A publication by the CFA giving detailed information, images, maps and photographs about the bush fires which blazed across Victoria and southern New South Wales from November 2019 until brought under control in February 2020.non-fictionThe 2019 - 2020 fire season, which became known as "Black SUmmer" was long and difficult for the CFA, emergency services and communities across the eastern seaboard of Australia, especially in northeastern and eastern Victoria. By its conclusion more than 8,200 CFA volunteers had contributed to the fire response in Victoria and another 2,288 CFA volunteers had been deployed interstate. THe bushfires burned 1.5 million hectares, destroyed more than 400 homes, 6,800 livestock and thousands of native animals. Tragically 5 people also lost their lives. The fires took their toll physically and psychologically.This book provides an insight into the challenges faced by so many in their efforts to protect communities and was produced as part of the recovery process from this horrific event.black summer bushfires, cfa volunteers, bushfires australia

Black and white photograph. Summer House with large willow tree and Luffmann/Lily Ponds in the foreground. Dahlias on the right willow tree, ponds, luffmann ponds, lily ponds, summer house, shelter shed, dahlias

This is the type of uniform worn by the women who attended 30 WRAAC Barrack Mount Martha This uniform is an example of what was worn at 30 WRAAC Barrack, Mount Martha, Victoria. WRAAC soap green colour summer uniform, black Army issue lace up shoes and a WRAAC issue hat. c 1970's Uniform which consisted of a dress, belt, the original bakerlite buttons and plastic insignia and a black hat.wraac, uniform, mount martha house, 30 wraac barrack, 1970's

The Hanro company was established in Switzerland in 1884. In 1926 a site in Hargreaves Street Bendigo, behind the School of Mines, was purchased to establish the Bendigo Knitting Mills, a subsidiary of Hanro. The managing director was Charles Handerchin who came from Switzerland. The company was delisted from the Australian Stock Exchange in 1963 when it was taken over by John Brown Industries.Hanro Spring-Summer Catalogue 1962: The cover is of card with a white background and black, green and mauve print. Printed on the cover in black is *Hanro* Spring-Summer Catalogue 1962* To the left is green leaves with mauve wild flowers on two stems and to the right side corner is also green leaves and two stems of mauve wild flowers. Underneath in mauve print is *lovely lingerie featuring Australia's beautiful wildflowers. Inside the cover is advertising the line. Inside the catalogue on white gloss paper are sketches of ladies wearing matching Negligee/Night set, night wear, Pyjamas, Petticoats, Vests Briefs, scanties', Panties, Bed Jackets, half slips, house coats and spencers. Each item has a number, description, size and colour. The back page has advertising. A green paper sheet has been inserted with the retail selling price list with item number size range and price. Over the page has the trade price, item number size etc. On the back cover on a white background is a box with a back border and *Hanro* printed inside along with the Sales Office, address and phone number in each State. Box 116ACambridge Press, Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press, bendigo

The Satin Bowerbird is a medium-sized common bird found from Queensland to Victoria in rainforests and wet sclerophyll forest. During the summer, the diet consists mostly of fruit, with insects as a supplement. They're famous for their courtship behaviour and for decorating stick-structured nests with blue sparkling objects. With it's stunning glossy blue-black feathers, which evolve from green-brown in appearance, this Satin Bowerbird is more than seven years old, and therefore not any younger as they are often mistaken for females, which are supposed to look like the green catbird. The eyes of this mature male are violet-blue, and the bill is pale bluish white. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Satin Bowerbirds are medium-sized birds. The adult male has striking glossy blue-black plumage, a pale bluish white bill and a violet-blue iris.47a / Satin Bower-bird / See Catalogue, page 16 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, satin bowerbird, bowerbird

The Satin Bowerbird is a medium-sized common bird found from Queensland to Victoria in rainforests and wet sclerophyll forest. During the summer, the diet consists mostly of fruit, with insects as a supplement. They're famous for their courtship behaviour and for decorating stick-structured nests with blue sparkling objects. With it's stunning glossy blue-black feathers, which evolve from green-brown in appearance, this Satin Bowerbird is more than seven years old, and therefore, not any younger as they are often mistaken for females, which are supposed to look like the green catbird. The eyes of this mature male are violet-blue, and the bill is pale bluish white. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Satin Bowerbirds are medium-sized birds. The adult male has striking glossy blue-black plumage, a pale bluish white bill and a violet-blue iris.Swing tag: National Museum Victoria / Satin Bowerbird / Ptilonorhynchus Violaceus / B2027 / (Vieillot) / W. Shaw Collin. / Mount: PTILONORHYNCHUS / VIOLACEUS / SATIN BOWERBIRD / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird

This display of butter was created by Mrs Jessie Petterson for the Harvest Festival. Ten pounds of butter was used. The Harvest Festival display was always put together by the church ladies ( Orbost Presbyterian Church) and was a family friendly festival celebrating the end of summer. The Harvest Festivals were regular community events in Orbost during the first half of the 20th century. This photograph is associated with that time.A black / white photograph postcard of a butter sculpture, a flower arrangement carved out of butter.on back - "display of butter by Mrs Jessie Petterson, 1900"harvert-festival sculpture-butter petterson-jessie

This specimen is a Black-Headed Gull in the adult winter plumage. This plumage is mostly white and grey with a small dark mark on the sides of the head. During the summer months, the plumage on the head of the bird turns a black colour which is called a hood. This species can be found over much of Europe, except Spain, Italy and Greece. It also resides in northeastern Canada, Northeast America and in some of the Caribbean Islands. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A pale grey and white coloured Gull standing on a wooden platform. The bill and legs are a pale yellow colour and the toes are webbed. The small eyes are made from glass and black in colour. The specimen has a darker spot of plumage behind the eyes and darker feathers in its tail. Paper tag 1: "28a Black-headed Gull- Catalogue, Page, 43." Paper tag 2: Larus Ridibundustaxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, gull, black-headed gull, common gull

For Service History Refer Cat No. 7877.61. Jacket - white colour polyester viscose fabric, mess dress style - Summer. Collar and long lapels. Shoulder tapes for epaulettes. Gold colour plastic buttons with shank and metal pin. Raised emlem, crown and wings - RAAF. Lining - white colour polyester fabric. White cotton manufacturers label inside right side of jacket. 2. Shirt - white colour polyester/cotton fabric, dress shirt, collar, stiff front with buttonholes for studs and long sleeves with double cuff and buttonholes for cufflinks. White colour plastic buttons. White colour polyester manufacturers label, below collar inside. 3. Bowtie - black colour polyester/cotton fabric. Bowtie is prefolded and stitches on ribbon with black metal hook and ring closer.Manufacturers information - black ink print. 1. "ADI/ VICTORIA/ 1993^/ 8405-66-131. 8010/ SIZE 110R/ TO FIT CHEST 110/ SERVICE NO/ NAME/ 65% Poly 35% Visc/ Dry Clean Only". 2. "RA/ PHILIPPE ANTON/ MADE IN AUSTRALIA/ 44".uniform, raaf, mess dress, summer

2. Uniform issued to "A. Hughes".1. Jumper - part of the Winter Ceremonial Uniform worn by Recruit to Leading Seaman ranks RAN. Also known as a Barathea or Jumper. Black colour wool fabric with square collar, V shaped front opening, long sleeves with cuffs. Two black colour plastic buttons attached at bottom of front V to attach a collar. Navy blue cotton tape (bow). White colour cotton fabric manufacturers label below back collar. 2. Shirt - also known as white flannel. Part of the Summer or Winter Ceremonial uniform worn under a black or white barathea. White colour cotton/polyester fabric - square neck with navy blue colour ribbon trim and short sleeves. White colour cotton shoulder flash with blue "AUSTRALIA" and rank insignia - blue embroidered anchor and foiled rope.Manufacturers information - blue and red ink print. 1. Blue ink print "MADE IN AUSTRALIA". Red ink print "11". 2. Handwritten black ink pen "A. HUGHES".uniforms, ran, a. hughes

This item has been bought as a souvenir of Warrnambool probably by a tourist. It features the breakwater built in 1890 to assist shipping in the port of Warrnambool . Tourism is important in Warrnambool today - in Summer the coastal scenery and the beaches and in Winter the with the whale season and the May Racing Carnival This item is of minor interest as an example of a tourist souvenir of Warrnambool.Small circular plate with pale blue border with interior black ring. The centre of the plate is white and has a rectangular image of the breakwater.The breakwater Warrnambool Vic is in black text underneath the image. Noritake made in Japan in green on back of the platewarrnamool breakwater

