BHS CollectionBendigo Advertiser '' the way we were'' from 2003. St Nicholas Day parade 1955, Mitchell Street. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Portrait of Nicholas & Kate Scallan with Daughter c 1865 -1870. The Scallan brothers Patrick, David, Phillip and Nicholas were pioneer reefs minors and storekeepers. "The Golden Years of Stawell" by Robert Murray and Kate White mentions the Scallan Clan see page 71 Photograph of a male and female with a young child. The male standing with hand on shoulder of seated female. The child standing by her knee. An enlarged copy of the same photo also exists. stawell

The 1888 building becoming too old and small, a new building was designed by Harry Norris and open in 1937. The funds were given by Alfred Nicholas from the Aspro company. In the Art Deco style, the building was unfortunately demolished in 1995 for a new development.harry norris, port melbourne mission, beach road, 1937, lord huntingfield, alfred nicholas, aspro

The blue and black printed ticket was issued and used for the 2nd & 3rd days of the 1973 Sunbury Pop Festival. The Festival as held on the property of George Duncan at Diggers Rest on the banks of Jacksons Creek. It was held over the 3 days of the Australia Day Weekend in January. The 'smiley' stamp on the back of the ticket was used as a "passout" check. The tickets were collected by Nicholas Hall who worked as a Security Officer at one of the gates.A blue and black cardboard ticket printed for the 1973 Sunbury Pop Festival. The words Sunbury 73 are in large block letters across the bottom of the ticket and there are four silhouetted figures - 2 male and 2 female. One male is riding a bike and other male is carrying a double bass on his head. The two females are walking. There is a 'smiley' stamp on the back of the ticket."ADMIT 2nd & 3rd DAYS ONLY..."1970s, sunbury pop festival, duncan, george, george evans collection

Chrisoula Kallinikos and Nicholas Sikiotis were married in 1937. Chrisoula is pictured arriving at the church with her father is Spiro Kallinikos. George Kallinikos, Spiros' younger brother is standing behind the couple. The wedding was celebrated at Evangelismos Church in East Melbourne. Until the 1950s it was the only Greek Orthodox Church in Victoria.A sepia photograph of a bride being escorted into the church by her father.

This round, stained glass window, titled "Christ Showing the Helmsman the Way", was also referred to as the Sanctuary Window or Memorial window. It was installed in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, inside the chapel above the altar. This memorial window has significance as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database. The window and subsequent plaque were donated to St Nicholas Seamen’s Church as a memorial to the members of the Merchant Navy whose lives were lost in the Second World War, 1939-1945. The donor was the Williamstown Lightkeepers Auxiliary, an independent ladies' association working with the Williamstown Missions to Seamen (the Missions to Seamen organisation was re-named the Mission to Seafarers in the year 2000). The window was officially dedicated on December 14, 1947, by Geelong's Anglican Bishop, Rt. Rev. J.D. McKie. In the early months of 1948, a bronze plaque was also placed in the chapel above the altar. It recognises the lost souls of the Merchant Navy during World War 2, as well as the donor of the window, the Williamstown Lightkeepers Auxiliary. The inscription impressed on the rectangular bronze plaque, 20.4 x 10.2cm, is as follows: “IN MEMORY OF THE MEMBERS OF THE MERCHANT NAVY WHO WERE LOST IN THE SECOND WORLD WAR 1939-1945 FAITHFUL UNTO DEATH. THE WINDOW ABOVE THE ALTAR WAS ERECTED BY THE WILLIAMSTOWN LIGHTKEEPERS AUXILIARY 1947.” The Williamstown St Nicholas Seamen’s Church ceased operation in 1966. In 1979, the Victoria Missions to Seamen donated this round, stained glass window and the memorial plaque to Flagstaff Hill Maritime Village, along with many other items and furnishings. These items have been used to simulate the Williamstown Mission and Chapel as much as possible. The round space that formerly displayed the window can still be seen at the back of the old St Nicholas Seamen’s Church, previously the ES&A bank, in Williamstown. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seamen Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, and the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and resembles the Williamstown chapel. This stained glass window is historically significant for its connection to the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It was donated to the Mission by the Lightkeepers Auxiliary (Ladies Harbour Lights Guild, which was formed in 1905). The Missions to Seamen organisation had its origins in Bristol, England, when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay. Later, the Mission occupied buildings in Williamstown and Port Melbourne. The connection of this window, the Mission to Seamen and the Ladies Harbour Lights Guild highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. This memorial window is significant as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database, Heritage Number 196973.Window, stained glass, circular, with reinforcing bars. The window represents Christ showing the helmsman the way. It shows a man in blue knitted jumper holding onto a ship's wheel, looking over his right shoulder. Behind him stands a man in a white robe, pointing to his right and looking to his left, his left hand gesturing to pause. The background has various shapes and patterns of blue glass, bordered by two arcs; the outer one is white, the inner one is red. This beautiful window is in our St Nicholas Seamen's Church Collection and was brought to Warrnambool from the original St Nicholas Seamen’s Church in Williamstown. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mission to seamen williamstown, st nicholas seaman’s church williamstown, missions to seamen victoria, mission to seafarers, lightkeepers auxiliary, ladies harbour light guild, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, e. s. & a. bank williamstown, christ directing a sailor, christ showing the helmsman the way, quartermaster’s hand on the wheel, stained glass window, church window, religious window, sanctuary window, memorial window, war memorial window, victorian war heritage inventory, victorian heritage database, merchant navy ww2, 1939-1945, anglican church, bishop mckie, mrs musther, brooks robinson & co, flying angel club, williamstown lightkeepers' auxiliary, ladies' harbour lights guild, commemorative window

