Frederick, Herbert & Louis Dressing, ex Camp 1 Internees, ex Dunera Internees, 8th. Employment Co. Royal Park, Melbourne. Black and white photograph of 3 men in their summer Army uniform, standing together.frederick dressing, herbert dressing, louis dressing, camp 1 internees, dunera internees, 8th employment co

Carlton Ware was a famous Stoke-on-Trent based pottery manufacturer. The company was established in 1890 by James Frederick Wiltshaw, William Herbert Robinson and James Alcock Robinson trading under the name of Wiltshaw and Robinson. The trademark "Carlton Ware" was introduced in 1894, and the company's factory was renamed the Carlton Works. It reached its artistic high-point with superb hand-painted domestic pottery in high art deco styles during the 1920s and 1930.A china ornament representing a Heron or Egret'Carltonware'pottery, porcelain, craftwork, carlton ware, stoke on trent, wiltshaw james frederick, robinson william herbert, robinson james alcock, herron john, bentleigh, moorabbin, ormond, ornaments, early settlers

Valmai Heap was a one time cultural heritage officer with the Ballarat and District Aboriginal Cooperative.Soft covered booklet with information on the inductees to the Victorian Indigenous Honour Roll.victorian indigenous honour roll, aborigines, margaret tucher, harold blair, albert mullett, hyluss maris, fay carter, lovett brothers, laura bell, hebert austin, jock austin, beryl booth, valmai heap, jeanette powell, alfred lovett, leonatd lovett, frederick lovett, herbert lovett, edward lovett, ballarat and district aboriginal co-operative ltd

Tait collection: item 61 of 62 This document contains details on the Release Debenture drawn up between Emile Manton and other members of her family and Herbert Frederick Manton in 1889. The mother, Caroline Manton, died in 1889 and one of the executors of her will also died the same year. The document released the remaining executor, Herbert Frederick Manton, from his legal duties as executor and finalized his carrying out of the provisions of Caroline Manton’s will. The document was drawn up by the legal firm of Oldham and Chambers in Melbourne and was in the possession of Ernest Chambers who had legal offices in Warrnambool, Port Fairy and Koroit at the end of the 19th century and the beginning of the 20th century. The document passed down to successive lawyers occupying the legal offices in Kepler Street, Warrnambool and it was located in this building in 2014. The document is of interest only in that it was drawn up by Ernest Chambers who later had a legal practice in Warrnambool. This is a document consisting of four white pages, bound with black cord and containing handwritten material (black ink) on seven sides of the pages. The document gives details of the Release Debenture drawn up by members of the Manton family following the death of Caroline Manton of South Yarra and the provisions of her will made in 1887. The document includes two pages of the Executors Accounts and the disbursements made to beneficiaries of the will. There are four green duty stamps pasted on to one of these pages. The signature of seven of the Manton family members have small red seals attached to each signature. The document is somewhat grubby around the page edges. manton family, ernest chambers, tait collection

This item is in a collection of 11 items donated by Stan Hutson. The majority relate to Frederick Arthur William Hutson No 3539 57th Bn AIF. Refer Cat No 922 for his service history. As this photo relates to pre WW1 taken at the Bendigo Race Course it will relate to Fredericks brother, Herbert Spencer Hutson No 3540 57th Bn. Herbert had pre war service in the 67th Militia Bn in Bendigo. (Born Kilmore, enlisted Bendigo) also in the 8th Reo’s 21st Bn and also transferred to the 57th Bn same day as his brother. Pre World War I Militia Unit. Taken at Bendigo Race Course stand. Black and white portrait of irregularly dressed soldier and one white dog. They are both seated and standing. Various head dress. Their rifles are Martini - Henry single shot. There appears to be a Chaplain in the group. Group size approx. 100 soldiers. In the grand stand behind them are various pieces of kit. They are probably Bendigo's 67 Infantry in front of the Bendigo Race Course stand. The frame is varnished timber circa 1912 - 1914.“W.R.Robinson photo Bendigo” The original ticket on the front is wrong as to place of photo taken.photography-photographs/frame accessories, military-army

Anton Meurer (1841-1923) married Marie Johanna Denker in 1882. He was a plumber and tinsmith, an ironmonger and gasfitter. At one point he built (illegally) an eucalyptus distillery. Anton and Marie had the following children:- Albert Anthony ( 1882-1953); Ernest Christian (1884-1961 ); Frederick Louis (1886-1906); Herbert Theodore ( 1889-1977 ); Hilda Marie (1891-1959)Copy of photograph of Anton Meurer store Mundy Street.buildings, commercial, meurer, bendigo-history-business-meurer-german

