(.1) Areas covered on this map, Bollezeele to Poperinghe, Arques to Meteren. (.2) Areas covered on this map, BourBourg to Poelcapple, Reemilly to Armentieres. (.3) Areas covered on this map, Bruges, Neuzen, Ghent. (.4) Areas covered on this map, Alost, Loulain, Soignes, St Germain. (.5) Areas covered on this map, Roulers, Oosterzeele, Lille, Thoriecourt. Items relate to William Alexander No 502 AIF. Refer 3746.3 for his service details.(.1) Map, Belgium and France, sheet 27, Edition 2, scale 1:40,000, zone call W.X.Y.Z, Ordnance survey May 1917, gauze lined. (.2) Map, Belgium, Hazebrouck 5A, Edition 2, scale 1:100,000, Ordnance survey 1916, gauze lined. (.3) Map, Belgium, Ghent 2, scale 1:100,000, War Office June 1915. (.4) Map, Belgium, Brussels 6, scale 1:100,000, Drawn at War Office, Ordnance survey 1912. (.5) Map, Belgium, Tournai 6, scale 1:100,000, War Office Ordnance survey July 1912.(.1) On rear, “Glossary of terms”maps, belgium, france

The photograph depicts the 2nd important stage in tobacco growing--transplanting seedlings into open paddocks. It depicts early post-war machinery in use at the time until affordable modern tractors were available. The planting machine has probably been adapted from the horse-drawn era pre-World War 2. The scene is one near Myrtleford in the Ovens Valley.The photograph depicts the slow adaptation of modern tobacco farming methods in the immediate post-war period and the type of terain suitable for tobacco growing. The labour intensive nature of tobacco planting is also depicted.A colourized photograph of tobacco planting activity in a paddock near Myrtleford.Inscription: Planting Tobacco N.E. Victoria"tobacco farming tobacco planting machinery

This book contains World War One cartoons drawn by Captain Bruce Bairnsfather. It is one of a series of books by Bairnsfather showing that humour can be found even on the battlefields of France. The cartoons were originally published weekly in ‘The Bystander’ magazine. World War One was an horrific conflict that took so many lives and affected adversely so many others. This book is of antiquarian interest as a book dealing with World War One, a conflict that affected Warrnambool in the same way as it affected every other place in Australia. This is a soft cover book of 42 pages. It has a green cover with a cartoon sketch in sepia tones on the front cover and an advertisement on the back page. The printing on the covers is in black. The book has advertisements on the inside covers, a Foreword and pages of cartoon sketches of soldiers in World War One. The pages have been stapled but the staples have been removed.world war one, captain bruce bairnsfather, warrnambool history

Writer not confirmed, - - Johnson Letter received by Gladys Holmes in Feb 1918 from abroad. One item of fourteen of original documents- letters, postcards and photographs received from local servicemen during WW 1.001805.1 - 001805.1R: Envelope- light blue/aqua writing paper with gray lead pencil handwriting and red 1d stamp with black ink postmark.. Reserve- 27th Dec 1917/Received 21st Feb 1918 001805.2 - 001805.2R: Letter, one sheet written on both sides.001805.1: Red censor stamp with overwritten signature (- Johnson), addressed to Miss Gladys Holmes/Byaduk/Hamilton/Victoria/Australia and hand drawn flourish 001805.1R: 27th Dec 1917/Received 21st Feb 1918. three censored phrases, blacked out script. 001805.2 - 2R: Thurs Dec 27/Dear Gladys.......'You must see it to realize what it is like'signed with 3 initials - - Jgladys holmes, byaduk, mona, johnson, ww1, letter, envelope, gladys holmes, byaduk, johnson, ww1, letter, envelope

This is a book of 42 pages with a green cover with a sepia-coloured photograph and printing on the front cover and an advertisement on the back cover. The pages contain sketches in sepia and blue tones. The pages have been bound with staples but the staples are missing.fictionWorld War One Comic Sketchesworld war one, captain bruce bairnsfather, fragments from france