These 15 photographs were taken in 1995 during a CO’s Parade at the Army Survey Regiment, Fortuna, Bendigo in 1995. On this occasion outgoing RSM WO1 Phil Meagher handed over to incoming RSM WO1 Ken Johnston OAM MM. WO1 Phillip Nicholas Meagher served in the Australian Regular Army (ARA) from Jan 1971 to Jun 1997. He was RSM of the Army Survey Regiment from 1992 to 1995. He was succeeded by WO1 Ken Johnston OAM MM from the Royal Australian Infantry Corps, who was RSM for the remainder of 1995. WO1 Johnston served in the Citizens’ Military Force and the ARA from Feb 1966 to Mar 2002. A tribute in the Army Newspaper on the 14 May 2014 and discoverable on the Trove website, stated he passed away on 12 May 2014. In this tribute it stated he was a Vietnam War Military Medal recipient, known as a “Digger’s Digger” and for his direct no-nonsense approach. As RSM of the Army Survey Regiment, WO1 Johnston was instrumental in shaping and sharpening the military skills and behaviours of personnel who chose to continue in their reallocation to other corps in the ARA or the 1st Topographic Support Squadron in Enoggera, QLD. His tenure is covered in more detail on page 164 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. On this occasion CO LTCOL Duncan Burns presented MAJ Mick Banham the Defence Force Service Medal for 15 years of efficient remunerated service in the Australian Army. This is a set of 15 photographs taken of a RSM Handover at a CO’s Parade at the Army Survey Regiment, Fortuna, Bendigo, 1995. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher. .2) - Photo, black & white, 1995. L to R: MAJ Mick Banham, outgoing RSM WO1 Phil Meagher. .3) - Photo, black & white, 1995. L to R: CO LTCOL Duncan Burns, MAJ Mick Banham. .4) - Photo, black & white, 1995. L to R: ADJT CAPT Brenton McDonald, RP SGT Peter Coles, CO LTCOL Duncan Burns, MAJ Mick Banham receiving Defence Force Service Medal. .5) - Photo, black & white, 1995. L to R: ADJT CAPT Brenton McDonald, CO LTCOL Duncan Burns, MAJ Mick Banham (background), outgoing RSM WO1 Phil Meagher, incoming RSM WO1 Ken Johnston OAM MM, CAPT Bin Fashar Sutiman (Indonesian Army). .6) - Photo, black & white, 1995. L to R: SGT Perry Langberg, MAJ Dave Stephenson, SPR Trevor King, SPR Craig Smith, CAPT Colin Davidson, LCPL Mark Fedden, SPR Donna Grayland. .7) - Photo, black & white, 1995. L to R: unidentified (x3), RSM WO1 Phil Meagher, SGT Darren Wilkinson, SSGT Steve Drummond, unidentified, SPR Donna Grayland, SPR Allison Ottaway, unidentified, back of ADJT CAPT Brenton McDonald, unidentified (x4), CPL Darren Maher, SGT Laurie Justin. .8) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher, remainder unidentified. .9) - Photo, black & white, 1995. L to R: WO2 Peter Imeson, CPL Darren Maher, unidentified, SSGT Steve Winner. .10) - Photo, black & white, 1995. L to R: MAJ Mick Banham, ADJT CAPT Brenton McDonald, CAPT Doug Arman, WO1 Phil Meagher, CAPT Bin Fashar Sutiman (Indonesian Army), WO1 Ken Johnston OAM MM, CAPT Bill Griggs, unidentified. .11) - Photo, black & white, 1995. L to R: WO1 Ken Johnston OAM MM, ADJT CAPT Brenton McDonald. .12) - Photo, black & white, 1995. Outgoing RSM WO1 Phil Meagher. .13) - Photo, black & white, 1995. L to R: Outgoing WO1 Phil Meagher, incoming RSM WO1 Ken Johnston OAM MM. .14) - Photo, black & white, 1995. L to R: Incoming RSM WO1 Ken Johnston OAM MM, outgoing WO1 Phil Meagher. .15) - Photo, black & white, 1995. L to R: MAJ Mick Banham, RP SGT Peter Coles, outgoing RSM WO1 Phil Meagher..1P to.15P – There are no annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Macintosh's sawmill was on the banks of the Murray River in Echuca east where the Banyule State forest is now located. A tramway ran out to it from the main rail line near the iron bridge. Macintoshes Sawmill was one of the largest in the area. (Ref. Clare Jackson. )Macintoshes sawmill was set up by James Macintosh in 1868 in Echuca East. His sawmill prospered and in 1878 was "equal to five normal sawmills" (Ref; Coulson, Helen, "Echuca Moama On the Murray." P.158) He also owned 2 paddle steamers and 8 barges. The Macintosh Family contributed substantially to the development of Echuca East, but by 1901 the Family was in severe debt and were forced to sell the sawmill to the Nicholas Family.A black and white photograph of a large group of men outside a sawmill, reputed to be Macintoshes Sawmill in Echuca East.On the back of the photograph written in pencil are the words "Believed to be workmen at McIntosh's mill (Charlie Dowell says)macintosh's sawmill, sawmill industry, echuca east, banyule state forest, macintosh james, dowell, charlie, logging industry, jackson, clare