Photographed during the first Covid19 Lockdown.Single storey brick coach manuracturing buildingarchitecture, armstrong street south, ballarat, cutter brothers, coachbuilding, radmac, herbert werner frederick de nully, ferrari formal hire

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. VIOSH Australia News provided information on aspects of the course at Ballarat. They were printed twice a year - Autumn and Spring.Nine newsletters, A3 size folded. Printed on 4 sides. Photographs includedVIOSH emblem. Dates of publication.viosh, victorian institute of occupational safety and health, ballarat, viosh news, 1996 - 2000, eric wigglesworth, shearing, worksafe, dennis else, occupational health and safety, oliver shoes, anne tayler, robin hood, dulcie brooke, fiji, kim whytcross, john culvenor, geoff dell, thomas mitchell, tony thatcher, trevor bailey, david borys, shelley kirkham, phil royce, noise, jane lean, shearing ergonomics, meat processing, jenni marsh, andrews stevens, herbert werner frederick de nully, maria bachelor, joanne dyer, peter tight, safety, jim kent, michael lawrence

Digital copy of One Hundred Years, Official Programme and History of Ballarat for its Centenary Celebrations, 1938ballarat centenary, victor greenhalgh, ronaldson-tippett, george hotel, f.w. holst, ballarat gas company, herbert werner frederick de nully, ballarat timeline, western plateau, rowlands, band of hope and albion consols, ballarat water supply, ballarat sewerage scheme, arch of victory

The Hollis Brothers were first recorded as operating from 11 Weaman Row in 1840, although evidence suggests that the business may have commenced prior to this date. Over time, the firm evolved and became known as Isaac Hollis & Sons, with claims of its establishment dating back to 1814. This earlier date is supported by records of Richard and William Hollis trading in Bath Street, Birmingham, between 1814 and 1818, which raises the possibility that Isaac and Frederick Hollis were their descendants. The principal brothers involved in the business were Isaac Hollis, born in 1815, and Frederick Hollis, whose birth date remains unknown. Frederick’s life was cut short when he died on 20 December 1839. According to the 1841 census, Isaac Hollis resided in Weaman Row and was listed as a 25-year-old gun and pistol maker. He was married to Emma, who was born in 1821, and together they had two children: Isaac, born in 1837, and Henry, born in 1839. Following Frederick’s death, Isaac continued to operate under the name Hollis Brothers until 1845, after which he renamed the business Hollis Brothers & Co. This entity remained active up to 1848. In 1844, Isaac Hollis entered a brief partnership with William Tranter at 10 & 11 Weaman Row, likely to fulfil a specific contract or to supply particular parts. This partnership continued until 1849. In 1848, Isaac Hollis formed a partnership with Isaac Brentnall Sheath, establishing the firm of Hollis & Sheath and expanding their operations into 10 Weaman Row. The partnership saw Hollis & Sheath become licensed manufacturers of percussion breech-loading guns, positioning the company as a notable presence in the industry. In 1861, Sheath left the partnership and emigrated to New Zealand, where he conducted several enterprises and was elected as a provincial councillor. He died in Christchurch on 19th May 1897. Following the departure of Isaac Sheath in 1861, the business underwent a name change to Isaac Hollis & Sons. By approximately 1870, Isaac Hollis and Henry Hollis had assumed responsibility for the daily management of the firm, with Isaac overseeing the overall management and marketing of the company's products, while Henry managed the manufacturing processes. During this period, the company became known for producing large volumes of affordable trade guns and sporting guns, catering to customers in South Africa and the British colonies. In 1870, Isaac Hollis & Sons opened a retail location at 44a Cannon Street in London, subsequently relocating to 83 Cheapside in 1871. Isaac Hollis Jnr passed away in October 1875 in Birmingham at the age of 37, having never married. In 1876/1877, Henry Hollis registered a limited liability company under the name Isaac Hollis & Sons Ltd. However, by 1879, trading resumed under the name Isaac Hollis & Sons, and the London shop moved to 6 Great Winchester Street. From 1932 to 1933, the business operated in London as Hollis, Bentley & Playfair. The final closure of Hollis, Bentley & Playfair occurred in Birmingham in 1953. This firearm serves as an exemplary representation of the type of weapon distributed to the colony’s military forces in 1861. It was specifically manufactured by Isaac Hollis & Sons, a prominent gunmaker of the period, to meet the requirements of military use. Distribution was facilitated through Hebbert & Sons, an established military supplier based in London. Before it arrived in Tasmania, Australia, around 1861, the firearm was likely issued from the Hythe Armoury, which functioned as a British military training facility. Probably, the gun was originally allocated to British troops or police before being transferred for use in the colony. Gun: Percussion Carbine, .577 Cal. Colonial Tasmanian issue Artillery carbine, Pattern 1861. Muzzle-loading "Cap and Ball" musket. Wood stock and ramrod. Inscriptions are on the stock and breech. Gun was made for Herbert & Co., London, by Isaac Hollis & Sons, Birmingham.Stamped on stock "SOLD 95", " ISAAC HOLLIS & SONS" "GUN & PISTOL MANUFACTURES" "BIRMINGHAM" "J ASTON ARMOURER HYTHE" "MANUFACTURED EXPRESSLY FOR HEBBERT & CO LONDON". Stamped on breech "25", and "25C ---05"flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, firearm, gun, percussion, carbine, .577 cal, colonial tasmanian issue, artillery carbine, military gun, pattern 1861, muzzle-loading, muzzle-loading musket, cap and ball, musket, wood stock, 1861, percussion breech-loading guns, richard and william hillis, herbert & co., herbert & co. london, hollis & sons, isaac hollis & sons, isaac hillis & sons ltd., hollis bentley & playfair., isaac hollis, frederick hollis, isaac brentnall sheath, isaac sheath, william tranter, gun manufacturer, pistol manufacturer, gun and pistol maker, birmingham, j aston armourer, hythe, hythe armoury, military supplies

Brown quarter leather bound book with examinations results for students of the Ballarat School of Mines. non-fictionExamination results for a range of subjectsballarat school of mines, examination, alumni, j.b. robinson, practical chemistry, land surveying, assaying, mineralogy, metallurgy, geology, mining geology, building contruction, engineering, geometry, botany, mining, mechanics applied to mining, petrology, sound and light, steam and gas engines, engineering drawing, maxwell gaunt, a.s. ritchie, john adam, george hepburn, george cornell, godfrey hary, valentine anderson, john sutherland, william h. callister, lionel lambert, john currie, ferdnand g. krause, thomas lakeland, william troon, charles lund, richard cowles, glyndwr evans, norman buley, wilfred avery, norman lagerche, frederick l. treloar, arthur tandy, reginald callister, henry kofoed, david bonar, herbert j. semmens, a.d.r. galloway, william e. figgis, emma wardle, photography, leslie blick, leslie coulter, ernest heighway, henty whittingham, charles vale, james brokenshire, eric bieske, william baragwanath, harold cornell, j. raymond blight, george kidd, joseph mcgoldrick, samuel j. tongway, thomas k. sim, hevill tinworth, israel flegeltaub, oliver jaegar, charles flude, william burbridge, hubrt murphy, samuel mayo, ellen b. morris, elsie m. naples, jean rankin, hilda wardle, ernest morshead, arthur lilburne, herbert malin, robert serjeant, mollie o'dowd, robert w. allan, albert w. steane, leslie de j. grut, norman tinworth, robert m. serjeant jnr, vincent giuliano, william coates, allan bernaldo, loyal finch, john dulfer, william carroll, noel brelaz, guido brelaz, kathleen fisher

The Guirguis New Art Prize (GNAP) is a biennial national acquisitive $20,000 contemporary art prize. It is for Australia's contemporary artists with works that explore new ways of artistic expression, utilising existing mediums as well as new technologies. It was initiated and supported by local Ballarat surgeon Mr Mark Guirguis. The art prize is administered by the Federation University Australia (FedUni) and displayed at the Post Office Gallery in Ballarat. The prize was managed and curated by Shelley Hinton. .1) Large purple promotional banner made of maroon synthetic fabric printed with white lettering, hemmed on the long sides and 8 cm wide pockets on the ends. .2) Feather Flag in maroon shiny synthetic fabric printed with white lettering, hemmed and with a black 6.5 cm elastic pocket around the long side.Printed with GNAP, Guirguis New Art Prize and the date 11 April - 31 May 2015guirguis new art prize, mr mark guirguis, federation university australia, post office gallery exhibition, contemporary art, contemporary art prize, mark guirguis, shelley hinton, herbert werner frederick de nully

