1. Eltham Town Mall Shopping, Diamond Valley Leader, October 26, 2005 [ On reverse - "Red alert for green area by Natalie Birch and Shane Woodrow about a report compiled by Environment Victoria, Melbourne's Threatened Habitats Under Threat: Development Pressures and Conservation Solutions which places the 'Nillumbik Foothills' number seven on list of most endangered by urban sprawl] 2. Advertisement: Huge Bikle Sale, Paul's Cycles, Diamond Valley Leader, February 7, 2007eltham, businesses, eltham town mall, paul's cycles, shops, brushtailed phascogale, click here to add keywords, cr greg johnson, eltham copper butterfly, environment victoria, environmental significance overlay, green wedges coalition, nillumbik shire council, powerful owl, significant landscape overlay, victorian national parks association, aroma's cafe and florist, arthur street, barringtons hair boutique, bowz hairdressing, eltham dress up box, going together, kids of eltham, leisure footwear, little angels, national australia bank, research computers, shoppe 8 fashions, split images, st vincent de paul, travel bound, ward sagar bookshop

Small envelope with 4 strips of negatives. This negatives where inside a larger envelope catalogue 11518.416 and 8 photos 11518.407-11518.414. The negatives and the photos don't go together. These negatives have not been scanned.business, retail, gas and fuel

The glazed stoneware pot is an oyster jar made by Powell potteries, Bristol, probably between 1860 and 1880. Pickled oysters were a regular food of the poor in England in the 19thc. Sam Weller, Charles Dickens’ character in Pickwick Papers (1836-37) commented that ‘Poverty and oysters always seen to go together’. In England, pickling oysters for transport to inland towns and long voyages became an industry. The jar was found in sand near the jetty in 1999.Whatever their provenance, they have an association with an event or activity on Gabo Island and for this reason have second level contributory significance for their potential to yield information relating to the cultural history of the lightstation.Ceramic jar. Squat shape, body of jar is cream coloured. Spots of mildew on side. The jar has a pronounced lip, short neck, sloping shoulders and rounded body. Just below the shoulder, the glaze colour changes from brown to stone."POWEL &DB Stol"

The dolls house and furniture was made by Heinrich August Ernst KOCH, who was interned at Orange NSW on the 6 June 1940. In 1941 was taken to Tatura VIC for an appeals tribunal hearing. He was released in 1943 to the Civil Alien Corp. The donor of the dolls house, John Smiles, is the grandson of Heinrich. Heinrich made the dolls house and furniture which he made for his daughters in Sydney NSW. It was sent to them whilst interned. The furniture is copies of real life size items and the house has features common with the family home in Sydney.Wooden, painted dolls house, made from packing crates. 5 main pieces with additional pieces (roof, chimney, stairs, outside roof area, furniture) which go together to form this long single story dolls house. Painted in cream with green features and red roof. Windows and doors open. Several windows have glass in them. Original piece of Lino in kitchen area. 2 rooms are wallpapered. Original pieces of furniture are included (see list attached to worksheet). These include dining table and four chairs, side board, dressing table, bed, tall boy, low boy, entrance table, entrance bench, entrance hall stand, kitchen table, 4 chairs and 2 benches.heinrich august ernst koch, john smiles, orange internment camp, tatura internment camp, civil alien corp

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top. An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Iron; small flat domestic iron.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, iron, flat iron, domestic iron, laundery, ironing equipment, sad iron

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today.Clothes Iron, wedge shaped, cast iron painted black with cylindrical handle small funnel through centre of handle.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry equipment, sad iron, domestic object

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Flat iron cast iron with traces of original black finish on handle. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry, clothes ironing, sad iron, tailors goose