This image was on a CD-ROM which was placed in a time capsule in December 1997, just before the Ballarat School of Mines merged with the University of Ballarat (now Federation University Australia). The time capsule should have been opened in 2020, the 150th anniversary of the establishment of the Ballarat School of Mines, but was postponed due to successive lockdowns during the Covid19 pandemic. The time capsule was opened in 2022.Three men in the Information Technology Room in the top floor of the Brewery Building at the Ballarat School of Mines. Greg Eames is in the foreground with his back to the camera. Nicholas Dore stares towards the camera, and Ballarat School of Mines Information Technology Staff Phil Brokenshire works at the back bench. The pipe leading to the roof connects to a portable air conditioner. The top floor rooms were very hot. ballarat school of mines, time capsule, information technology, greg eames, phil brokenshire, nicholas dore, covid19

Ewen Ross was lecturing in Visual Art at Horsham TAFE when these works were undertaken. Various examples of artwork undertaken by TAFE student at Horsham. Many of them relate to exercises relating to the Elements and Principles of Design. .1) An exercise in the Elements and Principles of Design by David McGennesken .2) Banksia by Walsh .3) Portraits in Colour by Erica Hein .4) Scaling (Owl) by David McGennesken .5) Subjective Colour by David McGennesken .6) Texture by Michael Rudolph .7) An exercise in the Elements and Principles of Design by Michael Rudolph .8) Shape by Michael Rudolph .9) Shape by David McGennesken .10) Texture by David McGennesken .11) Design Value by David McGennesken .12) An exercise in the Elements and Principles of Design by Michael Rudolph .13) Texture by Erica Hein .14) Design by Erica Hein .15) Design by Erica Hein .16) Tonal .17) Cross Hatching by Erica Hein .18) An exercise in the Elements and Principles of Design .19) Shape by Kris Young .20) Tone by Michael Rudolph .21) Colour by Michael Rudolph .22) texture by Michael Gromm .23) Cross Hatching by Michael Gromm .24) Cross Hatching by Nicholas Stevens .25) Birds Eye .26) a and B Relief Print .27) Colour .28) Still life relief Printtafe, visual arts, alumni, horsham, wimmera campus, elements of design, principles of design, ewen ross, nicholas stevens, erica heim, michael gromm, michael rudolph, david mcgenneskin

