The children at Bulla Primary School had a craft project included in their curriculum and the photo was taken the end of the projects when the objects were displayed for the children and the local community to enjoy.A coloured photograph of two teachers along with their classes looking at hand made items displayed in a cabinet in a school room. bulla primary school, craft projects

Jade Guest and Charlotte Jones are showing their project they made in the craft class at Bulla Primary School.Bulla Primary School included a variety of creative activities into the curriculum and the craft class was one of them.A coloured photograph of two girls showing a piece of craft work they had made in class.bulla primary school, craft projects, jade guest, charlotte jones

A group of widows gathered at Legacy House doing needlework and craft. It is Marion Scammell (see also article in the Answer 1996 at 00889). This photo was published in The Answer in January 1997. Shows one of many activities that the widows were involved in. There were weekly workshops for craft and others for painting. The tapestry instructor was Nancy Crooks. The timetable for activities was published in The Answer each month. These regular meetings and workshops provided important opportunities for widows to meet and be active.A record of the type of activities Legacy provided as a social outlet for widows. Colour photo of widows working on craft projects at Legacy House.Printing on the back "widows, craft, activities, answer

This pattern book was published by Patons and Baldwins, UK and contains needlework and craft projects, as well as knitting patterns for womens garments.No. 157 / STITCHCRAFT / PRICE IN / AUSTRALIA / 1'-knitting handicrafts - history embroidery, patons and baldwins limited stitchcraft ltd, knitting, handicrafts - history, embroidery

This pattern book was published by Patons and Baldwins, UK and contains needlework and craft projects, as well as knitting patterns for womens garments.No. 164 / STITCHCRAFT / PRICE IN / AUSTRALIA / 1'-knitting handicrafts - history embroidery, patons and baldwins limited stitchcraft ltd, knitting, handicrafts - history, embroidery

Ric Rac trims were popular as a decorative element on girls' dresses and in craft projects during the 1950s and 1960s which is when these packets probably date from. Although there are no donation details regarding these trims, they were in the same package as an embroidery thread wheel and garters which all seem to date from a similar period.These Ric Rac trims were a popular decoration on girls' dresses in the mid-20th century.Three packets of partly used Ric Rac trim - a flat piece of braided trim, shaped like a zigzag. Two are branded 'Ric Rac' and the third is 'Embassy'. The Embassy packet and one of the Ric Rac packets have sky blue trim and the other Ric Rac packet has some light green trim and yellow trim.On front of Ric Rac packet: 'COTTON / Ric Rac / GUARANTEED FAST COLOURS / SKY 6 YDS. / COLOUR LENGTH / MADE IN JAPAN' On front of Embassy packet: 'Embassy / QUALITY / RIC-RAC / BRAID / GUARANTEED FAST COLOURS / 6 Yds / MADE IN CZECHOSLOVAKIA' On back of Embassy packet: ' 362/21 / sky'ric rac, sewing, craft, 1950s-1960s

Embroidery thread is useful for craft and sewing projects. Semco was a Melbourne firm which in 1923 opened a factory in Cheltenham Road, Black Rock. It moved to George Street, Sandringham, and amalgamated with Coats Paton in 1983. There are no donation details with this Semco wheel, but it was in the same package as some Ric Rac trims and garters which date from around the 1950s to 1960s.Embroidery and sewing skills have been traditionally valued for women and these were often taught to girls in schools.Small cardboard Semco Rayon Crochet wheel wound with gold embroidery threadOn front: 'Semco / RAYON CROCHET / (50 YARDS) / GUARANTEED / FAST / COLOURS'sewing, craft, 1950s-1960s, semco

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

In 1936, the old Port Melbourne building dating from 1888 was too small and not longer suitable for the purpose of the mission. So architects were asked to design a new building. Harry Morris 's project was chosen.Louis Reginald Williams (1890–1980) was s sought after ecclesiastical architect in Australia. He designed churches throughout the country, particularly in Victoria. The Anglican Church was his major client but he also Methodists, Presbyterians, Lutherans and Christian Scientists churches. Williams was probably the major church architect in Australia in the Arts and Crafts tradition from the 1920s to the 1970s.Plans port melbourne, louis reginald williams, louis reginald williams (1890–1980), arts and crafts, art deco, harry norris

This is a photograph of two people (James Toole and Beryl Witkowski) amid celebrations for St Patrick's Day at the Burke Museum in an unknown year. St Patrick's Day is traditionally an Irish religious holiday, but has been adopted in countries such as Australia to celebrate an idea of Irish culture. These celebrations often include wearing green clothes, especially a shamrock hat, and drinking beer, all pictured here. This celebration appears to be taking place within the Burke Museum itself, with museum's iconic stained glass oval window in the background. The Museum, situated in Beechworth, holds a collection of over 30,000 individual objects - including this photograph. James Toole (left) was the 'face of the Beechworth Post Office' until his retirement in 2015, following a 45-year career in mail service. He is a Friend of the Burke Museum, volunteering on projects such as crafting the Burke Museum's float in the 2018 Beechworth Bakery and Beechworth Honey Grand Parade at the Golden Horseshoes Festival. He is known for his flamboyant character. Beryl Witkowski (right) was a historian and curator for the Burke Museum, retiring from her position in 2016. She was involved as a Friend of the Burke Museum from at least 2004.This photograph is significant to the Burke Museum and Beechworth as it depicts two prominent, contemporary members of the museum's paid and volunteer staff in the museum itself. It highlights both how the staff interacted with the museum through celebrations and how the museum itself was used in capacities other than object display. The photograph can also be used to interpret Australia's relationship to the St Patrick's Day holiday, especially given the presence of Irish immigrants to the Beechworth area in the nineteenth century.A colour, square photograph printed on rectangular photographic paper.First Card: WITKOWSKI, Beryl / TOOLE, James / BMM 3067 / Databased Second Card: Burke Museum / 3067 /burke museum, beechworth, museum staff, celebrations, st patrick's day, beer, australia, st patrick's day celebration

This patchwork quilt or bedspread is a modern creation along the lines of the traditional 1800s handmade English paper piecing patchwork quilting craft. It is made from reproduction fabric and quilt designs and represents the bed linen typical of a late 19th-century bedroom. Years ago, patchwork was a form of recycling, where leftover or previously used pieces of fabric were used to create other useful item such as quilts, rugs, cushion covers and jackets. Special projects were sometimes made with fabrics representing special memories, such as pieces from baby clothes, wedding gowns, and school uniforms. The maker would use a cardboard template shaped like a hexagon, place it onto the fabric and trace around it. Often the cardboard was cut from a box such as a cereal box. Women would gather to work on their patchwork while enjoying their social time together. As in the case of this quilt, members of the South Western Branch of the Embroiderers Guild in Warrnambool worked on the project, designing and quilting as a group to achieve their aim, of presenting the quilt to the recently opened Flagstaff Hill Maritime Museum. It was the first Group Project of the Branch which was formed in 1974. In 1975 the members decided to make a Quilt as a project to promote the formation of friendship and togetherness. Under the foundation Treasurer, Rita Williams, members sourced their own fabrics for the 'flowers' which were then stitched into the calico borders. Provision was made for the quilt to be hung for display, with the addition of loops along one edge. The local disability services employees and members cut out octagonal paper batches and used their own fabrics to piece them together. The Branch's first exhibition raised funds for buying fabric and equipment to assemble the patchwork. The quilt was perfectly suited to dress the bed in the Lighthouse Keeper's Cottage. This carefully created and designed, recently made patchwork bedspread typifies bedding and handcraft of the late 19th century. The English paper patchwork technique was used. The quilt was the first community project of the South Western Branch of the Embroiderers' Guild of Victoria, and presented as an addition to the Lighthouse Keeper's Cottage tat Flagstaff Hill. Patchwork quilt or bedspread, double bed size, made from hundreds of hexagonal-shaped fabric of various colours and patterns, carefully stitched onto a white background. It was made using the English paper patchwork technique. One edge of the quilt has loops dispersed at regular intervals. This would allow the quit to be used as a wall hanging. It was handmade by the South Western Branch of The Embroiders Guild, Victoria, and presented to Flagstaff Hill Maritime Museum and Village in 1976. An inscription is embroidered in blue on a patch of the quilt. "Made and Presented by The Embroiderers Guild, Victoria (S.W. Branch) 1976"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bedspread, patchwork quilt, quilt, embroiderers guild, bedding, bed linen, 1800's handcraft, quilting, south west branch, warrnambool embroiders guild, recycled fabric, 19th century, household textiles, english paper patchwork, paper patchwork technique