Indentured students appear to be those enrolled to complate an Associateship at the Ballarat School of Mines.Harcdcovered, charcoal book maroon leather bindingjames gibson, indentured students, watson latham, israel flegeltaub, weston eustace moriaty, herbert r. sleeban, william reid, marcus marks, isodoe g. wittkowski, samuel warrick smith, a. j. coltman, charles burbury, frederick p. paul, solly, john richardson, thomas uthwatt, archibald l. ray, hector g. brickhil, sydney radcliff

Summary For over 250 years the Withers family of Birmingham worked as tailors, sometimes also as butchers. During the Georgian era, English society changed and the Withers family with it. First came a gentleman amateur artist in the form of Edward Weston Withers, grandfather of Walter Withers. Then Edwin Withers, Walter Withers' father, took to tobacco, rope and twine manufacturing which put an end to the traditions of butchery and tailoring.The origins of Walter's painterly ambitions are explored. There was a physical altercation between Walter and his father, Edwin. That fight emerged out of contradictory expectations between Walter's father, Edwin and his grandfather Edward. Those expectations and the societies which kindled them contributed to Walter's character and art. Up until now there has been no family history about Walter Herbert Withers (1854-1914) a notable Australian landscape artist of the Heidelberg school and friend to Tom Roberts, Frederick McCubbin, Arthur Streeton and Clara Southern. Walter, the son of a rich Victorian businessman, married Fanny Flinn, the daughter of a commercial salesman who also owned part of a Birmingham brewery. In No Place Quite Like It, Walter, his wife Fanny and his family are depicted against the social contexts in which they each grew up. Our appreciation of Walter Withers' art is expanded: by knowing those forces which helped shape his early years and how he responded to them; by gaining new insights into his origins and how he grew into the man he was. We also gain a fresh appreciation of his wife Fanny, and the influence she had upon him, their children, and upon the society in which she lived. Includes 200 pages of text, Prefaces by Andrew Mackenzie OAM (art historian), and Eileen Mackley AM (President, Victorian Artists Society), Bibliography and an Index, extensive images, maps, charts and family trees, provide a visual porthole through which an insight might be had into the lives and times of Walter Withers and his family history.walter withers, fanny withers (nee flinn), family history

Marriage solemnized at the Parish Church in the Parish of Handsworth, in the Couthy of Stafford Witnessed by Frederick George Flinn, Ethel Creswell, M.W. Flinn, Walter Flinn, Alice E. Flinn, Charles E. Withers1887, alice e. flinn, charles e. withers, edwin withers, ethel creswell, fanny flinn, fanny withers (nee flinn), frederick george flinn, m.w. flinn, marriage certificate, walter flinn, walter herbert withers, john withers collection

William John (Bill) Pill born 1894 Diamond Creek, son of Jessie Ann Whatmough and John Henry Pill. A modestly successful market gardener, growing tomatoes, at Cottles Bridge. He was murdered in his cottage on 21 December 1958. Contents Photograph: William John Pill. Photographs (4): Pill's Cottage, Cottles and farm Bridge 1936. Magazine article: "Tortured!", pages 23-27, "Killers at Large" Southdown Press 1970. Story of the murder of Bill Pill. Newspaper article: Death Puzzle; Who was the callous killer?; Diamond Valley News, Tuesday, February 6, 1979, p1 Newspaper article: Recluse Bill knew his murderers by Eric Foster; Diamond Valley News, Tuesday, February 6, 1979, p19. (On the reverse side, page 20, "Using glass with flair", an article about leadlighting and stained glass artisan Max Sherlock and his wife Roma moving to their new home, "Bateman" in Sweeneys Road, Eltham and an exhibition of Leadlighting and Stained Glass by Rod Sherlock opening at Eltham Gallery on February 7, 1979.)Newspaper clippings, A4 photocopies, etcwilliam john pill, bill pill, cottles bridge, ada pill, detective sergeant frederick adam, tim powder, senior constable k lloyd, herbert funnell, first constable leonard dugdale, henry pascoe, detective inspector c petty, john henry pill, jessie ann pill nee whatmough, market garden, murder, steve whatmough collection, leadlight, stained glass, max sherlock, roma sherlock, rod sherlock, bateman, sweeneys road, eltham gallery, exhibition

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