This creative tapestry, woven in 1988, documents a thousand years of Warrnambool history. It hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women, with the help of Museum staff, researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is ten meters long and seventy centimetres high. The beautiful creation took seven months to create. The tapestry introduces the seafaring theme of Flagstaff Hill Maritime Museum and Village, and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling in the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. Interestingly, before being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left. All materials in the cotton and wool tapestry, including dyed wool, were prepared for a cost of $33,000. The project was supported by local philanthropic groups.The tapestry is a hand worked creation by local women. It shows a visual display of a thousand years of Warrnambool's history, connecting the land and sea to people and events.Tapestry of the early history of the Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand-dyed. Handmade in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, tapestry, warrnambool history, warrnambool textiles, wall hanging, weave, south west victoria history, south west victoria timeline, indigenous people, early settlement, whaling, james grant, nicholas baudin, cotton, wool, dyed yarn, handmade, hand-dyed yarn

Framed collection consisting of a large number of World War 1 era military badges and insignia from Australia, New Zealand, Britain and other countries. The collection features a set of three medals as the centrepiece which were awarded to an Australian serviceman, Acting Warrant Officer Alwin Stevens Nicholas, service number 4752 of the 3rd Australian General Hospital, Australian Medical Corp, A.I.F. The metal badges and insignia are mounted on a black felt cloth background over a wooden backing and housed in a wooden frame. There is no glass front to the frame. for more details about A S Nicholas refer: < https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ViewImage.aspx?B=7998061 >none

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, eltham town park, film - kodak gb 200 5096, nicholas west, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, eltham town park, film - kodak gb 200 5096, nicholas west, scan - 35mm negative

Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, film - kodak gb 200 5096, nicholas west, scan - 35mm negative

Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, alsatian (dog), council pound, dog, eltham town park, film - kodak gb 200 5096, german shepherd (dog), nicholas west, scan - 35mm negative

Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, alsatian (dog), council pound, dog, eltham town park, film - kodak gb 200 5096, german shepherd (dog), nicholas west, scan - 35mm negative

Nicholas West 1988 Entrant No. 66 Ref: Series 34, Items 82-86 The images in this record were not selected for inclusion. 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 35, film - kodak gb 200 5096, nicholas west, scan - 35mm negative, trees, alistair knox park, eltham common, eltham town park, shillinglaw cottage, bridge street bridge, central park, eltham trestle bridge, alsatian (dog), council pound, german shepherd (dog)

OPENING OF THE VIEWING PLATFORM AT KANGAROO GROUND Nillumbik Council has advised that the viewing platform at Kangaroo Ground 27km NE of Melbourne is to be opened to the public on Wednesday, March 26th 2008 (Melway 271 , G10). The function of the platform is to provide shelter adjacent to the War Memorial Tower whilst allowing all people to enjoy the stunning panoramic views. From the platform you. can see the Dandenongs, the city of Melbourne, the You Yangs, Mount Macedon, the Kinglake Ranges and the Mt Baw-Baw Ranges where the Yarra River starts. This landscape covers all the ancestral lands of the Wurundjeri and some of the wider Kulin nation land. The platform has been given the name Moor-rut, a name which described the fertile soils of the Kangaroo Ground area in contrast to the poorer (Silurian) country of its surrounds, which the Wurundjeri knew as 'Nillumbik' or less rich country. The full 360 degree view can be seen from the adjacent Tower of Remembrance which has 53 stairs. The viewing platform however can be accessed by wheelchair. Inside the viewing platform there are eight double sided interpretive panels giving the history and information regarding this special area. The viewing platform's interpretive panels set out the Aboriginal and European history of the area and also the geology and the local flora and fauna, so that the casual visitor comes away understanding more about this significant part of Victoria. The concept of the viewing platform is part of the refurbishment project for the Kangaroo Ground War Memorial Park which has taken place since 1997 with the active approval and financial assistance of the Nillumbik Shire Council. This project has been guided by an Advisory Committee with volunteer community representatives from the local Historical Societies, the Country Fire Authority, the Returned Services League and the Wurundjeri people. Other allied groups such as the Nillumbik Reconciliation Group have been called upon for their expertise. The initial idea for the viewing platform came from Dean Stewart when he was the caretaker while living at the park. He discussed this idea with local author Mick Woiwod and Harry Gilham of Eltham District Historical Society when they were planning the refurbishment of the War Memorial Park in 1996. When the committee was formalised by the Nillumbik Council in 1997, Nicholas Pelling, representing the CFA and RSL, joined the group. Dennis Ward, local architect, then volunteered to develop the concept plan for the refurbishment of the park and later drew up the plans for the viewing platform. The Kangaroo Ground War Memorial Park and its Tower of Remembrance is located on one of the highest locations in the Yarra Valley. The Tower of Remembrance is a unique war memorial constructed from local stone standing 14 metres high. It was built in the style of a Scottish watchtower reflecting the strong Scottish influence of the first European settlers of the district from the 1840s onward. The park was opened in 1921 and the Tower of Remembrance was dedicated in 1926 recognising the local people who served in the First World War. Those who served in the Second World War were recognised by plaques dedicated in 1951 and more recently those who served in Korea, Borneo, Malaya and Vietnam by plaques unveiled in 2001. Harry Gilham, Advisory Committee Convenor - Eltham District Historical Society Newsletter N0 179 March 2008fay bridge collection, garden hill, kangaroo ground, memorial park, moor-rul viewing platform

