Cable Car in Lygon Street en-route to Carlton RSC7 PCC 1041 turning from St Georges Road into Miller Street to enter the Preston Workshops RSC8 Flinders Street Station with cable cars RSC9 PCC 1041 in strife on its maiden day in service. Trams on route 88 delayed in Queens Parade Clifton Hill RSC10 Flinders Street at William Street with Cable Cars RSC11 L 104 on the fan of the new shed at Malvern Depot on a TMSV tour RSC12 Cable Set 1 after it’s restoration at Preston Workshops on the fan near the front gate RSC13 X1 466 at a suburban terminus of the Footscray System RSC14 X2 680 at Point Ormond Terminus RSC15 An ex Launceston Tram at the outside terminus of the Penny Royal Complex Tramway in Launceston RSC16 Q 148 at Preston Workshops awaiting disposal RSC17 Elizabeth Street with Cable Cars RSC18 Elizabeth and Bourke Streets corner outside the GPO with cable cars RSC19 Collins Street with Cable Cars RSC20 A photo taken from the observation deck of the ICI building showing a view of Parliament House with a W class tram in Nicholson Street RSC21 Auburn Horse car with a posed photo of all the tramway men employed RSC22 Cheltenham Double Deck Horsecar with a full load of passengers RSC23 City of Northcote cable trailer No 3 at a terminus RSC24 City of Northcote Cable cars passing in High Street Northcote RSC25 St Kilda Road at Princes Bridge with Cable Cars RSC26 Flinders Street with Cable Cars RSC27 Cable Cars RSC28 Bourke Street looking towards Elizabeth Street from Queen Street RSC29 Cable cars in Bourke Street at Elizabeth Street looking east RSC30 Cable cars in Elizabeth Street at the terminus at Flinders Street RSC31 Cable cars in Bourke Street at Swanston Street looking west RSC32 Cable cars in Swanston Street at Flinders Street looking north RSC33 Cable cars in Collins Street near Russell Street RSC34 Cable cars in Elizabeth Street at Bourke Street RSC35 Cable cars in Collins Street at Elizabeth Street RSC36 Cable Cars in Swanston Street at Flinders Street RSC37 Cable cars in Collins Street RSC38 Cable Cars RSC39 Cable cars in St Kilda Road near Princes Bridge RSC40 Cable cars in Collins Street east of Swanston Street RSC41 Cable cars in Spring Street outside Parliament House RSC42 K class No 92 in M&MTB Chocolate and cream livery but with a P&MTT Destination box on Route 14 RSC43 Thornbury Depot viewed from Miller Street and St Georges Road. Two W2 class cars are laying over between the peaks RSC44 Z3 No 201 in Met Livery passes D1 No 3510 in new M/Tram livery. A staff member in uniform stands in the doorway. Dandenong Road RSC45 D1 No 3530 advertising Heinekin Super Golf on Route 55 in Royal Park RSC46 D1 No 3504 in M/Tram livery on the reserved track in Matthews Avenue near Essendon Airport showing Route 81 Travancore. I suspect it is a private enthusiasts charter due to the Malvern W class run number in the rear windscreen RSC47 D1 No 3504 on Route 64 in Dandenong Road in M/Tram Livery RSC48 D1 No 3504 in M/Tram Livery at Airport West Terminus RSC49 D1 No 3504 in M Tram Livery in Union Road outside the Showgrounds RSC50 D1 No 3504 at West Maribyrnong Terminus in M/Tram Livery RSC51 D1 No 3503 in M/Tram Livery in Malvern Depot RSC52 SW6 No 960 and VR No 53 in Harbour Esplanade for the NMEL&T Co Centenary RSC53 Hawthorn Tramways Trust No 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC54 VR 53 & B 2042 in Harbour Esplanade for the NMEL&T Co Centenary RSC55 VR 53 & C 3016 in Harbour Esplanade for the NMEL&T Co Centenary RSC56 NMEL&T Co No 13 (Formerly No 214) in Harbour Esplanade for the NMEL&T Co Centenary RSC57 NMEL&T Co 13 (formerly No 214) at Preston Workshops for the NMEL&T Co Centenary RSC58 Hawthorn Tramways Trust Lettering on HTT No 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC59 Hawthorn Tramways Trust No 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC60 Hawthorn Tramways Trust No 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC61 Hawthorn Tramways Trust No 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC62 NMEL&T Co No 13 (formerly No 214) at Preston Workshops for the NMEL&T Co Centenary RSC63 W2 516 and another on route 