Found in the G. W. Duncan collection donated to the Mission to Seafarers in 2017 see also comments on manufacturing history. This particular company was associated with the use of asbestos.Mariner Duncan had a particular regard for the Mission to Seafarers. A plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. White cover multipage commercially printed promotional brochure or booklet with ochre line graphic and black printing on white ground. Features small logo integrated with lettering between Jointless and Firebrick. There is a typed name and address of recipient / owner in lower left corner.Typed address: G.W. Duncan esq / Fifth Mechanical Engineer / ...Docks / Liverpoolplibrico, firebricks, coal fired engines, george winfield duncan (1922-2017), ship engineer, s.s. athenic, liverpool

The manufacture of firebricks is believed to have begun in Bacchus Marsh in the 1880s when William Thomas Wittick in partnership with a Mr Ackers, and later a Mr Telford, quarried a rich deposit of fire clay at Darley. In 1902 financial assistance was provided by David Mitchell a significant businessman and contractor from Melbourne and the business then expanded and became a major supplier of refractories for gas works in Melbourne, with side lines in moulded fire bricks for foundries and smelting furnaces and complete kiln lines for potteries. The business traded under the name Darley Firebrick Company and later as Darley Refractories Ptd Ltd and was in business for over 100 years. The tile (aka refractory) described in this record was possibly produced for use in very high temperatures (in excess of 1,000°F [538°C]) encountered in modern manufacturing. More heat-resistant than metals, they are used to line the hot surfaces found inside many industrial processes. The date the tile was produced is unknown.Rectangle shaped ceramic tile'Darley 26' inscribed within a circledarley firebrick company, refractory materials, wittick family bacchus marsh, william thomas wittick 1857-1939, darley refractories ptd ltd

Digital images of aspects of the Darley Firebrick Propriaty Limited and their chimnies, some of which have been demolished since that photo was taken.darley, industry, factory, chimney, heritage, firebrick, refractory, darley firebrick company

Made by young Vincent Geraghty from clay from his father's Firebrick, Insulators & Pottery Company situated in East Ringwood. Vincent was one of a family of ten who were early settlers in East Ringwood (corner of Federal and Mt Dandenong Roads)Pottery, handmade money box. Grey base, brown top with coin slot and pointed top. Base includes black printing - F.I.& P. Co. of Ringwood. +Additional Keywords: Geraghty, Vincent / F. I. & P. Co. / Firebrick, Insulators and Pottery Co.V. Geraghty - 21.12.14

A5 size publication of the Gipps-Land Gate, April-June, 1987 featuring an old picture of Dandenong on the cover. Keeping Posted Harking Back 75 Years Ago An Early Dandenong Industry Disappears - The Ordish Firebrick's 90-Year History Ends Eucalyptus Industry Was Mooted An interesting group of Early Dandenong Personalities, Places and Eventshotel history, early education in dandenong, interesting milestones, family histories

A back to Bacchus Marsh was held from 12 to 20 October 1957.Brown covered book of 28 pages including the official programme for back to Bacchus Marsh, 1957. The book includes an historical essay, Maddingley Brown Coal, World war 11, Darley Military Camp, Darley Firebrick Co., industrial changes and numerous advertisements. Images include: * Grant Street Avenue *St Bernard's new Parish Hall and Schoolrooms * Maddingley No. 2 Cut * Terracing at Maddingley - part of the beautification scheme at Maddingley * Hospital entrance with War memorial Feature * Old Woolpack Inn * Jim Pyke * Infant Welfare and pre-School Centre, Young St * Bacchus Marsh Main Street looking East, 1872 * Andrew George Scott, alias Captain Moonlight * Grant Street Avenue * Ballarat State School No 28 featuring the World War One Memorial Clock maddingley brown coal, world war 11, old woolpack inn, darley military camp, darley firebrick, jim pyke, andrew george scott, captain moonlite, bacchus marsh, world war, bacchus marsh state school no 28, grant street avenue, bacchus marsh war memorial hospital, bacchus marsh avenue of honour, captain bacchus

The 1930 Back to Bacchus Marsh celebrations were held on 23 to 28 October 1930. The committee were Cr L.M. Gugdale (president), A.W. Bond (General secretary), W. Grant Morton, J.G. Wells, Dr E. McDonald, Charles Dickie, G.H. Anderson, F.M. Crisp, W.R. Vigor. Bacchus Marsh State School No. 28 was established in 1851 as a National School in a rented building on the right-hand side of Bacchus Marsh-Melbourne Road, just beyond Woolpack Inn. Several willow trees mark the site. H.G. Ball was the first Head Teacher of the school, and the enrolmen towas 34. In 1854 Governor Charles Hotham visited the school. In 1855 two new schools, East and West, were recommended. School No. 28 closed in 1862 and the sitre was sold. The present school site was purchased in 1865 for 67 pounds. The cost of the building was 782 pounds. (Visions and Realisations, Vol 3., 1973) A clock purchased by public subscription was placed in the front of the building to the memory of scholars who served during World War One. (Back to Bacchus Marsh, 1930)Brown covered book of 44 pages. Contents include Bacchus Marsh and its soldiers, Red Cross, Lerderderg Gorge, Werribee Gorge, Lerderderg Park, Coimadai, Darely Firebrick Co., Myrniong, Underbank, Balliang, Rowsley, Parwan, schoosl, churches, Shire Council, Federal Milk Pty Ltd, Bacchus Marsh Milk, Old Maddingley Bridge Images include: * Bacchus Marsh looking east, 1930 * Bacchus Marsh Looking West, 1872 * Bacchus Marsh Looking West, 1930 * Aerial View of Bacchus Marsh Township looking east * Aerial View of Bacchus Marsh Township looking south * Bacchus Marsh Agricultural Society & Pastoral Society, 1893 (named), * Original Bacchus Marsh State School No 28 * Holy Trinity Bacchus Marsh * Bacchus Marsh Baptist Church * St Bernard's Catholic Church * Bacchus Marsh Methodist Church * St Andrew's Presbyterian Church Bacchus Marsh * View of Maddingley Park, showing Original Courthouse, 1890 * Werribee Gorge * Underbank Stud Farm * Ballarat State School Number 28. Signed 'C. Hodgson'bacchus marsh, maddingley, maddingley park, underbank, lerderderg park, coimadai, darely firebrick co., myrniong, balliang, rowsley, parwan, schoosl, churches, shire council, federal milk pty ltd, bacchus marsh milk, old maddingley bridge, police, police paddock, maddingley gates, crisp, mccormack, cain, harkness, howe, bence, mcdonald, mcfarlane, cosgrave, flagg, burnip, scott, lodge, cameron, vallance, bacchus marsh state school, bacchus marsh state school no 28., geology, r.w. thompson, lederderg gorge, weribee gorge, comadai, darley firebrick company

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