Artists Of The Bendigo Goldfields 1852 - 1864. Short notes on the paintings and their artists. This Collections was exhibited at the Bendigo Art Gallery, 9 March - 9 April,1989. The Artists were: Ludwig Becker, Edward Thomas Barnard, Nicholas Chevalier, William Dexter, Alexander Fox, S. T. Gill, Thomas Ham, Theodore King, George Lacy, Frederick Nixon, J. A. Panton, C. Rudston Read, George Rowe, G. J. W. Russell, Edwin Stocqueler, A. J. Stopps, W. E. D. Sturat, Thomas Wright. With Index. 32 pages.David Thomasbook, bendigo, paintings, books, catalogues, and newspapers.

Copy of a newspaper article titled Colonial Bendigo on display. Date written at the top of the page Dec 1 - 1984. Article mentions an exhibition organised by the Bendigo Art Gallery of the early photographers on the gold field. Wet plate photography was used. Other mediums were also used such as engraving, artists drawings, lithography, water colours and diorama. Artists mentioned are George Rowe, S T Gill, Alex Fox, Nicholas Caire, Wet Plate Photography, Thomas Ham, Edwin Stocqueler and Ludwig Becker. There is also a photo by Nicholas Caire, taken 1875. showing the excavation of quartz reef and mine buildings near Iron bark Hill.bendigo, history, long gully history group, the long gully history group - community focus - colonial bendigo on display, bendigo art gallery, george rowe, s t gill, alex fox, nicholas caire, wet plate photography, thomas ham, edwin stocqueler, the advertiser, ludwig becker, burke and wills expedition, mine buildings near ironbark hill, victoria hill

Louis Chevalier, brother of popular artist Nicholas Chevalier, opened a sawmill in Beechworth near Spring Creek in Newtown in 1853. This facilitated a boom in building in the town, as materials were much more available than they had been previously. A second sawmill was opened in the town in 1856. Louis Chevalier served on the Beechworth Council as a representative of Newtown between 1858 and 1860. As this photograph is taken in 1859, the mill would have been operating as a sawmill at the time this photograph was taken. Louis Chevalier’s mill stopped sawing wood and began milling flour at some point between 1860 and 1862. At this time, the Oven’s district was almost self-sufficient, producing considerable quantities of grain, dairy, fodder and meat. Unfortunately, the region experienced poor agricultural yields in the 1880s and 1890s, which lead to the closure of the Beechworth Flour Mills in the 1880s. This photograph depicts the first sawmill in Beechworth, which was responsible for making the materials available for other early buildings in the town. The mill race and wheel are also clearly depicted, which may shed light onto how mill wheels of this era and place were constructedBlack and white rectangular photograph printed on matte photographic paper mounted on boardReverse: 3146 / 1997.2654 / Louis Chevalier's Flour Mill on / the Newtown Falls before the / Bridge / Est 1853 / this photo 1859 / 84-229-1 / Burke Museum Beechworth / Page 41 / 81 % / (Illegible) / (Illegible) 14 / chevalier, louis chevalier, newtown, mill, grain mill, sawmill, flour mill, 1850s beechworth, beechworth council, farming and agriculture, victorian agricultural history, spring creek, buildings, industry, forestry, wood, timber