59 wait to shunt at Essendon Aerodrome Terminus as W2 571 on route 49 departs. This was the last day of operation. RSC64 Australia’s First Electric Tram at Box Hill with tramway men including H J Hilton who is in the centre RSC65 W2 484 en-route to St Kilda Junction and another wait for passengers after a race meeting at Caulfield Racecourse RSC66 X1 463 on the Footscray system en-route to Russell Street RSC67 Geelong 35 on Chilwell Route, Formerly HTT 13, M&MTB 119, then Bendigo 1 and Ballarat 37 RSC68 P&MTT No 4 on Opening Day of the system in Glenferrie Road RSC69 Bendigo No 6 in McCrae Street near the Depot en-route to North Bendigo RSC70 P&MTT No 4 in Glenferrie Road on opening day of the system RSC71 Scrubber No 3 stripped and awaiting scrapping at Preston Workshops RSC72 Scrubber No 4 at South Melbourne Depot RSC73 Q 191 & 139 at Preston Workshops awaiting scrapping RSC74 Rail Grinder No 3 at Preston Workshops as purchased from Sydney RSC75 Y 469 waits to shunt at Wattle Park Terminus as Y1 613 departs on driver training duties RSC76 VR 53 on the outside roads at Essendon Depot RSC77 W5 796 with three doors and square windows running out of Brunswick Depot in Cameron Street, with a supplementary destination board showing “City via Swanston St” RSC78 W2 258 on the wheel grinder road at Brunswick Depot RSC79 X2 676 on a TMSV tour, W5 817 & 836 & VR 53 on the open roads at Essendon Depot RSC80 PCC 1041 on test, passes W7 1035 in High Street Preston RSC81 D1 class production number 7 as delivered on test in Matthews Avenue RSC82 W2 383 on route 5 turning from the reserved track in Dandenong Road into St Kilda Road at St Kilda Junction RSC83 Z3 204 as advertising tram for Vodaphone Grand Prix running into Malvern Depot new shed RSC84 Z1 No 4 on test in St Georges Road RSC85 PCC 1041 on Route 96 in Bourke Street near Exhibition Street RSC86 Z1 No 3 without numbers on test turning from Miller Street in St Georges Road RSC87 Track components stored in Coldblo Road at Malvern Depot with Z class cars adjacent RSC88 D1 3501 in M/Tram Livery on Route 55 in Peel Street at Franklin Street RSC89 C 3001 in Yarra Trams Livery Porto No 018 & D1 3502 in M/Tram Livery on display in Harbourside Esplanade RSC90 D1 class tram production number 7, in as delivered condition on test in Matthews Avenue RSC91 D1 3503 inside Malvern Depot RSC92 SW6 955 and W6 974 in St Kilda Road at City Road at dusk. RSC93 Freight Car No 19 at Preston Workshops in green Livery RSC94 Rail Grinder No 3 in green Livery at South Melbourne Per Way Yard RSC95 A SW6 class car on route 50 shunting at Elizabeth Street Terminus at night, taken from Flinders Street Station RSC96 W2 588 & 435 in St Kilda Road at Batman Avenue RSC97 Y1 613 in service at Wattle Park Terminus RSC98 W2 588 in Wellington Parade en-route to the City with a Grand Final Load of passengers followed closely by No 384 RSC99 W2 558 on MCG Footy Special entering the Simpson Street siding RSC100 W3 657 & an L Class in the new shed at Malvern Depot RSC101 Y1 613 in St Kilda Road on an enthusiast's tour in St Kilda Road south of St Kilda Junction RSC102 Y1 613 on an enthusiast's tour in Clarendon Street with the two extra tracks on the Railways viaduct under construction RSC103 W6 976 on the fan of the new shed at Malvern Depot RSC104 W7 1024 as an advertising car for Bank of NSW at the route 1 terminus at South Melbourne Beach RSC105 PCC 980 on route 96 in Nicholson Street near North Fitzroy Depot RSC106 SW6 890 with dash canopy lighting in Market Street on the opening day of William Street Services RSC107 W2 444 with big numbers heads a line of footy specials in Simpson Street Siding RSC108 Cable Cars in Elizabeth Street RSC109 NMEL&T co No 2 with a trailer outside the power station in Mount Alexander Road RSC110 Alf Twentyman’s cable car set in his Northcote backyard RSC111 Cable Cars in Queens Parade Clifton Hill RSC112 Cable cars in Collins Street outside the Town Hall RSC113 PCC 1041 at Carnegie terminus RSC114 Cable cars in Elizabeth Street RSC115 Cable cars in Collins St near Swanston St RSC116 HTT 19 turns from Riversdale Road into Camberwell Road at Camberwell Junction RSC117 W1 419 official builders photo of first car of the class RSC118 Cable car with a full load of passengers RSC119 W1 422 illuminated for the visit of T.R.H. The Duke and Duchess of York RSC120 PCC 1041 in strife on it’s maiden day in service. Trams on route 88 delayed in Queens Parade Clifton Hill RSC121 Bendigo Birney car in Finn Street near North Bendigo terminus RSC122 SW6 in St Kilda Road at Domain Road at night RSC123 All 3 of Alf Twentyman’s cable cars in his Northcote backyard RSC124 Cable trailer 256 being unloaded into the shed at Bylands RSC125 Cable grip car 1 being removed from the Melbourne Museum RSC126 Alf Twentyman's cable cars in his Northcote Backyard RSC127 Alf Twentyman's cable cars in his Northcote Backyard RSC128 Alf Twentyman's cable cars in his Northcote Backyard RSC129 Alf Twentyman's cable cars in his Northcote Backyard RSC130 W class car in Swanston Street at Collins Street RSC131 Y1 469, L & W3 on the run out of Glenhuntly Depot on a tour RSC132 W7 1024 as an advertising tram for Bank of NSW at Clifton Hill RSC133 W2 496 on a footy special in Simpson Street Siding RSC134 W2 as originally converted to a test car at Preston Workshops RSC135 W3 667 in Brunswick Depot with Ellen Butland at the controls RSC136 W3 669 on its final run at Victoria Parade and Brunswick Street RSC137 W2 571 in Wellington Parade at Clarendon Street with a Footy Final load of Passengers RSC138 Y1 613 shunts at Spencer Street Terminus as X 217 waits on Australia Day Pageant RSC139 PCC 1041 on Route 96 in Bourke Street outside the Southern Cross Hotel RSC140 SW6 890 with accident damage on the outside roads at Preston Workshops, c1978 RSC141 W2 535 on Route 4 at the old St Kilda Junction, c1967 RSC142 PCC 1041 on Route 88 turns from Bourke Street into Spring Street, 1973 RSC143 L 102 on a tour at Albert Park Beach Terminus, Feb 1972 RSC144 W5 class Nos 833, 834 & 835 in Malvern Depot, c1976 RSC145 W2 No 281 in Wellington Parade on a football very crowded special c1974 RSC146 X1 No 464 Ballarat Road 1960 RSC147 T No 181 bound for the Explosives Factory - at Footscray Station - July 1960 RSC148 T No 181 at Williamstown Road, 1960 RSC149 Cable car set in Alf Twentyman’s back yard, c1970 RSC150 X No 217 at Malvern Depot, c1970 RSC151 X1 No 465 and T No181 Footscray Football ground in Barkly Street. c1960 RSC152 Scrubber No 5 at South Melbourne Depot, c1960 RSC153 X1 No 465 Footscray to Russell Street, c1960 RSC154 X1 No 467 Leeds Street Footscray, 1960 RSC155 PMTT No 4 Glenferrie Road, 1910 RSC156 S No 164 at Malvern Depot c1970 RSC157 T No 178 Footscray c1960 RSC158 Cleaner No. 7 at South Melbourne Depot c1960 RSC159 Two Y classes at Princes Bridge and Batman Avenue mid 1950s RSC160 Swanston Street – Nu color vue slide – M142 Demonstrates the work of Ron Scholten in photography, collection and/or production of duplicate slidesAssembled album in a black presentation folder of 160 colour slides, 8 slide sleeves, collected or produced by Ron Scholten. Many are TMSV or Windsor Publications slides. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details has been compiled. melbourne, tramways, trams, cable trams, horse tram, route 67, route 88, route 55, route 64, route 59, route 49, route 50, point ormond, royal park, swanston st, footscray, essendon depot, matthews ave, brunswick depot, glenhuntly depot, malvern depot, st.georges road, preston workshops, pcc class, vr class, w2 class, w3 class, l class, s class, x class, x1 class, k class, z3 class, d1 class, sw6 class, w6 class, w7 class, t class, b1 class, c class, q class, y class, y1 class, w5 class, z1 class, tram 465, tram 181, tram 217, tram 467, tram 164, tram 102, tram 669, tram 667, tram 976, tram 890, tram 558, tram 657, tram 571, tram 484, tram 535, flinders st, tram 980, tram 1041, tram 482, tram 64, tram 104, tram 1, tram 466, tram 680, tram 676, tram 955, tram 92, tram 201, tram 3510, tram 3530, tram 3504, tram 3503, tram 53, tram 588, tram 383, tram 960, tram 32, tram 2042, tram 3016, tram 516, tram 43, tram 463, tram 191, tram 139, tram 469, tram 613, tram 796, tram 258, tram 384