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book

This meticulously hand crafted ship model is one of the most intricate and challenging projects for a ship modeller to create. Jim Williams took up the challenge, choosing to make all of the components by hand, following a plan of the ship rather than purchasing a pre-made kit. He even made his own tools specifically for working with this model. The “Sovereign of the Seas” 1637-1697 - The magnificent ship “Sovereign of the Seas” was ordered by Charles I of England, who desired a giant Great Ship to be built. It was built by Peter Pett under the guidance of his father Phineas, the King's master shipwright, and launched with 102-guns at Woolwich Dockyard on 13th October 1637, as the Navy’s second three-decker first-rate ship. It was the most extravagantly decorated warship in the Royal Navy, bought with the help of a special 'Ship Money' tax imposed by the King. Soon afterwards the ship was remodelled and cut down to a safer and faster ship. Over the ship’s lifetime it was renamed “Commonwealth”, then in 1650 it became simply “Sovereign” then again after a rebuild in 1660 it was named “Royal Sovereign”. By 1642 the ship’s armament had been reduced to 90 guns. In 1651 Sovereign was made more manoeuvrable by reducing the upper works. It served throughout the wars of the Commonwealth and became the flagship of General Robert Blake. It was involved in all of the great English naval conflicts fought against the United Provinces and France and was referred to as 'The Golden Devil' by the Dutch. By 1660 the armament was changed attain to 100 guns. After the English Restoration, it was rebuilt as a first-rate ship of the line, with flatter gun decks and 100 guns, and most of the carvings were removed. During the First Anglo-Dutch War, in a secret session on 21 October 1652, the States-General of the Netherlands announced reward money for the crews of fire ships that succeeded in destroying enemy vessels; the Sovereign was singled out with an extra prize of 3000 guilders to sink or ruin it. Although repeatedly occupied by the Dutch, the Sovereign was retaken every time by the British and remained in service for nearly sixty years as the best ship in the English fleet. The Sovereign was in regular service during the three Anglo-Dutch Wars, surviving the Raid on the Medway in 1667. After a second rebuild in 1685 the Sovereign was relaunched as a first-rate ship of 100 guns, before taking part in the outset of the War of the Grand Alliance against Louis XIV of France, venturing into the Irish Sea, and later participating in the Battle of Beachy Head in 1690 and the Battle of La Hougue. At this time she was more than fifty years old. It was the first ship in history to fly ‘royals’ above the topgallant sails and a top gallant sail on the jigger-mast. The Sovereign eventually became leaky and defective with age and was laid up at Chatham when, on 27th January 1697, the famous ship caught fire, burning to the waterline. Jim Williams, the model’s maker - Jim (James Bernard) Williams was born in 1888 at The Forth in Scotland. He lived in Tasmania for some time and enlisted to fight in France in WW1. After the war he moved to Warrnambool, Victoria, where he worked at the Cramond & Dickson clothing store until the Great Depression in the 1930’s. He was later employed at Fletcher Jones Menswear, where he worked for 27 years until just before his death in 1959. Jim was a passionate ship model builder. He worked on his model ships between 1930 and 1955, including The Endeavour and The Sovereign of the Seas, which was one of the most intricate historic ship models to build. He had a table set up in a bay window and worked on them on and off using a jeweller's eye glass on the finer pieces. Jim’s long-time employer, Fletcher Jones, knew of Jim’s hobby and skill as a ship model builder and requested Jim to describe the model, Sovereign of the Seas, with the view of putting it on display. When the model was finished there was a full article and photo in The Standard newspaper. Jim described his work on the ship mode “Sovereign of the Seas” in correspondence to his then employer, Fletcher Jones. The document gives us an insight into his skill, patience, and regard for replicating the details of the original ship. Some of the details are: "In making the model the time taken to make certain items might be of interest. For instance "The Great Lantern" on the stern, four weeks, a similar time for the figurehead of St George & the Dragon. "The lower shrouds three to each side about six weeks & the rigging as whole several months. There are nearly 300 blocks and pulleys ranging from nearly 1 / 16 inch in diameter. Dead eyes were bored with 3 to 5 holes. To do this needles of different sizes, set in handles & ground to wedge ends were used. Glass cut and ground to shape were used windows. All gun-port covers (74) hinged. "All guns and anchors made of wood. Nothing for the model was purchased ready-made; everything hand made." Jim’s family donated the ship model along with many associated tools, accessories and papers. The model represents the Sovereign of the Seas. The Royal Navy ship of the line launched in 1637 has a significant British maritime heritage. These days the Sovereign of the Seas still remains one of the most intricate historic ship models to build, representing to the model enthusiast a true challenge to the art of model shipbuilding. The model of Sovereign of the Seas in Flagstaff Hill's collection is an exemplary example of a ship model built and hand crafted from a plan with the making of every item on the model, not a model kit with prefabricated parts. It was made by a local Warrnambool man Jim Williams as a leisure activity in the mid 20th century. The hobby and craft of ship model making has resulted in visual representations of the changes in maritime technology and advances in world-wide navigation. Ship model of HMS Sovereign of the Seas, a 17th century British warship. The handmade model is in wooden framed, airtight glass case. All components were hand crafted. Many of the tools used were made by the model maker, Jim Williams. An inscribed plaque is within the case. Inscribed on plaque "SOVEREIGN OF THE SEAS / 102 GUNS - 1634"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, model ship, vessel sovereign of the seas, jim williams, james bernard williams, the forth tasmania, freda williams, heather williams, phyllis bowditch, fletcher jones staff 1936, 17th century sailing ship, cramond and dickson, sovereign of the seas, royal sovereign, sovereign, charles 1, ship model