After World War II, the Kiewa Hydro-Electric Scheme was started in the Kiewa River Valley by the State Electricity Commission of Victoria. On land previously used only for summer cattle grazing in the natural alpine grasslands, the first ski lodge was built in 1948 by workers from the hydro scheme as skiing was a popular recreation. Many of the hydro employees were of European background and had grown up enjoying skiing and snow sports in their homelands and were keen to continue to pursue their winter sports interests. The first lift, a rope tow, was built at Falls Creek in 1951 and the first chairlift in Australia was constructed there in 1957. Two T-Bars were opened in 1961. In 1964, the Victorian Municipal Directory recorded that Falls Creek had 29 ski club lodges and 16 commercial lodges. The area became a popular tourist destination for both winter and summer sports.Employees of the State Electricity Commission of Victoria in the Kiewa River Valley were the earliest skiers on the Bogong High Plains and built one of the first ski lodges at Falls Creek. They were amongst those pivotal in the development of the skiing and tourist industry at Falls Creek and on the Bogong High Plains. Black and white photographs of varying sizes mounted decoratively on heavy black Card. Some pages display a brief description printed in white ink 1. 4 photographs- displayed diagonally across page. 2 pictures of a group of men standing in the snow in front of a car with a loaded trailer behind. 1 photo of skiers. 1 photo of show hanging in tree branches. 2. 2 photographs- showing Upper Kiewa Road with snow in the background 3. 3 photographs- of skiers and 1 photo of 2 of men posing in the snow & 1 photo of 2 men posing shirtless in warmer weather. 4. 2 photographs- arranged diagonally on page showing early buildings and construction at Bogong Village 5. 2 photographs- 1 showing view of Bogong Village from higher up the mountain. 1 showing early Bogong High Plains road 6. 1 photograph- showing view down along Kiewa Valley from higher up in the mountains 1. Handwritten in white ink – A TRIP TO THE PLAINS 2. Handwritten in white ink – UPPER KIEWA ROAD MT FAINTER IN BACKGROUND 3 – 6. No markings bogong village; upper kiewa road; bogong high plains; falls creek; skiers

Edmondson's Hut is a cattleman's hut on the Bogong High Plains. Jim Edmondson obtained Run 33 (near Mt Nelse) in the early 1930s. He pre cut the timber at his property in Tawonga and along with iron for the walls, chimney and roof took it up to the Bogong High Plains on pack horse. The hut's wall and ceiling were lined and the hut had a 'fairly good floor and bunks'. In 1971 the hut was donated to the Education Department and was approved for transfer by the Lands Department in 1974. Bogong Outdoor School camp has been using the hut for students to camp in as well as National Fitness parties when walking in the area. The upper Kiewa Valley was settled from the mid 1860s and from its earliest days cattle were taken on to the Bogong High Plains to graze during summer. Jim Edmondson took his cattle from the Kiewa Valley to Mt Fainter and later to Run 33, near Mt Nelse. His hut is significant in the history of Cattlemen's huts on the Bogong High Plains.Four A4 typed sheets on white paper - 1. Acknowledgement of transfer of Edmondson's Hut. 2. History of Visitors (to the hut) Prior to 1971. 3. Two poems. 4. One poem 1. Emblem of Education Dept. Centre top of page. Addressed to James Edmondson, Tawonga, Victoria. 2. Page headed History and Visitors prior 1971. 3. My Old black Poley Cow (and) Roper's Track. 4. So Long, Mates!education department. edmondson's hut. bogong high plains. cattlemen. poetry. cattleman hut. bush walking.

Cattlemen / Beef Farmers of the Kiewa Valley took their cattle up to the High Plains to graze during summer.Cover includes the heading 'National Parks Service' and is bound on the spine with black tape. This is followed by 'File Title' on yellow cardboard marked with column and lines. Inside: 35 pages printed on one side. Pages are bound by steel binder. Dated: June 1978J. Commins on cover page at the top.bogong high plains, cattle grazing, farmers of the kiewa valey, national parks

Cattle were taken up to the Bogong High Plains by the Kiewa Valley farmers who had a lease there in their allocated area. The cattle roamed and were mustered in late summer. At this time they also sorted the cattle using the cattle's brands for identification.Types of breeds bred in the Kiewa Valley and the names of families who grazed cattle on the Bogong High Plains is of historical interest and also gives an insight into the history of cattle grazing.White paper, black print. Chart's headings: Name of Family (25 in alphabetical order), Run No., Earmark, Brand and Log and Breed. 29th Feb. 1972 cattle grazing, bogong high plains, kiewa valley families, cattle breeds, cattle brands