This Christening gown belonged to William Edward Housden who was born in Castlemaine in 1890 and died in Warrnambool in 1972. He served in World War One and married Lucy Knowles in 1921. It was on occasions, and still is, a common practice to make a special dress for a baby's Christening or to use a gown that has been handed down over the generations. This is a fine example of a Christening gown made for a baby 130 years ago.This is a Christening gown made of cream cotton. It is high waisted with a gathered skirt and a pintucked bodice with hand embroidered leaves and fine drawn thread work. The draw string waist opens at the back. It has long sleeves with lace and embroidered cuffs. There is lace and draw string tape around the neck. The seams have been machined.william edward housden, christening gowns

The Australian Military Forces buttons were worn by Australian troops in World Wars One and Two. The Australian Commonwealth buttons date from the Edwardian era (1901-1910)These buttons are examples of the buttons used by the Australian Army. The attachment to a card is also an interesting example of the way members of the Warrnambool and District Historical Society mounted and displayed collection items in the 1960's and 1970's.Seven brass circular military buttons pressed into a rectangular piece of cardboard with pasted on lined paper on the back of the cardboard. Three of the buttons feature a raised map of Australia, a crown and text. Five buttons feature a raised intertwined E R,V11, a crown and text Protruding through the paper at the back is a section of a ring. The cardboard side has hand drawn blue lines, an oval stamp with text and hand written text. Three buttons have AUSTRALIAN MILITARY FORCES. Five buttons have AUSTRALIAN COMMONWEALTH FORCES Military medallion buttons ( hand written) Stamp is oval shaped with faded text of which only HISTORICAL DISTRICT and SOCIETY can be deciphered Three blue hand drawn lines to position the buttons. army, australian military forces, buttons, world war two, world war one

Often after a Service person returning from War, the Local Council would present them with a Certificate of Appreciation for their sacrifice's. In this case was to "Thomas Potter" after WW2. This is possibly 54610 Potter - Thomas RAAF, enlisted 27.4.1942 age 44. Discharged 22.3.1946 with the rank of Cpl in Air Defence HQ Townsville.Large Certificate on cream colour paper. Gold frame edges drawn inside of paper edge. Pictures of series of different service people standing over British & Australian flag and emblem of "City of Bendigo". Message of thanks and the name of returned soldier, followed by a poem and signature of Mayor and Town Clerk and stamp of Council. All overlaid over an image of Bendigo CBD.Signed by Mayor and Town Clerk. Says " The Citizens of Bendigo express deep Thankfulness to T. Potter"bendigo city council, certificate, thomas potter

During World War 2 the State Emergency Council for Civil Defence (Victoria) sent out forms to Municipal Councils requesting a survey to be carried out regarding the suitability of householders to accommodate persons, especially children, in the more dangerous parts of Victoria. Also, surveying parents as to their wishes regarding the evacuation of their own children if necessary. The documents list householders living in the Kiewa Valley including Gundowring giving an insight into the families (size, age, religion, sex), the homes (size, number and type of rooms), Water supply, Conveyance (motor or horse drawn), distance from railway station and school. Papers created by the State Emergency Council for Civil Defence, Premier's Department 1941 requesting Municipal Councils to survey people in case of the billeting of persons who may be evacuated from the more dangerous parts of Victoria. The Accommodation Survey lists the householder, details of the house, how many people living there and how many could be accommodated.There are also forms asking householders if they wish their children to be evacuated if necessary.Forms filled out in ink. world war ii; evacuation plans; kiewa valley; gundowring

Black print sketches depicting life for Jewish Internees in concentration camps during World War 2. Drawn or collated by "JAN KOMSKI"Book - Cover black with cream, sketches and print, heavy paper, 20 pages, black print sketches.In Polish language - Za drutami "Behind Barbed Wires". “15 Szkicow z KZ” “rys Komski Jan”book, behind barbed wires, polish

William Owen Lewis No 471 enlisted on 10.9.1914 in D Coy 14th Bn age 22 years, embark for Eygpt 22.12.1914, due to factors he finally embarks for Gallipoli 22.7.1915, reported missing 8.8.1915 then reported WIA, rejoin unit 19.9.1915, hospital with Pluerisy 2.12.1915, rejoin unit 4.2 1916, transfer to 46th Bn then to 12th MG Coy, embark for Marseilles 11.6.1916, hospital 1.10.1916 with Synovitis L/Knee, rejoin unit 21.1.1917, hospital 25.7.1917 Abcess Buttock then Fistula, RTA 5.4.1918, discharged from the AIF medically unfit (D.A.H) 4.7.1918.Certificate on light cream parchment paper, outer print is in red showing a Coat of Arms at the top with columns down each side with Dominion/Commonwealth names around, centre in black print shows a soldier standing with a rifle and Brittanica seated with a sword and flag, under is printed wording wording acknowledging a soldier was Disabled and Honourably discharged in the Great War, soldiers name is hand drawn in.In black hand drawn, “W.O.Lewis Australian Imperial Force”, “4.7.18”certificates, disabled ww1

" The Boer War" Thomas Pakenham has written the first full scale history of the war since 1910.Soft cover book with soft plastic dust cover. Soft cover - cardboard, black and red coloured print on front, spine and back. Yellow colour background. Top front page in colour, 3 flags illustration. 659 pages, paper, cut, plain, white. Illustrated black and white photographs, maps and illustrations. Owner's label on front end paper. Soft plastic dust cover.Front end paper - printed owner's label " W & E R van der Eynden/ 6 Elvey Drive/ Kangaroo Flat 3555/ Victoria, Australia". Lower edge of pages - felt tipped pen, black ink - line drawn.books, history, the boer war

We Will Remember Them, AIF Epitaphs of World War I. From back cover: No consolidated list of epitaphs exists but John and Hazelle Laffin have been collecting them from the graves themselves for decades. These inscriptions, in their great variety, present a picture of Australians of the period.Soft cardboard cover. Black, white & gold print on front, spine & back. On front cover background is a sepia photo of a soldier in uniform with his wife & 2 children. Smaller colour photo in foreground of a headstone. On back cover is a small colour photo of John & Hazelle Laffin. 158 pages, cut, plain, white. Illustrated black & white photos & hand drawn maps. Hand written notes in grey lead pencil on numerous pages.books-military-history, epitaphs ww1

This copy of an original photograph created in the early 1900s details the "horse and cart" era when the normal transportation of the day was, in this rural setting, exclusively by horse and cart. The importance of this particular photograph to the subjects can be seen by the formal suits worn by both subjects.The natural bush and grassed backdrop have not been "touched up". The dray behind the horses is barely visible (fog like aperture). The lad , John Cooper was 14 years old when this photograph was taken. Both were in the process of harnessing four horses to "hook up" on the dray behind them. From their attire it looks like a trip to town or "the church".This photograph of life on a rural property in the early 1900 shows the rough and hard (physically) life in rural areas before great mechanical revolution/evolution post World War II. This was a time in the Kiewa Valley when most transportation was by horse drawn carriages and transportation routes where dirt roads with potholes. The significance of a local pioneer "family" encapsulated by this photograph cannot be reproduced as effectively in any other form. This digitised scanned copy of an original photograph of four work horses is on 200gms Fujicolor (Fujifilm) Crystal Archive paper has a silver side on which the image has been printed and a matt reverse side.The darker slightly "blurred" image has had a white frame placed over it at the time of encapsulation to provide the finished photo with a frame. This method highlights and focuses the view into the photograph. It is a clever way to permit the eyes to focus into the image to give it a greater third dimensional aspect. on the reverse side hand written(in pencil) "John Cooper & Paddy Cullen (itinerant worker) on grandfathers place (opposite Nesta Drews place) (orange Grove). "Grandfather emigrated from England with Ryders""orange grove " property, early tawonga life style, john cooper, paddy cullen, harnessing working horses

The items in this Archival folder relate to Arthur Edmund TRANTER V50166, VX52843 POW, his wife Pat and Daughter Brenda. There are two more Archival folders, Cat No's 7957.2 & 7958.2. Refer Cat No 7944 for A.E. Tranters service history..1) Black Archival folder container. .2) Black Archival folder, 3 ring binder with plastic inserts. This has the following: 1. Certificate of Service 2nd AIF 1941 - 45 2. Certificate of service CMF 1939 - 1941 3. Corporals certificate 38th BN 1939. 4. Certificate relating to a "mention in Despatches" 5 &6. Letters re the awards of the "Efficiency Medal" 7. Black and white photo with "Streader, Drake and Tranter" 1939. 8. Ships menu "TMS SIBAKAK" Sept 1941. 9. 2/29th BN reunion menu 50th Anniversary. 10. Document on "How to learn Morse Code". 11. Document, Grant of a War pension, Tranter 1951. 12. Document re War pension Payments. 13. Document re "Return to Civilian life for POW"s. 14. Exercise book from Singapore with names re 2/29th BN. 15. Cartoon copy, Medan Melbourne Frog Cup 1942. 16. Hand drawn sketch black pencil of "Tranter" by E.W. Porter 17th Dec 1942. 17. List of recommendations for an "MID" re POW's in captivity. 18. POW working party list and casualties 8.3.1944 at "Atjeh". 19. POW casualties on the "Harukiki Maru"26.6.1944. 20. Eight newspaper cuttings re casualty lists and War news. 21. List of Australian POW's in Sumatra. 22. Menu Sheraton Hotel 2/29th BN Reunion. 23. Five photos of the Tranter Family re wife Pat and Daughter Brenda. 24. 2/29th BN Xmas card 1942. Card, General Base AIF Malaya 1941 - 42. 25. Twenty four POW Post cards via Australian/Japanese Red Cross. 26. Nineteen telegrams re "Welcome home 1945" 27. Two photos re "Welcome home, Shire of McIvor. 28. Letter written at sea to Pat and Brenda. 29. Welcome home luncheon menu Shire of McIvor 8th April 1946. 30. Letter dated 15.9.1945 to Pat and Brenda. album pow, documents, tranter

The items belonged to Frederick Ernest ADDLEM VX142253. Refer Cat No 432.2 for his service history and 937P. .1) Document, "Entitlement to War Gratuity" of 152 Pounds 5 Shillings. Beige paper wth black print and typing. .2) "A Special Prayer Service for Allied Invasion Forces". Beige colour, folded single sheet, hand drawn cover in black. .3) Poems, "My Mothers Smile", I'll remember". On beige paper, hand written in ink on ruled lines..1) 1.7.46, ADDLEM Frederick E. VX142253. .2) 112 Aust Con Depot New Guinea Sun 11 June 44. .3) 1943. Dear Fred sent me these verses.documents - religon, ceremonies

This bag belonged to Harry Perry and was donated by his son Trevor Perry. Harry Perry was the son of Jacob Perry, Shire Councillor, a farmer and Boer war veteran. Harry Perry's father, Jacob Perry, was a member of the inaugural Orbost Bowling Club. The Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). (info. Margaret Smith)Lawn bowling” is an outdoor game that has been popular for centuries. Bowling clubs play a significant role in community recreation needs. Members of the Perry family were inaugural members of the Orbost Bowling Club.A brown leather bowls bag. It has a zipper around the sides and metal studs on the bottom. There are carrying straps at the top.bag personal-effects bowling-bag recreation sport perry-harry

Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. 18-Pounder Artillery Shells: The Great War Recycled and Re-Circulated Categories :Material Culture Machine Subscribe Share on facebook Share on twitter The intention of war is to kill, to maim and to destroy using, for example, the agency of 18-pounder artillery shells (so-called because they weighed 18 pounds). The shells were loaded in to the 18-pounder field guns used by the Royal Artillery and targeted to destroy German batteries and trenches as well as to shoot down aeroplanes. Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA In Under Fire, Henri Barbusse recounts how the incessant and diabolical din of war constantly bombarded the soldier body with the unendurable noise of bursting shells that caused pain to the ears (Barbusse 2010 [1933]: 207). The noise was so ‘monstrously resounding’ that one felt ‘annihilated by the mere sound of the downpour of thunder’ (Barbusse 2010 [1933]: 206). Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. People’s experience of the First World War did not end with the armistice. Whilst the noise of the artillery had ceased, the noise of war was remembered. Harry Patch on arriving home injured recalled being ‘jumpy for a while’ with the least noise prompting him to dive for cover (2009: 114). Something else materialised. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. The head-stamp of these particular shells displays the British broad arrow and the initials ‘EOC’ indicates that they were made at the Elswick Ordnance Company, England; the initials ‘CF’ signal that the charge was loaded with cordite, a standard propellant. Spent shells were illicitly scavenged from massive mounds by both soldiers and civilians alike to become personal souvenirs or to swap or sell. Spent artillery shells were crafted, often using a hammer and a bent nail. The crafting of trench art reflects the construction of an identity that offers momentary relief from the hell experienced in the trenches. The lid of an 18Pounder shell which has been adapted for use as an ash tray.Lot 27 1927, 18Pr, III, EOC, C/F, Defence broad arrow,

This bit was part of a bridle worn by a horse in a Light Horse Regiment during the Second World War. The style of this bit is similar to the British Universal Pattern (UP) 1902 bridle, as worn by horses in the Australian light horse, artillery, and horse drawn transport between circa 1902 and 1942.Dark metal horse bit constructed of four sections: two side sections, one middle section which sits between two sides and a chain which attaches to a loop on each side. Side sections have two large loops and a straight section with two rectangular cut outs. Middle section is straight with dip in centre, possibly for the horse's tongue. Chain is attached on the left side and hooks onto a hook on right side. Left side has "L" stamped into metal. Stamped on right side is "DEST S."horse, equine, second world war, world war ii, world war 2, 1940s, equipment

This book, in short, is our tribute to the Pioneers of the Wycheproof Shire. Their struggle to establish communities against the backdrop of an immense landscape reflects the confidence and hopes placed in the Mallee but times were not always prosperous.The many,many changes in our communities in Mallee life over the past years to 1994 have been drawn together in a competent manner by historian Jennifer McLennan.This book at State level is socially, historically and architectually important.Time,Tide and the Tyrrell has 314 pages; first published in 1994. Its golden jacket pictures 3 wheat lumpers unloading a wagon load of wheat. In the top right hand corner is a sketch of Lake Tyrrell.wycheproof - shire, wycheproof - pioneers, wycheproof shire - early- schools, second world-war.

Newsprintaif, alan johnston, alexander johnston, bob johnston, early settlers, eltham railway station, first world war, george johnston, horse drawn carriage, houses, isabel johnstone, kangaroo ground, kangaroo ground state school, les johnston, mary ann johnston, military medal, ww1

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Sepia photograph mounted on fawn board. Bendigo Post Office, Boer War Memorial, crowd of people, horse drawn vehicles. Inscriptions: on front - printed 'GL Massingham, View Street Bendigo', on back - circular stamp 'Royal Historical Society of Victoria, Bendigo Branch'. History: James Lerk 'Unveiling of the Boer War Memorial' by J Walker, Sculpture at the corner Pall Mall and Williamson Street. Helen Mainka August 2001 'Unveiled by Brig. Gen. Gordon 11/11/1904GL Massingham, View St, Bendigoplace, streetscape, pall mall, prev. acc no. gp51

Black and white photocopy. Public buildings Pall Mall, Post Office, Law Courts looking NNE. Original taken c1906 by WH Robinson, Tran in foreground. Two horse drawn carriages. Four pedestrians on footpath. South African War Memorial on left hand foreground. Photograph most likely taken on a Sunday afternoon, because of the lack of traffic. Inscriptions: Post Office and public buildings, Bendigo (printed) History of photograph. First appears? In a 1906 publication by Bolton Bros.WH Robinsonbuildings, government, bendigo post office

Taken some time between 1914-18, the photograph depicts an aerial view of trenches in France. The image mostly shows rural landscape, although there is a house in the bottom right corner. A dotted line has been drawn across the photograph, marking the section of trenches that belonged to British forces during World War I. It is believed that the line marking on this record denotes a section of the Western Front. The Western Front was the main theatre of war during World War I. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both the French-British and German armies dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France. Between 1915 and 1917 there were several offensives along the Western Front. The attacks employed massive artillery bombardments and massed infantry advances. Entrenchments, machine gun emplacements, barbed wire and artillery repeatedly inflicted severe casualties during attacks and counter-attacks and no significant advances were made. Among the most notable of these offensives were the Battle of Verdun (1916), the Battle of the Somme (1916), and the Battle of Passchendaele (1917).The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper.Obverse: A.3FE.O.146 / G2R 29 . 6 . 18 (Y p.m) / F= 10 1/4 / British Line / ------------------------------------------ / P. 250 1040 / 0. 30d. 0010 / 0. 30d. 3070 /military album, military, war, wwi, world war i, france, great britain, trenches, village, rural, western front

Battle lines have been drawn between Banyule and Nillumbik councils with neither wanting the North East link to run through their patch.News article 1 page, black text, colour image.north east link, banyule city council, nillumbik council