Mavis Jensen (nee Knight) was born in Broadford in 1920 and came to Beechworth with her family a year later, so her father could assist his father at Knight's Blacksmith at 1A Camp Street, where the Hotel Nicholas is now located. Mavis Jensen left school at the age of 13 and worked as a kitchen maid at Ovens Benevolent Asylum. She was employed as a ward assistant at Mayday Hills Hospital from 1939 to 1980, except for 1958-59 when she gave birth to her son, Noel. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mavis Jensen's account of her life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural heritage of the region. She details important historical events and hardships in the region's history that had a lasting local, regional and national impact, including Australia during war time, economic struggles, and women's societal roles in a rural area. Her oral history is particularly significant for its insights into developments in psychiatric patient treatment and care in regional Victoria, as well as women's work conditions in the mid-twentieth century. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mavis Jensen /listen to what they say, beechworth, oral history, burke museum, jensen, mavis jensen, psychiatric hospitals, mid-twentieth century psychiatry, regional hospitals, regional mental health care, mid-twentieth century women's working conditions, mayday hills hospital., ovens benevolent asylum, beechworth hospital history

May Sewell was born in Beechworth in 1917, her paternal grandparents had come to Beechworth from Ireland and her maternal grandparents from Scotland. She was the youngest of five siblings and the only one to be born in a hospital rather than at home. May loved growing up and living in Beechworth, and fondly recalls knowing all her neighbours, meeting friends at the pictures, attending girl guides, picking wildflowers around the gorge, participating keenly in the Church of England choir and dances, and the big Easter festivals. May worked various jobs before getting married. After leaving school at fifteen, May learnt dressmaking with Lal Anderson (and was delighted with her wage of two and six pence a week) and then went on to learn tailoring with Mr Charles. May then worked in the dining rooms at the Commercial Hotel and Hotel Nicholas. May was at the Hotel Nicholas for seven years but stopped when she got married as female employees were not asked to stay once they were married. May married her husband in 1944 and had known him since school. They went on to have six children, sadly three did not live past infancy. Her first children were twin girls who died six hours after birth. May briefly discusses the difficulty in grieving her twin daughters, the lack of available support, and the expectancy to carry on. Her next child, a son named Ian James, died when he was only ten months old from a tumour. May described Ian James as a lovely boy. May had multiple connections to the Zwar Brothers' Beechworth Tannery. Her father and then her three brothers worked there, and also her husband for a short period of time. The tannery was a major employer in Beechworth, and May having multiple family members employed by the tannery underlines the significant role of the tannery in Beechworth. May described her husband as very hardworking, he worked as a cleaner overnight at the Ovens and Murray Hospital for the Aged while during the day tended his cattle and sheep farm. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke. Miss May Sewell’s account of her life in Beechworth is historically and socially significant to the cultural heritage of the region. May in reflecting on her experiences of leisure opportunities, town festivals, work available for women, leaving the workforce once married, the tannery, post-natal care, grief and child mortality provide essential historic, economic, social, and healthcare insights. May’s oral history recording is part of a larger collection of oral histories recorded by Jennifer Williams in 2000, collectively they provide invaluable insights into Beechworth during the 20th century, much of the information in these oral histories would be lost if not documented and missed in the interpretation of tangible objects. This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs May Sewellmay sewell, oral history, jennifer williams, listen to what they say: voices of twentieth century beechworth, beechworth church of england, easter festival, beechworth girl guides, hospital birth 1917, lal anderson, tailor beechworth, commercial hotel, hotel nicholas, zwar brother's beechworth tannery, ovens and murray hospital for the aged, dressmaking beechworth, beechworth cinemas, paul voglis

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

Five Diamond Valley residents were awarded Queen's Birthday Honours in 2014.News clipping, black text, colour images.queens birthday honours, nicholas hoogenraad, harry jenkins, janette cook, heather gardner, robert elworthy