Blacksmiths started forging simple flat irons in the late Middle Ages. Plain metal irons were heated by a fire or on a stove. Some were made of stone. Earthenware and terracotta were also used, from the Middle East to France and the Netherlands. Flat irons were also called sad irons or smoothing irons. Metal handles had to be gripped in a pad or thick rag. Some irons had cool wooden handles and in 1870 a detachable handle was patented in the US. This stayed cool while the metal bases were heated and the idea was widely imitated. Cool handles stayed even cooler in "asbestos sad irons". The sad in sad iron (or sadiron) is an old word for solid, and in some contexts this name suggests something bigger and heavier than a flat iron. Goose or tailor's goose was another iron name, and this came from the goose-neck curve in some handles. In Scotland people spoke of gusing (goosing) irons. At least two irons were needed on the go together for an effective system, one would be in use, and the other re-heating. Large households with servants had a special ironing-stove for this purpose. Some were fitted with slots for several irons, and a water-jug on top.An early domestic object that gives an insight into how the ironing of clothes was done before the electric type irons we use and take for granted today. Flat iron cast iron with stand None item too badly corrodedflagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, iron, flat iron, laundry, clothes ironing, sad iron, tailors goose

This blazer was worn by Joyce Murphy at the Ballarat Teacher's College. David van Leeuwen decided not to have a blazer as he was older, and thought it too much like school days. He attended the Ballarat Teachers' College when 27 years, after serving in the army. Because he didn’t have a blazer he didn’t have anywhere to put the colours so he offered them to Joyce Murphy as they were going out together. There should have been a football embroidery as well, but Joyce Murphy didn’t want that on her blazer because it was too boyish. Gift of Joyce van Leeuwen nee Joyce Murphy, 2014A blue woollen blazer with pocket featuring the Ballarat Teachers' College logo, sports colours, and representation in tennis, basketball and hockey. The pocket is a dual one. Joyce van Leeuwen remembers: 'Towards the end of our College year, were were given written authorisation denoting our sporting teams, to take to Paterson & Powell for embroidery on our blazer pockets. On my pocket, the hockey sticks, the BB for basketball, as netball was then called, all mine. The tennis racquet is David's [van Leeuwen], as is the braid topping the pocket denoting the College colours. College colours were authorised for excellence in a chosen sport, and in our year, 1950, only two men's colours were awarded - David's for basketball and Neil Trezise's for football. Neil went on to play for the Geelong Cats [AFL football] and later was Victorian minister for Sport for some time.'ballarat teachers' college, blazer, joyce murphy, joyce van leeuwen, paterson powell, colours, embroidery, david van leeuwen, van leeuwen, costume, uniform, textiles

Possibly a sample of a product, Melbourne Tram Passport, that was compiled or put together by Go Public in 1995 as a promotion to use Melbourne trams and receive discounts at various venues. No evidence is known of its actual use in practice. On the last page of the Guide Book are the names of David Miller and Frank Pallay and Go Public's Elsternwick PO Address. Similar to the "Melbourne Met Pass" of 1988 - see item 2843 Yields information about the concept of a tourist travel promotion using Melbourne's trams.Green plastic partitioned folded containing sample tickets, map, pamphlet and guide books.trams, tramways, melbourne tram passport, tickets, the met, public transport

This dress belonged to Brighton local Paula Folks, who wore it to her niece's wedding at St John's, Toorak in 1970. It also bears a second connection to Brighton through the label, Elegance, a Flinders Lane fashion house co-owned by Rudy Brill and Brighton resident Robert Salter. Paula was a longtime manager and owner of Pearl's Boutique, a well-known local fashion boutique established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Cream terylene chiffon dress with all-over daisy appliqués. High band collar with v-shaped scoop at back. Sheer long sleeves with gathered cuffs.Label: "miss Elegance / TERYLENE".pearl's boutique, pearl's of brighton, paula folks, 1970s, flinders lane, melbourne designers, robert salter, rudy brill, miss elegance, elegance

This dress was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length blue jersey evening dress with round neckline and long sleeves. Cuffs edged with blue-grey ostrich feathers. Zip at back.Label: "Van Roth / REGD". Labels on side of inner zip: "100% POLYESTER" / SIZE 14 / TO FIT / BUST 90cm / WAIST 70cm / HIP 95cm".pearl's boutique, pearl's of brighton, paula folks, van roth, melbourne designers, flinders lane, 1970s