Caulking is a process used by shipwrights and other tradespeople to seal the gaps and cracks in boats and ships, buildings and plumbing fittings. It prevents water, air and pests from entering the through the gaps. The shipwright’s caulking box and a display of shipwright's tools are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra River moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202.The shipwright’s caulking box containing caulking tools is an example of the equipment used by shipwrights in the early to mid-20th centuries. This box is connected to the maritime history of Victoria through its past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Shipwright's caulking box, green wooden exterior with green and cream interior. Box has a Perspex face. A rope handle, knotted on each end, extends from one side to the other. A white rectangular plaque with rounded corners is screwed to the top and has yellow and black printed text. The donor was shipwright Laurie Dilks.Printed on plaque "SHIPWRIGHTS / CAULKING BOX / DONATED BY LAURIE DILKS [SHIPWRIGHT]'"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, caulking tools, caulking equipment, caulking box, shipwright's tools, laurie kilks, ports and harbours

Summary: A master plan for Maroondah’s new $3.2‑million “super school” is expected to be released by the end of the month. The school will accommodate 450 students and will be created through the merger of Ringwood Primary School, Heathmont Primary School, and Southwood Primary School. It will be built on Great Ryrie Street on the Heathmont College campus, though it will operate independently. Geoff Buzaglo, principal of Ringwood Primary School, states that the project is on schedule for completion in time for the 1998 school year. The planning committee includes representatives from each of the three schools and the Education Department, with architects Smith and Tracey preparing the master plan. Planned facilities under discussion include computer networking, a library, an art/craft centre, a multi‑purpose hall/gymnasium, a music centre, and an administrative centre.. (Co-Pilot 11/7/2026)

46 pagesnon-fictionContent includes text and photos of a totem pole under construction for Festival Melbourne2006, the cultural festival of the Melbourne 2006 Commonwealth Games. CARVE brought together artists from the Commonwealth nations of Canada, New Zealand and Australia, to examine the contemporary practice of traditional indigenous carving from each of these countries. Throughout the period of the Commonwealth Games each artist participated in demonstrations open to the public. Wayne Alfred from Canada, together with his son Marcus participated 18-25 March. The pole was carved alongside other carvers at Melbourne Museum. It was later donated to the Shire of Nillumbik. Contents: Threading the commonwealth: textile tradition, culture, trade and politics, Canopy of the commonwealth: community textile project, Spirit of the games: the opening ceremony revealed, Common goods: cultures meet through craft, New06 and +plus factors: contemporary Australian art Single currency: Australian and New Zealand art Flash: Australian athletes in focus, Game on! Sport and contemporary art, Best of the best: Commonwealth Photographic Awards.commonwealth games, art festivals, totem poles

North face of house viewed from the current (1990) pottery area (now pathed) The kitchen was separate from the house as a safety measure in the late 1800s. A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

Restructure of the front verandah of 'Rosebank' by widening, c.1965. It was glassed in at a later date. The west facing front verandah was widened and enclosed for additional class room use by the Living and Learning Centre. A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

The 'back door' which faced the Main Road entrance to the office, Eltham Living and Learning Centre, herb garden at its peak, late 1980s A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

The 'back door' which faced the Main Road entrance to the office, Eltham Living and Learning Centre - Shows original sandstone blocks in back verandah floor A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

Brick storage shed, south wall entry. This cool room, half set down in the soil still standing at time but with a more modern galvanised tin roof. A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

New Pavilion at left has plants appearing. Grass area needs a mow - verandah with repainted stool/forms - early spring 1995 A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

New verandah Eltham Living and Learning Centre on the western face looking down over the Tannery site and Diamond Creek. Pavilion in place (LH Side). The verandah with its upgrade of curtains 1995. Originally 4 feet 6 inches wide. A detailed history of the site and early development of the Eltham Living and Learning Centre can be found in EDHS_04870 - Folder, Shire of Eltham Living and Learning Centre, 1996 The original property was part of Josiah Holloways subdivision of Little Eltham. It had a 70 foot frontage to Maria Street and stretched down to the Diamond Creek. John Perason, a Tanner, purchased the property in 1857 for £100 and he built a solid brick house which over the years was modified significantly by various owners and which is the basis of the present-day Living and Learning Centre. Claire Fitzpatrick and her husband Alfred, a retired chemical engineer, bought it in the early 1950's. Claire's interest in farming and animal husbandry and breeding saw her modify and establish buildings on the property to house goats and poultry with a horse stable and storage sheds for the animal food. She also built the coach house with its horse box and tack room and built an adjoining garage for their car. Structural alterations to the house were also carried out during the period of their ownership. Their house renovations removed the four fireplaces and chimneys and added a wider verandah, a fibro cement extension on the north wall requiring a doorway to be made in the brick wall for access. Part of a passage wall was removed to join the northwest room, now the "sitting room". A new jarrah floor was put in as the old one was rotten with borer. The verandahs, front and back, were re-organised in design and the front door had its leadlighting panels removed to allow more light into the house. During this period the water catchment well was filled in. This well had a concrete slab fitted onto a collar around its top. The well is 12 feet deep and 8 feet in diameter. Septic sewerage was installed and an internal toilet fitted in the house. The former northeast room was divided into bathroom/toilet and passageway with cupboards to access the extension. Kitchen stove and sink was removed (they fell apart) and a slow-combustion stove with hot water heater installed. Basins and hot water were connected to the new bathroom. In the early 1970s Eltham Shire Council, Councillors Frank Maas and Don Maling, were proposing an extended communities activities program be set up and the Commonwealth Grants Commission was approached for financial assistance to such a scheme. During 1974 a $50,000 Commonwealth Government grant was received by the Shire Council to acquire the Fitzpatrick property as part of the Shire's planning to establish an "extended community activities program". Council's Committee recommended an annual budget of $26,950 for the program and the project was named the Living and Learning Centre and in charge of the program was the first co-ordinator, Carina Hack. The activities were planned to cover "practical skills for living" and included cooking, preserving, gardening, animal husbandry, home economics, electronics, carpentry, hairdressing, making children's clothes and car maintenance. Hobbies and arts and crafts that would include amongst other future items, winemaking, music spinning and weaving and painting. 739 main road eltham, eltham living and learning centre, living and learning centre, living and learning nillumbik (eltham), main road eltham

Series consists of documentation and photographs relating to: . the 1986 Banner Project . the Beacons Around Australia 1988 project . A celebration of the interaction of young people in the Shire with Community Arts (c. 1991/93) which includes photographs and/or documentation on the making of the Environmental Mural, the making of the Orchid Banner, and the Treasure Tree Project . Eltham Arts Countil Correspondence 1959 (re hall hire) . Lenister Farm Community Arts Office and Staff 1993 . Launch of Community Arts and Engineering Project - Bus Shelter and Notice Board, Lower Eltham, designed by Glen Birrell (wearing yellow shirt in colour snapshots), photographs 1993 . Hand-Held History, April 1992 - an exhibition of art and craft by older people at Metzner Hall, Eltham. Folder with photographs of exhibits, sample of official badge, visitors book Folders include many colour snap shots of activities.shire of eltham archives, series listing

Tracey Naughton was the former Shire of Eltham Community Arts Officer and was responsible for developing the 'As We Are' project which encouraged a number of local community groups to develop banners. The Society was keen to be involved and the project was kicked off following a talk to the Society's members by Tracey in April 1986. The banner was completed and displayed with a number of other banners at the Eltham Community Centre in October 1986. It was then carried proudly for the first time in front of the Society's Parade Float in the 1986 Eltham Community Festival Parade and subsequent parades through to 1990. In December 1994 the Shire of Eltham ceased to exist and following council amalgamation and the establishment of the new Shire of Nillumbik, the Society's name (Shire of Eltham Historical Society) had become somewhat irrelevant and it was revised in 1995 to Eltham District Historical Society. The immediate downstream impact of this change was the rendering of the Society's Banner to history after only eight years of use. The banner now hangs proudly in our Local History Centre. The Historical Society Banner: Jud Degan worked with this group. The banner was designed by a male member and sewed by women. Sewing the banner renewed the group's knowledge of the area in an innovative way and, in turn, this has renewed the energy of the members to participate in the Society. The emphasis in this banner was to create a work of high standard which would last as part of the area's future heritage. The women particularly gained a sense of the history of their craft skills, enjoying the combination of hand embroidery and new machine embroidery skills shared by Jud. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, p49)Colour photographactivities, banner project, local history centre