The pews (18 small and 1 large) with 3 fronts were donated by Mrs E.W. Outhwaite in memory of her father, Nicholas Maine, who died in 1915. Nicholas Maine biography was published in the Australian on 11 September 1915 : "Nicholas Maine, whose paternal grandfather was rector of the Church of England and Ireland, parish of Dunaghy, County Antrim, came of a family of very considerable repute as merchants in Belfast. He was born at Ballymena on New Year's Day, 1826, and received his earlier education at the Diocesan School, Ballymena, and at Dr. Bryce's Academy, Belfast. After a three years' apprenticeship in a merchant's office, in Belfast, he ventured forth into the world as supercargo in a vessel belonging to one of his brothers, and so performing two voyages to Brazil. Ashore once more, he joined a broker's office in Liverpool, and whilst there was specially chosen out of a large staff as the man to take charge of a fleet of ships on a guano quest on the coast of Patagonia. Having determined on a suitable rendezvous for his ships, he sailed for the River Plate in a handy vessel, and from Monte Video south- wards minutely searched and examined the coast, chiefly in boats, as far as Santa Cruz, near the Straits of Magellan. At Sea Bear's Bay, in lat. 48deg. S., he landed his men, and pitched his tents, &c. After 10 months of extreme hardship and risky adventure on the coast in open boats, and loss of many men from scurvy, he loaded up all the ships sent to him, and returned to the River Plate. While there he met Captain Hotham, R.N., of H.M.S. Gordon (afterwards Governor of Victoria), and also saw Garibaldi, who was then making himself famous by his daring adventures against the enemy, though with inadequate means. (There was war going on in the river at the time.) From Monte Video he returned to Brazil, where he opened a direct trade with Russia, by shipping the first cargo, of sugar and cotton from Pernambuco to St. Petersburg. For so doing the Emperor Nicholas allowed his vessel (the Urgent), belonging to his brothers, trading under he name of N. Maine and Sons, to enter Russia free of port charges. Shortly after this Nicholas Maine went ashore, spending three years in a Liverpool brokers office, when, sailing again as super cargo, he went on a trading voyage to Chili and Peru. He was present at Panama for six months during the rush to California, and crossed the isthmus on muleback and by canoe, a severe journey in those days. Thence he went to Jamaica, his ship's company carrying with them the cholera, which decimated the population. Then home again, visiting the United States by the way. After another year in Liverpool, he sailed again for Brazil, at one day's notice, bought a cargo of coffee at Rio Janeiro, took it to San Francisco, and settled there, where he had three years of a most exciting life — 1851-2-3 —also making speculative voyages down the coast to Mexico and Nicaragua, at which latter place he took the fever and so on to the South Sea Islands, where he suffered shipwreck, and thence on to Chili. He arrived in Melbourne from New Zealand in 1854; made one more voyage to Chili (his last venture at sea), and on his return sold his vessel. After refitting a dismasted clipper ship, called the Flying Arrow for his brother Crawford, with what was considered in those days unusual dispatch, when the port had not many conveniences for the purpose, he quietly went again into harness ashore. He managed Mr. T. S. Martin's large business in Melbourne for five years, till he broke down, from excessive work and anxiety. After winding up the business, he sailed for England in 1862, and idled at home, in Italy, and other parts of the Continent till, his health being restored, he returned to Melbourne in 1867, and went to Queensland to buy into a station along with his brother and others; but, not being satisfied, came back to Melbourne, and began to work as a mercantile broker. Soon after this he was induced to apply for the resident secretaryship of the Australian Mutual Provident Society, and got it in 1868, though, at the time, several professionals thought him unfit, and prophesied failure. He retired after a long term of eminently profitable business transactions in 1895, owing to a rule of the society to retire secretaries at the age of seventy. He accordingly left on the 1st January, 1896, after twenty-seven years' service unbroken by a single holiday, save for a trip to Europe in 1891. A letter was written him by Sir Joseph Abbott, chairman of the board, in which he said:- "I need hardly assure you that the board is extremely sorry that the, society is obliged to lose your services, which have been so highly appreciated by us during your long connection with the society," and enclosed a grateful resolution passed by the board." Margaret Isabella Maine was born in 1871 and was the only daughter of Nicholas Maine. In 1897, she married Edward Walter Outhwaite, a layer from New South Wales who had studied at the University of Melbourne. Edward was the brother of Arthur Grenbry Outhwaite, husband of artist Ida Rentoul. Margaret and Edward had three children: a son, Maine Outhwaite and two daughters, Helen Margaret and Jocelyn. The pews on the left side of the nave have been moved to make room to a baby grand piano (date tbc.) therefore 2 of them have to be moved elsewhere in the mission and the pew front has been brought backwards..gifts, st peter chapel, pews, edward walter outhwaite, margaret isabella outhwaite nee maine (1871-1964), arthur grenbry outhwaite (1875-1938), nicholas maine (1826-1915), heritage listed, gifts-1917, kneelers, genuflection, praying