Kerosene irons were used c1930 - 1950 especially where electricity wasn't available. Shelite was another fuel that could be used instead of kerosene. The advantage of the kerosene iron was that it didn't require a stove to be lit (especially in summer) to heat the iron and it didn't require electricity.Residents in the Kiewa Valley used kerosene irons.This black iron is made of cast iron with a steel base and a black wooden handle. This Comfort iron has a ball shaped container with a screw-on lid to hold the fuel (kerosene or Shelite). At the bottom of this ball is a pipe going down then meeting another pipe at right angles to it leading into the iron. At the pipe junction there is a handle on a screw to limit the amount of fuel. The Kerosene would flow through this pipe. There is a filler plug air stem on top. This is a self-heating iron.Comfort iron / Self Heating Comfort Iron MFD by / National Stamping and Electric Works / made in U.S.A. Chicago iron, domestic, laundry, pressing clothes, household, kerosene, shelite

The milk shaker machine was used in milk bars during the 1940's and 1950's often using fresh milk from the local diaries. Modern machines are more compact with a variety of different settings and the ability to blend a variety of food including fruit and vegetables as well as liquids.Vera Drummond worked in the Tawonga Milk Bar where she used the Milk Shaker machine. The premises were leased out until it finally closed. The Milk Shaker machine was then lent to the Tawonga cafe which was situated opposite the Tawonga Hotel on the Kiewa Valley Highway near Mountain Creek Road. When the cafe owner bought their own milk shaker machine the original was returned to Vera who lived at the Tawonga Post Office. The milk shakes were made with fresh real milk direct from the diary and enjoyed by Vera's grandchildren and great grandchildren especially on summer holidays.This set consists of: 1 stainless steel milkshake blender with black electric cord attached; 3 moulded glasses with vertical grooves; 4 aluminium mixing beakers also with vertical grooves; 3 long handle stainless steel mixing spoons; 1 stainless steel swivel stick. The blender is heavy with an enclosed cylinder at the top containing the motor with a rotating mixer hanging below it. This is supported by a long vertical enclosed cylinder attached to a base where the electric cord is placed. This cylinder has parts attached to hold the beakers during mixing.On the cylinder with the motor - "Type D3; No. 1675; Volt 230; Watt 40; RPM A; ACDC; (the letter) R (with) G (in the top) (and) E (between the 'feet') Reg. Des.No. 24264/65 Spoons: 2 rows of embossed writing on handle end but illegiblemilkshake maker machine; vera drummond; tawonga milk bar; tawonga post office

This piece of music was composed by Joseph Summers (1839-1917). The date of the composition is between 1863 and 1866. The brother of Charles Summers, the sculptor, Joseph Summers was born in England and came to Australia in 1865. He was an organist and composer, an Inspector of Music in schools and in charge of music examinations conducted through Trinity College, London. In 1897 he moved to Perth. The signature of ‘Miss Jessie Webster’ presents a problem as no information has been found on this person. This is a most significant item because of the date, 1866, and the name, ‘Jessie Webster’. But it is not known if the music has any local provenance. The item also has social significance as an example of the type of music played in mid-Victorian drawing rooms. This is a piece of music of four printed pages of musical notation. The cover of this music is missing. The paper is white with black printing and all the pages are much mottled and stained. The edges of the pages are ragged and torn. There is some pencil scribble on the first page. A name and a date are written in black ink on the first page. ‘Miys (Miss) Jessie Webster, November 13th 1866’jessie webster, joseph summers, warrnambool

This is a program for the 1997 Holiday Actors production of ‘Me and My Girl’. The Holiday Actors began in 1985 when a group of students from what was then C.B.C. College and St. Ann’s School performed in a production of ‘Joseph and His Amazing Technicolour Dreamcoat’. The following summer ‘The Boyfriend’ was staged and it was decided to extend the production in future years to include students in other secondary schools. Holiday Actors became incorporated in 1986 and the productions are staged annually today in the January school vacationThis program is of interest as an example of the productions staged by the Holiday Actors, an important Warrnambool theatre company. This is a program of 16 pages for the 1997 Holiday Actors production of ‘Me and My Girl’. It has a mauve-coloured cover with a black and white sketch of a dancing couple on the front cover and a sketch of a violin and a McDonalds logo on the back cover. The program includes advertisements, photographs of the cast and information on the play and the Holiday Actors. The pages were stapled but the staples have been removed. holiday actors, warrnambool theatre productions, production – ‘me and my girl’