This cape was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length bright pink rayon jersey cape with pink ostrich feathers around the collar.pearl's boutique, pearl's of brighton, paula folks, 1970s

Makes up part of the firemans belt that was owned by Senior Firefighter (S/F) W.G. Jamieson who was stationed at Ballarat Fire Station as part of the permanent staff. Brown leather case designed to carry firemans axe on his belt. Case is stitched around the edges and has 4 brass rivets holding it together. A central brass dome headed botton acts as the clasp and goes through a hole located in the cover. On the rear side is 2 belt loops which are also riveted to the case. The number 11 is writen inside the cover in red ink. 11 (inside cover flap)w g jamieson, ballarat fire station, axe case

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatergoers.Not very significant as not associated with a historic event or person and made during the first half of the 20th Century and many are still available and easily sourced.Vintage Pair of Opera Glasses, with cow bone barrels and eyepieces, both barrel pieces have split in them, both metal end barrels each have a minor dent, optics are pretty clear no mould although have very minor dust spots inside, they look like they were gilded at some point but most of this has rubbed off glasses have a black leather case with blue lining. No markings whatsoever anywhereflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, binoculars, opera glasses, theatre glasses, optical instrument, cow bone

Farmers on the Orbost flats and nearby districts used to grow a lot of maize and harvest the maize by putting the pigs in to eat the maize. They had to get the pigs to Bairnsdale with other chaps, droving about 600 pigs. It would take them 12 days. A wagonette would go in front and dribble out the maize. When they reached Swan Reach, the drovers would often go over to the old grog shanty and got drunk while one man would stay to keep the 600 pigs together. It was a difficult job. The pigs were ferried across the rivers. This is a pictorial record of early farming in East Gippsland.A black / white photograph of men on horseback droving pigs from the Cann River district to market along a dirt road.pigs agriculture farming-orbost-cann river

David Reid (1820-1906) was a pastoralists and politician. He left school at 16 and after meeting the overlander John Gardiner he decided to look for land south of the Murray River. Equipped by his father with some 500 head of cattle, 2 bullock wagons and teams and 6 assigned servants, he reached the Ovens River on 8 September 1838. David settled at Currargarmonge, near Wangaratta. At the end of 1843 he took up land near Yackandandah. In 1847 he took up a section of the family run of which Woorajay (Wooragee) formed a part. He built the first water driven flour-mill in the district on his Yackandandah run in 1845; his woolclip of 1848 was one of the first to be handled by R. Goldsbrough and was claimed to come from sheep descended from stock imported in the 1820s from George III's flock. Going into politics, he held the Legislative Assembly seat of Murray from October 1859 to May 1862. David Reid was a highly regarded grazier and local politician who was significantly involved in settlement around the Yackandandah area. Photo demonstrates ongoing interest in the local history of the area and its early residents2 colour photographs mounted together on buff card 1. Man and 2 children (unidentified) standing outside the remains of the Reid home. 2 Dec, 1973 2. Group of unidentified people on a tour of the old homestead of D. Reid. 2 Dec, 19731. Handwritten in black ink under photo 'D. Reid's home 1845. At Mill Park. 2 Dec 1973 2. Handwritten in blue ink under photo 'Snapshots Clare Roper"clare roper

Used to weigh bulk produce in the Tawonga Store. Part of a platform scale.Historical: Imperial weights used before packaging of goods. Tawonga Store opened c1920 selling produce for the farming community of the Kiewa Valley.5 circular cast iron weights with a slot from the edge towards the centre. Each has a ridge around the circumference to enable each to fit on top of a bigger one. On the top, above the slot, the weight is embossed. The set is held together with a piece of wire about 50 cm long. The set fit on to a holder which has a circular hook for hanging and a long straight cast iron rod going through a solid half sphere which is held with a nut at the base. The half sphere has a wider circular base for weights to sit on. Used with scales (KVHS 0800 (B)) to weigh goods sold at Tawonga Store.Weights: 14 lbs; 28 lbs; 56 lbs; 1 cwt; 2 cwt.weights. scales. shop. store. tawonga store.