This suit was made to order in 1975 for Ted Henry at a Fletcher Jones factory, probably the one in Warrnambool. The other items were obtained at the same time. David Fletcher Jones began his business by opening shops in Liebig Street Warrnambool in the 1920s. His Man's Shop sold suits and overcoats and manufactured men's clothing on site. In 1946 a Fletcher Jones shop was opened in Melbourne and a factory was opened in Warrnambool in 1948. The Fletcher Jones and Staff Company expanded and became well known throughout Australia for the quality of its men's and women's clothing. The Company ceased business in 2011. The surname "Henry" is well known in Warrnambool and district. These items are important mementoes of Fletcher Jones and Staff one of the most significant Australian businesses originating in Warrnambool..1 Carry bag, oblong shaped made of pale orange cloth with full length white zip and dark brown edging and stitching It has a maker's label on the interior. .2 Black plastic clothes hanger with suit maker's name and logo .3 Silk and cotton tie in black, beige and tan broad stripes. It has two labels attached. .4 Man's trousers. The trousers are made of wool and polyester woven pattern in brown. grey and tan. There is a metal zip, The pockets have cream cloth lining . There are two labels. There are loops for a belt. .5 Man's suit coat made of the same material as the trousers (above). It has three butttons on each sleeve and two on the front. It is fully lined with brown cloth and cream lining on the sleeves. It has a maker's label. There is some padding in the shoulders. There are two internal pockets and three on the exterior.Celsius 30 A woolblendmark fabric developed for summer 80% new wool 20% polyester Henry L. 30.6.75 654 silk 35% cotton MADE IN ENGLAND.ted henry, fletcher jones and staff company, fletcher jones factory warrnambool, men's clothing

Black and white photograph, possibly of Rotten Row ( mooring sites for derelict paddle steamers no longer able to be repaired) on the Murray River at Echuca, showing the 'Advance' barge in foreground. Three paddle steamers and three barges are moored on the left bank, including the P.S Rob Roy.Representative of the Murray - Darling river trade in the late 19th and early 20th century.Black and white photograph of Rotten Row on the Murray River, showing the 'Advance' barge, other barges and paddle steamers and the 'Rob Roy' paddle steamer all moored on the left bank.On photo 'C. Nettleton, photo. Copyright registered Melbourne. Echuca Steam Boats on the Murray 156 miles N from Melbourne. ' Appears that the paddle steamer beside the Advance, starts with "S" and ends "DA" or "CA". On back of photo; Derelict or tied up for summer? Date. Barge is Advance?? About 1913. Return to H. Coulson, Box 170, Echuca 3625.rotten row, nettleton, c, murray river, echuca, paddle steamers, steam boats

Vol. 10, No. 2, May-Jun 2005 CONTENTS Richmond 3121 - the book 2 Daryl Braithwaite rocks up at Wellers 5 Shelton Lea lauded and farewelled 8 Artin' About 10 Wining & Dining 14 Listings 16"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 16 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art streams magazine, daryl braithwaite, wellers, richmond 3121, daniel moynihan, anthony figallo, shelton lea

Vol. 10, No. 3, Jul-Aug 2005 CONTENTS Alan Marshall Short Story Award Winner 2 Ephemeral Sculpture 7 Food and a Question of Time - John Jenkins 10 Rhythm of the Land & Sea - Julie Tippene O'Toole 11 Silver Stars: A Mongolian Story - Lisa Edwards and Jenny Grinlington 12 Darebin La Trobe Art Prize 15 Jill Kahans mixes her media 17 Poetry 18 CD Reviews 19 Jack Henseleit - The Legend of Neil Douglas 20 Artin' About 21 Wining & Dining 26 Listings 28"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 28 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art streams magazine, ephemeral sculptures, alan marshall short story award, click here to add keywords, darebin la trobe art prize, ephemeral sculpture, jack henseleit, jenny grinlington, jill kahans, john jenkins, julie tippene o'toole, lisa edwards, neil douglas, rhythm of the land & sea

Vol. 10, No. 4, Sep-Oct 2005 CONTENTS Short story In Shadows by Bill Collopy 3 Discovery of the rural by Clive Dickson 7 Wagga based artists by Thomas A. Middlemost 10 Short Story by Emilie Anita Teear 12 Gallipoli : A Turkish view Photography at Bundoora Homestead 13 Musicians who answered the call 16 Book reviews 18 Australian landscape Conference 2005 by Kate Herd 20 Threads that bind the CSA and CWA 22 Music at Wellers Restaurant 23 Music reviews 24 The Snakes in Eden by John Jenkins 27 Artin' About 29 Wining & Dining 30 Listings 32"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 32 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art streams magazine, silos, australian landscape conference 2005, bill collopy, bundoora homestead, click here to add keywords, clive dickson, emilie anita teear, gallipoli, john jenkins, kate herd, the snakes in eden, thomas a. middlemost, wagga based artists

Vol. 10, No. 4, [sic] Summer 2005-06 CONTENTS Alan Marshal Young Writers Short Story Award Winner 3 Winning stories from the William Barak Short Story and Bushcraft competition by Joydyn Chandler and Bethany McGill 4 John Jenkins on Ian McBryde 6 Leanne Mooney 9 Isabelle Clements 10 Poetry 11 Book Reviews 13 CWA meets CSA 15 Social Realists at the Counihan Gallery 16 Ian McBryde Poetry Reviews 19 Music & CD Reviews 20 Artin' About 25 Art Services & Classes 29 Wining & Dining 30"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 32 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) 10th Anniversary Edition!art streams, art streams magazine, alan marshal young writers, bethany mcgill, ian mcbryde, isabelle clements, john jenkins, joydyn chandler, leanne mooney

Neil Douglas (1911 - 2003) was an artist and conservationist. In 1964 he founded a co-operative consisting of families who wished to live in harmony with the bush and indigenous wildlife at Bend of Islands, Kangaroo Ground. Contents: 1. Photocopy from unknown community newspaper October 1978: "The Balancing of Nature" an interview with Neil Douglas. Page also includes an article" Ecology" about plans being drafted for the construction of a completely biodegradable 100% organic school which refers to the unnamed Eltham College. 2. Folio depicting six artworks by Neil Douglass produced by Toorak Art Gallery, South Yarra. The paintings are: “Summer Creek”, “Eighteen Emus", "The Strange Australian Presence" (Black and white), "Ways before the Whiteman - Kangaroo Pad" (Wyperfeld National Park), (back and white) with caption, "Swipers Gully" and “Bush in Drought” (date unknown).neil douglas, paintings, etham college

Arthur William Glass known as Peter was born August 28, 1917. During the 1930s, Peter Glass and a young Graeme Bell were studying painting under Max Meldrum. Graeme Bell at that time was undecided whether to devote his life to music or painting. In 1938, inspired by what they had seen at 'Montsalvat', Peter Glass along with Graeme and Roger Bell (whose names were to become internationally known as the leaders of Australia's most famous jazz band) agreed to purchase land at Eltham to build themselves a mud brick house. For some time, Eltham had been their chosen place for painting and sketching, but it was not until they visited the 'Jorgensen Colony', as it was then known, and saw the possibilities of building in earth, that they decided to establish a permanent base in Eltham. In July, the three of them bought a few acres of land at the top of John Street and started making mud bricks for a proposed sixty square sized house. Following the Second World War, Peter Glass returned in 1946 to live permanently in Eltham. He resumed work on building of the adobe house which he had commenced before the war. During some years spent in England and France he married a French girl and on returning to Eltham he built another adobe house in which he lived with his wife, Cecile Madeleine, and two children, Julian and Marie-Luce on land adjoining the original house. Peter Glass died in December 1997 aged 80, his wife Cecile in 2006, aged 79. They are memorialised in Eltham Cemetery. Much of the inspiration for his landscape painting comes from the Eltham bush and the Yarra flowing through it.oil on chipboard 33 x 40.5 x 1.0 cm Signed 'Peter Glass in red paint lower right of centre Evidence of some paint rub-off at edges from previous frame mounting (frame removed).Reverse side painted in pale yellow cream and inscribed: 'Summer Landscape - 1968 Kangaroo Ground' in black paint1968, arthur william glass, artwork, kangaroo ground, paintings, peter glass