Canvas stretchers were portable and easily carried by pack horses. They were more luxurious than a hard wooden bed or the ground. Canvas was the best material to use at the time. This canvas stretcher may have been used on camping trips or by the cattlemen when visiting their huts on the Bogong High Plains.Used as a stretcher or camp bed and is very heavy. It is made of wood and 4 pieces of canvas sewn together. It has sides of elongated cubed wood with 4 handle extensions which are also cubed wood partly carved out near their ends for a more comfortable grip. The top has canvas attached to the wooden sides. The bottom has wood attached including the handles and a piece in the middle. Also attached are 4 steel rollers. A nail sticks out and stops the handles from going any further than the rollers. 4 metal strips are also attached for guidance of the sliding handles. 2 metal flat rods are attached to the sides at each end and joined in the middle by hinged nail enabling movement creating a metal strip at right angles to the length of the stretcher. The metal handles are attached here too. stretcher. bogong high plains. camping. sleeping.

This booklet has been issued in 1940 by the Warrnambool Progress and Tourist Association established in 1927. Warrnambool was the winner of the Sun News Pictorial Quest in 1928, the ‘Ideal City’ and used this title to promote the city. There had been several Tourist Associations in Warrnambool prior to 1927 and all of them promoted Warrnambool as a health resort and an ideal holiday destination with the Sea Baths in Gilles Street and the beach close by. This guide has been produced during World War Two with rationing of petrol and other goods and most people in Victoria would not have been contemplating long and expensive holidays so Warrnambool with its rail service and beach facilities would have been seen as a possible holiday destination. This Warrnambool Tourist Guide is of considerable interest both for its content regarding Warrnambool’s attractions in World War Two and for its 1940s advertisements and photographs. This is a booklet of 33 pages stapled together. It is a Warrnambool Tourist Guide from the 1940s. The pages are mostly white but there are a couple of blue and buff-coloured pages. The cover is pink with mauve and black printed material and a photograph on the front cover of the Warrnambool camping ground on the foreshore. The back cover has become detached. The booklet contains information on the tourist attractions of Warrnambool and district, black and white photographs of buildings, events and scenic spots and advertisements for local businesses. Many of the advertisements also contain photographs of business premises. Front Cover: ‘The Ideal City, Warrnambool On The Sea, , Victoria, Australia, Camping Grounds at the Beach, Tourist Guide – Where to Go! What to See! To Advance Warrnambool, The Ideal City, Victoria’s Premier Health and Holiday Resort, Price 6d.’ tourism in warrnambool, warrnambool, sun news pictorial quest, warrnambool tourist guide, the ideal city

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house towards the end of its construction. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. The cleared block is an expanse of dirt with wheel tracks, with trees and bush in the background and piles of rocks on the right hand side. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, clearing, eltham south, 2 metery road, alistair knox

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. The form of the house is laid out on the cleared block. There was a dam at the bottom of the block. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, clearing, eltham south, 2 metery road, alistair knox, bow and arrow

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Concrete footings are poured. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. " This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bow and arrow, footings, concrete, concrete mixer

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs show the bush block before construction, concrete footings and base being poured and the timber frame takes shape. The house had a concrete floor. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. ".. the block was big.. Building the house was slow going. The plans had to be discussed, then drawn up, finance found, council permits obtained and labourers engaged. "This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, footings, concrete, concrete mixer, frame, bush block, fj holden standard sedan

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house with its roof in place. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. This series of photographs shows the one story house towards the end of its construction. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February and April 2020. "..The block was big.. Building the house was slow going...the house had a concrete floor and a roof, but no windows..."This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block, construction, vw beetle

Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart