The second annual report produced by Kadimah10 pagesj. rochlin, a. stone, m.a. schalit, r. rothberg, c. berman, president: m. zeltner., m. zacharin, h. barrow, s. freadman, j. gunn, a. kahanovitch, l. love, a. newmarket, s. press, u. richards, m. taft

Illustrator, Rebecca Pannell lived in Church Street, Mitcham during the early 1990s. Rebecca also illustrated a copy of 'The Nunawading News' during the time of the commissioners.A children's story book 'The magic of Marvin's. A Cocky's Circle Little Books' with yellow cover and an illustration of a small boy with a wizard hat, wand and stars.To dear Valda l;love Rebecca Pannilebooks, children's

These greeting cards were sent by service personal while on active service abroad to family and loved ones. Sent back home to family and friends to say hello and let them know all is ok.Rectangular card that opens up to reveal a message from Private J. L. McINTYRE. to a loved one while on active service abroad. Greetings from Across the Sea. Troopship "Nestor."

The Birthday Scripture Text Book. Written in front cover in pen: Ellen L. Budds with Emily's love 4th January 1878. "He led them safely on". Inscribed on inside pages are birthdays of family members.bendigo, hospital, bendigo, fortuna, lansell

The Blue Duck Hotel stands at the confluence of 3 trout rivers - Cobungra, Bundarra and Mitta Mitta, called Angler's Rest. The original 1900's building was of slab construction and operated as a butcher shop, servicing miners on the track from Omeo to Mt. Wills. In 1912 it was purchased by a miner, Billy O'Connell, and he obtained a hotel license. In the early 1920's he transported 2 houses from Omeo on Horse drays. One is the main building of the Blue Duck and the other was a residence where Billy and his wife raised their nine children. The small log structure behind the pub is State School No.4286 where the children attended school. A teacher was shared with Glen Wills. By the late 1920's the hotel was discovered and patronized by keen anglers. Sir Harold Clapp (head of the railways) was one and he had the bronze blue duck cast and presented to the owners in the 1930's. This stands at the entrance to the premises.These photographs are of a building, in a remote area, that has provided a service to miners, anglers and travellers for over 100 years and continues to do so today. It also played a vital role in the history of the Mt. Wills/Omeo gold mining days.3 Post cards, Black and White photographs. 3 small black and white photographsPost Card No. 1 - "Blue Duck Hotel- Omeo-Glen wills road Ray Love Series No.2"(written on lower front) Post Card No. 2- "Looking towards Bogong High Plains. Omeo-Glen Wills road"(front, bottom, L hand) Ray Love Series No. 18 (front, lower R hand corner) On both of above photos, centre back, is stamped POST CARD and underneath this is printed "A GENUINE PHOTOGRAPH'/ Post Card No. 3 - Bottom L hand corner "Mystic Sea Australian Alps". R hand corner "(Bulmer Copyright)". Each small photograph, handwritten on back "Blue duck Hotel". All have circular stamp with "Print by Wilson White Albury" blue duck hotel; anglers rest; omeo highway; fishing; mining

This is a blue hardcover book of 378 pages. The spine has writing in gilt lettering. There is a pale blue paper dust jacket. The front cover of the dust jacket has black and red block printing. The insignia of the City of Warrnambool is centrally placed above a stylised view of the Warrnambool city.non-fictionA revised edition of C. E, Sayers History of the City of Warrnambool.history of warrnambool, peter yule, c e sayers, by these we flourish

This book contains a number of plates taken from paintings by Raphael, Poussin, Da Vinci Ferrari, Perugino and numerous engravers including J Cooper J L Williams W. Meason and H Shaw. As well as the large number of plates there is also much ornamentation on initial letters medallions and margins. It was a gift to George Rolfe who resided for many years in Warrnambool. He owned the property of Lyndoch and later purchased Shipley. A tangible link to one of the early citizens of Warrnambool.Light brown cover with red, blue and gold embellishments. Pages edged in gold. Numerous plates taken from engravings on wood, throughout the book. Bessie Wordsworth Xmas 1887from*****. George Rolfe with much love from his affectionate cousin * * Turner * 8th 1915. warrnambool, george rolfe, bessie wordsworth, new testament, wood engravings

child as yet to be identifiedThompson Collection Mina Moore photographer Mina Moore was an important Australian female photographer, for further information see: Australian Dictionary of Biography http://adb.anu.edu.au/biography/moore-minnie-louise-mina-7803 Please note there is a discrepency concerning dates on this site as to when Mina Moore's studio opened and the date on this photograph. I believe the photograph follows all descriptions of Moore's photographic conventions eg: type of mount card etc. Note signature Mina Moore on front of mount card, and stamped photography studio details on backStudio photograph mounted on cream card of female child (3 years) Front: Mina Moore (photographer, hand written). Inscription: Peggy at 3 years old. With love to her Godfather. May 1907 Back: Mina Moore Auditorium Building, Collins Street Melbourne Australia. Hand written in pencil: Green Be?lthompson collection, nightingale, mina moore

Stapled yellow covered annual report. Includes a list f students who graduated in 1973. Includes information on the Union Building on the Mt Helen Campusunion building, mt helen campus, ballarat school of mines, annual report, m.g beanland, m.b. john, j.v. robertson, r.j. dobell, r.h. hollioake, h.a. patterson, w.j.c. north, j.j. smail, a.e. stohr, j.k. sutton, e.j. tippett, arthur nicholson, ken c. webb, k.j. neerhut, campus development, mount helen campus development, e building, electrical engineering building, applied science building, student residences stage 2, great hall architect, founders hall, h.j. trudinger retirement, l.f.j. hillman retirement, e. phillips, derek woolley, victorian institute of colleges, b.r. granger, edith lawn retirement, j. finkelstein, w.s. carthew, g. strickland, b. white, d.e. madden, s.m. scott, k. sturmfels, d. miller, t. davison, a.j.morgan, b.m. lees, alan bethune, i.j. pratt, j.l. smyth, n.w. grose, r.o. jelleff, g.b. love, helen burgess, i.f.c. richardson, n. worswick, j.a. cue, e. notaras, j. van dreven, g. beattie, e. bowers, b.a. byrne, g.r. harbridge, d.j. kingdom, c. murray, j. vagg, l. vickery, w.c. davis, j.c. hannah, m.a. hyde, e. jeffery, n.w. rowe, g. braybrook, l. braybrook, l. brayshaw, v. bunting, e. hanrahan, v. allan, a. williams, craftmanship awards, mt helen library, student residences, fourth university

Hilda Horne (b 06/05/1888 in Yendon) was the 10th child of Thomas William Watson and Emma Eliza Jane Phillips (who was one of the first white children born in the Barrabool Hills area (Geelong). Thomas worked on the Victorian Railways and was stationed at Yendon where they acquired a small farmlet named Graceland. Hilda married George Horne in. They lived in a small cottage in Windermere Street, Ballarat.Three black and white photographs of the Horne family .1 Hilda Horne b Watson 06/05/1888 at Yendon, the daughter of Thomas William and Emma Eliza Jane (b Phillips)Watson. .2 Three Watson sisters - Emma Jacka b Watson 30/08/1866 - 03/04/1904, died in childbirth in South Africa (standing); Hilda Horne b Watson 06/05/1888 (seated L); Eva Watson b 4/06/1890 - 08/07/1959 (seated R) married Leo Wise. .3 George Horne aged 6 months, married Hilda Watson..1 Verso: upper Hilda 1910 Horne; Jack in pencil (her brother John Richard Watson) .2 Verso: upper L - The Yeoman Studios ; C- POST CARD; R - postage stamp outline. CORRESPONDENCE / ADRESS ONLY LHS - handwritten "To Jack with love from Eva"; All Watson sisters; RHS Emma Batt( believe incorrect surname) Eva Watson Hilda Horne .3 Verso: Upper L - Eden Studios; C POST CARD; R - postage stamp outline CORRESPONDENCE / ADDRESS ONLY LHS - EDEN STUDIO Sturt Street Ballarat; handwritten in biro -George Horne; in pencil - Georgie 6 months hilda horne, hilda watson, eva watson, emma jacka, emma watson, eden studio, the yeoman studios, yeoman & co

Postcard sent to Ballarat College boarder, William L Sloss, by his mother Bernice A Sloss during a visit to Paris with his father in 1929.Its slightly formal phrasing gives insight into parent-child relations of the era. Black and white illustrated postcard; photograph of Paris scene on front; hand-written letter on back and 90p stamp attached;Address: Master Bill Sloss / Ballarat College / Ballarat - Victoria / Australia Letter: 21/3/29 / This is just a tiny corner of Paris. It is a very busy city and the taxis and cars make a dreadful noice - far greater noise than in London. Though traffic is just as great - We are having lovely weather to see this beautiful city. We are all well. Hope you are. Daddy is visiting hospital. Love from us all - Your loving mother, Bernice A Sloss.bernice-a-sloss, ballarat college, boarding, 1929, bill-sloss, william-l-sloss-1934, postcard

Elizabeth (Betty) Ann Speak attended Clarendon Presbyterian Ladies College 1937 - 1938. She won the Junior Tennis Champion in 1938. Betty worked as a telephonist at Coleraine Post Office after leaving CPLC in 1938. In 1949, she married Leslie James Steff from Konongwootong. They had two daughters. In 1967 Betty returned to work at the Coleraine Post Office and worked for 17 years, moving to the Hamilton PO after the Coleraine PO closed around 1980. She continued to play tennis throughout her adult years. Daughter Gwenda Steff, who donated the trophy to the school in 2016, says 'Mum was passionate about her tennis. She had a formidable backhand shot that few could return. She played Saturday afternoon competition tennis up until her late 40's and she instilled her love of the game into both my sister Margaret and myself. Mum was always too humble to acknowledge her amazing abilities - both on and off the tennis court. But this is an early public acknowledgement of her skills.'Medium silver cup with double handles and silver base and stem on melamine standEngraved on face of cup: C P L C / Junior Tennis Champion / 1938 / BETTY SPEAKbetty-speak, sports, tennis, trophy, 1930s

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Appendix to Shire Secretary’s Report, 28 November 1966 SHIRE PRESIDENTS Local Government in this part of the State could be said to have commenced with election in 1846 of three trustees for "The Parish Road, leading from the Suburban Allotments in the Parish of Jika Jika, near Melbourne, to the Village Reserve in the Parish of Nillumbik". The Upper Heidelberg and Old Eltham Road follow approximately the original line of road proclaimed in 1840. The Eltham Road District was proclaimed on 24.9.1856. A meeting of landowners and householders of the Eltham Road District was held on 14.10.1856 at the Fountain of Friendship Hotel, Little Eltham, for the purpose of forming a District Road Board. To date I have been unable to locate any record of the names of the members elected, or of the first Chairman. Further research may yield the desired information. The Shire of Eltham was constituted on 28.3.1871. The proposed Roll of Shire Presidents should, I believe, also include the Road Board Chairmen. It may also be considered fitting to recognise the Heidelberg or Nillumbik (or Warringal) Road Trust in the same way. The first Minute Book of the Board, covering the period 1856 to 1863, has apparently been missing for many years. The Shire Minute Book for the period 1878 to 1885 is also missing. The absence of these vital records makes difficult the compilation of a complete and accurate list of Chairmen and Presidents. Although an early letter book yielded the names of the Shire Presidents in 1878, 1879 and 1800. The names prior to 1863 were derived from Rate Books and Government Gazettes. The information contained in the Municipal Directories 1875 to 1885 is at variance to some extent with such Council records as are available for that period, and consequently cannot be relied upon for the years where the Presidents names have not been shown. shire of eltham archives, series listing, a. armstrong, a. beale, a. brinkkotter, a. donaldson, a.h. price, a.j. braid, c.h. bath, c.m.a. pelling (mrs.), c.t. bell, d.c. o'beirne, e.d. butler, e.h. cameron, e.j. andrew, e.p. harmer, f.e. griffith, f.v. squire, f.w. nankervis, g. love, g. robertson, h. dendy, h. hewitt, h. stooke, l.t. wilmot, j. cox, j. murray, j. barr, j. bell, j. fitch, j. herbert, j. lawrey, j. mealy, j. pape, j. ryan, j. smedley, j.b. shallard, j.l. beale, l. c. docksey, r. mcadam, r.a. bell, r.c. white, r.r. woolcott, rutter, s.s. addison, s.w. scott, t. armstrong, t. irvine, w. horris, w. hubbard, w. lorimer, w. morris, w. taylor, w.c. farrell, w.f. ford, w.g. gray, w.h. bradbury, w.j. taylor, w.v. houghton

Hand-coloured postcard of street scene. Centre front - Alexandra Fountain. Centre back - Bendigo Post Office. Buildings at R, three trams in foreground. Trees and poppet head L. Horse-drawn carrieges front L. Tramlines lead through centre. Some pedestrians in street. Inscriptions/markings: on photo - 'Pall Mall, Bendigo'. On back - hand-written in ink - 'Miss Annie Case, Irene Parade, March, Cambridgeshire, England'. Message - 'Hope you are both keeping well as are, are, we are getting it very warm just now. I suppose you are getting it cold. I had a p.c. from M.W. they were both well it was written on the 20 September love to both from us both. Susan.place, streetscape, alexandra fountain

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925. Page 1 S/S City of Norwich Port Said My Dear Old Lillie, Well, I never got so much of a shock in my life, when your postcard turned up 2 days before my birthday, wishing me many happy returns, for which I thank you sincerely, and am sorry to say I had forgotten yours, or being very quiet about your various qualities, you would not tell me. Well to get on with the news, the next day I had a telegram to report at the Line head office, on the 15th Aug. early, imagine how I swore, as a little do was to [be] held at night, they immediately shored me on this ship S/S City of Norwich to go to Port Said, then join the City of Corinth bound for Boston & New-York so I may come out to “little Aussie” again from there with a little luck, any way we ought to be in New-York about the 19th Sept to stay a month, I will write you more in detail from there, if you feel inclined and have forgiven me for being so long about answering your last letter, could you write to S/S City of Corinth, C/o Norton Lilly & Co, New-York. U.S.A. I would jump like L”l Page 2 how is the cow milking going on, but still that joke is as unfair as the small joke about my age now, both afflictions being cured by now I hope. Well really I am no letter writer and can find very little to interest you on paper Lillie, and my photo, I hate being taken as much as you, but will do my best, if you can wait a little please, hoping you are getting one that awfully exciting week with the mission as you call it. You must be A.1 actresses to amuse such a motley crew. Hoping you are all well at home, give Mr & Mrs Duncan my kind regards, sending my best love to you dear. Hoping you will recognize me if I can come along. with tons of love, Howard. P.S. I hope to be a little more sophisticated when I come next time [-] you may be able to tell me. Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in three parts: Part 1.1 (0007.1) Envelope Part 1.2 (0007.2) First page of letter Part 1.3 (0007.3) Second page of letter The pages, as is the envelope, are a creamy yellow colour with black cursive writing on one side of the page. Page 1 of the letter begins with the salutation "My Dear Old Lillie...". Page 2 of the letter concludes with "...you may be able to tell me".The envelope is torn across the top for access to its contents. It has two stamps on the top right hand corner both with the text "Port Said 23AU25.4.5P".lillie duncan, howard, port said, lhlg, ss city of norwich

Lillie Duncan was a member of the Ladies' Harbour Lights Guild, the women's auxiliary group of the Mission to Seafarers organisation. The LHLG was formed in 1902 and organised social events for visiting seafarers and were directly responsible for much of the fundraising for the construction of the facility at 717 Flinders Street. As a member of the Guild, Lillie was expected to entertain and support visiting seafarers, although within a strict set of rules. This letter, along with a number of others, was sent to Lillie from abroad.This letter, along with a number of others sent to Lillie Duncan by visiting seafarers, underscore the social conventions of the time and the work of the Mission to Seafarers in provide comfort and support to visiting seafarers. The letters speak of the many events and activities undertaken at the Mission and provide a snapshot of the era.Letter addressed to Miss L. Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from J. Kokx, U.S.S. Medusa, c/o Pm San Francisco, 5th Div Cal consisting of two parts. Part 0074.1 Envelope Part 0074.2 Letter Both the envelope and the letter are creamy yellow in colour with black curly writing on one side of the envelope and both sides of the letter. The letter begins with "Dear Lillie, I received your letter..." and concludes with "Bundles of love, Julius Kokx, x Little Melbourne girl x"The envelope is torn across the top and part of the flap for access to its contents. It has two 2 cent red stamps with the text "United States Postage" and "Washington" on it, and one green 1 cent stamp with the text "U.S. Postage 1 cent 1"correspondence, handwriting, postage stamps, julius kokx, lillie duncan, lhlg, uss medusa, san francisco, california

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925.Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from N.H. (Nelson), Paul & Gray, Ship Chandlers, Scott St, Newcastle, NSW in three parts. Part 0100.1 Envelope Part 0100.2 Newspaper clipping Part 0100.3 Letter Both the envelope and the letter are creamy yellow in colour with black curly writing on one side of the envelope and on both sides of the letter. The letter begins "My Dear Lilly, Once again at seas, I am..." and concludes with "P.S.S Don't forget to answer this soon and write to...". In the top right hand corner of the letter is the ships details (S.S. Peterson, Brisbane). The newspaper clipping is titled "Oversea Vessels" dated London, April 13.The envelope has been torn across the top and alongside the flap to access its contents. It has an ink stamp with the text "Brisbane May 21 7-PM 1926" in the top middle of the envelope. Towards the right corner is a six wavy line ink stamp with the text "Post Early/Queensland/Each Day" partially covering an upside down red 1 1/2 cent stamp with the text "Australia Postage Three Halfpence"handwriting, correspondence, love letters, lillie duncan, nelson, lhlg, ss peterson, brisbane

Photograph donated by Alice Robinson.Black & White photograph of the Phillip Island Seconds Football Team - Premiers 1946.Names on back of photograph as follows: Back - L to R. Doug Morrison, Bluey Love, Hull, ----, Des Cartwright. Mid - L to R. Rupert Harris, Bern Denham, Russel West, Neil Grayden, Ken Clark, John Justice, Leslie Jones, Nic Regos. Front - L to R. Dennis Harris, Harry Harris, Billie Trew, Roy Anderson, Jack McFee, George Murdock, Bobby Cartwright, George Goodall. phillip island seconds football team, alice robinson

This card depicts the pond near Eltham Park (later Eltham Lower Park) circa 1910. The view is taken from Maria Street (Main Road) opposite Dalton Street looking northwest across the Dalton Street road extension reserve (now Wingrove Park Trail) and Jarrold farm. A haystack is visible. Also visible is a gas streetlight and White Cloud cottage which belonged to the Jarrold family From the same collection as accession no. 00778, (Yarra at Eltham) - sent from Eltham and addressed to "Mr J. L. Brown, "Elthamville", Tinning Street, Brunswick" "with love from Nellie" who was most probably a member of the extended Brown family, and no. 00780 (Eltham, J.H. Clark Photo - dated 20 May 1911). Sending postcards to family and friends including short messages was a common form of communication in the early 20th century. Part of a slide show presentation "Bridges & Waterways of the Shire" by Russell Yeoman to the 13 September 1989 Society meeting. The presentation included slides of historic photos from the Shire of Eltham Pioneers collections as well as several recent views.Sending postcards to family and friends including short messages was a common form of communication in the early 20th century.Sepia postcard in very poor condition which has been removed from an album. Glue residue and album page adhering preventing information being readFront: Pond near Eltham Parkpostcard, eltham, pond, dalton street, duck pond, eltham park, elthamville, gas lamp, haystack, jarrold cottage, jarrold property, main road, maria street, white cloud cottage, wingrove park trail

This postcard depicts the view down Bridge Street from east of Maria Street (Main Road) circa 1910. A man on a horse stands in the foreground. J.H. Clark Photo is stated under the title. From the same collection as accession no. 00778, (Yarra at Eltham) - sent from Eltham and addressed to "Mr J. L. Brown, "Elthamville", Tinning Street, Brunswick" "with love from Nellie" who was most probably a member of the extended Brown family, and no. 00779 (Pond near Eltham Park). "Dear John, As you see " can be ascertained on the reverse of this card. Sending postcards to family and friends including short messages was a common form of communication in the early 20th century. Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April !957 (513/387) records his occupation as "X Photographer".Sending postcards to family and friends including short messages was a common form of communication in the early 20th century. Original sepia photo postcard hand dated 20 May 1911 in very poor condition which has been removed from an album. Glue residue and album page adhering preventing information being read Eltham J.H. Clark Photoeltham, bridge street, j.h. clark photo, main road, maria street, horse rider

This is an example of a typical souvenir bought home from the middle-east by Australian troops. These items were made by local women and sold as souvenirs to the allies. Tpr C L Worcester served in Egypt with 4th Light Horse 1916.Framed silk- cloth embroidered with flags and flowers.Embroidered onto fabric is: "To Mother with Love from Tpr C L Worcester" and 1916 , 4th Light Horseww1 souvenir, light horse

Bendigo Operatic Society ''You're in Love'' Capitol Theatre - Mon., Tues., Wed., Thurs., March 24th,25th,26th,27th, 1958. Programme, 1/- Bendigo Operatic Society President: Mr. John Cannon - Vice-President: Mr C. Bubb - Secretary: Mr. E.B.Thomas - Treasurer: Mr. Bruce Ralph - Hon. Auditor: Mr. Frank Iredale - Committee: Messrs L. Spencely, J. Smyth, W. Kelly, Mesdames J. Cannon, N. McCarthy, J. McGrergor, J. Smyth and Miss M. Welch. Our Producer: Norman Lee - Our Musical Director: Max O'Loghlen Gertrude Perry Plays Georgiana - Bert Donovan Plays Hobby Douglas - Alfred Annison Plays Mr. Wix - Celia Douglas Plays Mrs.Payton - Barbara McGregor Plays Dorothy - Brian Brewer Plays Lacey Hart. Synopsis of ''You're in Love'' The action of this story takes place prior to and during a pleasure cruise of the Hawaiian Islands and centres around Hobby Douglas and Georgianawho both wish to marry, but are unable to do so without the consent of georgiana aunt, Mrs. Payton. Mr. wix a missionary worker and Hobby's Guardian is also against marriage. Dorothy and Lacey are a young married couple on the honeymoon cruise. What happens to this assortment of people will have to be seen. Cast in order of appearance: Judge Brewster: Max Beckwith - Lacey Hart: Brian Brewer - Dorothy: Barbara McGregor - Mrs.Payton: Celai Douglas - Georgiana: Gertrude Perry - Hobby Douglas: Bert Donovan - Mr. Wix: Alfred Annison - The Captain: Mervyn Penno - The Steward: Joseph Quigg - Specialty Dancers; Ann Stone, Rosalie Spencely. Costunmes and Scenery by J.C. Williamsons Ltd. Music by Rudolf Friml. Book and Lyrics by Otto Hauerbach and Edward Clarck.program, theatre, bendigo operatic society

Castlemaine State Festival, Castlemaine. 2 November 1990. Programme. From the Chairmen - Mr Bereck Segan. Melbourne Committee: B R Segan, O.B.E. (Chairman), M Besen, A.O. (Deputy Chairman), Mrs H Dore (Hon. Sec.), C Anzarut, N Bourke, Ms M Coillet, Prof. C Duckworth, G Fairfax, A.M., K MacKenzie-Forbes, A.M., Mrs B Margetts, Dr F R Moulds, I.S.O., R Nordlinger, J Parker, M.B.E., A Porter, Ms M Prendergast, C Pyett, Ms D Reilly, Mrs, Ms L Schiftan, P M Schiftan, D Segan, B J Stewart, Ms S Walker, Dr R Wlikie. Melbourne Committee: I O'Halloran, (Chairman), Mrs M Rilen (Hon.Sec.), Miss R Wood (Treas), Mrs L Bennet, Mrs M Bock, S Cox, Cr T Daniell, Mrs H Griffiths, B Heydon, N Jennings, Mrs C McKellar, Miss M Oliver, L O'Toole, F Ransome-Smith, J Shortal, Dr D Silver, Mrs V Victor-Gordon, Mes E Warren, Miss L Waters. Welcome to the 1990 Castlemaine State Festival. As one festival closes, planning for the next commences immediately.. . Mr Ian O'Halloran, Chairman, Castlemaine. Castlemaine State Festival Administration, Festival Manager: Phee Broadway, Manager's Assistant: Mary Harris, Technical Manager: Lis Pain, Drawing Prize Co-ordinator: Bev Singleton, Farnham Concert Co-Ordinator: Noel Jennings with Victorian Rock Foundation. Event Listings: Opening by Hon. Jim Kennan M.P., Deputy Premier and Minister for the Arts Castlemaine Stadium. Melbourne Symphony Orchestra, Conductor - Hiroyuki Iwaki, Soloist - Dong -Suk Kang. Royal Variety Club Grand Final Theatre Royal, Town Crier Mr Neville Stonehouse. Kilmna Wildflower Walk. 'Melbourne: Architecture Today and the year 2000' Professor Peter McIntyre, A.O. Wine tasting. Selected Antique Fair. Organ Recital, organist Michael Bottomly. Mickleford Tour. A Closer Look at Castlemaine, Castlemaine Historical Society. 'Local Brew' Love Letters by A R Gurney, Starring Julia Blake and Terry Norris Directed by George Fairfax A.M. The Noel Watson Show. John Pringle and Miriam Gormley sing Operatic Gems with the Rantos Collegium and conductor Nicholas Braithwaite. The Incredible Shrinking Mortgage Show', Pat Wilson and Adrian Barnes. Festival Nightcap, Mr P P an acrobatic delight. Breakfast with Potts in the Park. A Stroll Around Town, Historical Society guide. Gardens Open. Selected Antique Fair. Festive Family Fun, musician Natasha Moszenin, Fratellini Brothers, Tim Hurley, Wally Fair Ground Organ, Foundry Band, Megan Jones, Mr P P. A guided Tour, Mrs Marjorie Rilen. Goetz Richter - Violin, Jeanett Carrigan - Piano. 'King Lear', Berenice Kavanagh and Suzanne Kersten. The Chagell Ensemble, Rita Reichman, Piano, Semmy Stalhammer, Violin. Trevor Jones, Viola. David Pereira, Cello. Steven Reeves, Double Bass. 'The Incredible Shrinking Mortagage Show' Pat Wilson and Adrian Barnes. Festival Hymns. 'Recital' Hellen Noonan, Douglas Horton, David Chesworth, Jacqui Everett, Jude Gunson. Music for Flute and Piano, Dereck Jones - Flute, Jeanell Carrigan - Piano. 'Brass With Class' William Evans - trumpet, David Farrend - trumpet, Russell Davis - french horn, Ken McClimont - trombone, Eric Klay - bass trombone. Piano Recital - Richard Mapp. Chris Ludwick's Society Synocopators - Cup Eve Cabaret, Chris Ludowyk - trombone, Peter Gaudion- Trumpet, Richard Miller - reeds, Pip Avent - tuba, Cal Duffy's - drums. 'Cup Eve Comedy' Rachel Berger and Richard Stubbs. Festival Nightcap Mr P P. Botanical Gardens Tour Kevin Walsh. Alice's Adventures in Wonderland Glenn Elston. By arrangement with Feipp and Park Projects and Elston, Hocking and Woods Pty Ltd. Family Concert, Piano for 4 hands Jocelyn Abbott and Richard Mapp, actor Justin Shortal. Cup Day Sports Carnival. Fashion Parade, luncheon available at Georgians in George Clark Place. The Melba Trio, Carolyn Hayes - Oboe, Jane Stacvy - cor anglais, Seng Tong - Oboe. 'Images' Prudence Davis - flute, Jeffrey Crellin - oboe, Peter Lynch - guitar. 'Sounds in Time' Andree Cozens - soprano, Berenice Kavanagh - words, Dudley - Simons - piano, John Snowden - Guitar, Peter Taylor - Set design & lighting. 'Music for Celestial Voices' Laurence - Jenkins - organ, Mary Anderson - harp, Margot Anderson - harp, Margot Cory - soprano. 'Proms for Preps' Nehama Patkin. Organ Recital Keeith Bottomley. Kaweka Walk, Kaweka Reserve Committee. 'Camille Claudel'. The Tudor Choristers Musical Director - John O'Donnell. 'Something for Everyone' Nehama Patkin - piano, guitar and voice, Peter Clinch - saxaphone and clarinet, major Australian Orchastras. 'The Dock Brief' & 'What Shall We Tell Caroline' Neville Stonehouse, Kay Barker, David Bickart, Angela Walter. 'Bluebeard' The Rag & Bone Theatre Company. Poedijono and the Javanese Gamelan, Poedijono (Teacher), musician, dancer and puppeteer. Botanical Gardens Tour, Kevin Walsh, horticulturist and garden writer. 'Music through the Ages' 'Pizzicato' - classical guitar ensemble, Castlemaine Courthouse, Bruce Millar, Meryl Wilkinson, Greg Wilkinson, Greg James, Joan Maher, Danny Silver. Bach and Vivaldi - Elysium Ensemble Greg Dikmans - Art Director, flute & recorder, Julie Hewison - violin, Lucinda Moon - violin, Janet Ferandez - viola, Miriam Morris - cello, Rosemanry Westbrook - double bass, John O'Donnell - harpsichord. 'Handle by Candle' Laurence Jenkins. Sarah Grunstein at the Piano, Sarah Grunstein. 'Let the Children Sing' Castlemaine Children's Choir, director Michael Bottomley, soloist Peter Bottomley. 'Made in Australia' Phillip Day, Bruce Waston, & 'Twankydillo'. The Dancers Company of the Australian Ballet, Les Sylphides, Dame Peggy van Praagh, Sir John Betjeman, Robert Ray. 'The Wooden Child' Handspan Theatre, Douglass Horton, Ken Evans, Andre Greenwell, Peter J Wilson, Philip Lethean. Botanic Gardens Tour Kevin Walsh. Divine Accidents and Heavenly Venues' William (Bill) Akers, A.M., Director of Productions, Australian Ballet. Jazz at the Jail. Another Stroll round Castlemaine, Historical Society. Muckleford Tour, Naturalists Club. 'Sketches' The Argus Guitar Quartet, Jochen Sxhubert, Tania Ravbar, Samantha Tout, Chi Ly.Scores for Instruments and Voices, Phylis Bachelor. Fred Shade, flute; Mara Miller, Violin; Len Vorster, piano; Loris Synan, soprano; and the students of the Faculty of Music, Melbourne University. Music for Four Hands at One Keyboard, Jocelyn Abbot and Richard Mapp. Paul Grabowsky and the Groovematics, Paul Graboesky, piano. Andrew Gander, Drums. Doug de Vries, guitar. Bob Venier, Trumpet, Flugelhorn. Ian Chaplin, saxophone. Garry Costello, double bass. Shelley Scown, vocals. 'My Most Loved Songs' David Bickart - Basso. Chapliapin, McEachern, Pinza, Robeson, Dawson. A Stroll Around Town, Historical Society. Breakfast at Buda. Garden Open. Festival Eucharist, choir and orchestra Directed by Kevin Bottomley. Music, Madness, Magic. Itchy Feet Pep Band, 'Sound Steppers', 'Legs on the Wall', Andrew Elliot, Antebodies. A Guided Tour of Angligan Parish Church. John Farnham in Concert, The Chain Reaction Tour. John Farnham. Exhibitions: Aspects of France: The Australian Artist's View. Artsits include John Russell, Lloyd Rees, David Davies, John Dent, Eric Wilson, E Phillips Fox, Ethal Carrick, Rupert Bunny, Max Meldrum, Will Ashton, George Bell and others. Annemieke Mein: Embroidery and Applique. Castlemaine Artists Incorporated 6th Biennial Exhibition. Dominique Segan Castlemaine State Festival Drawing Prize 1990. 'Provocative Pieces'. 'Feathered Friends' Barbara Muir. Through the Looking Glass. Handmade - For Pleasure, Julie Cook - dolls and puppets; Traude Beilharz - hats; Gwen Cook - embroidery; Erika Beilharz - woven pieces. 'High Art' students of Castlemaine. 'Works in Wood' Laurie Vella. Old Telegraph Station, Pioneers and Old Residents Association, Jubilee booklet on sale. Studio Exhibition, Juliana Hilton: Prints, paintings decorated screens and furniture. Val Restarick: Pottery and outdoor planters. 2nd Biennial Ernest Leviny Commemorative Silver Exhibition, leading contemporary silversmiths; Hendrick Foster, Tony Kean, Mike Wilson, Flynn Bros, Andrew Last, Mark Edgoose, Peter Gerter, Beatrice Schlabowsly, Marian Hoskings, Karyn Kirby, Chris Sherwin, Peter McBride, Fran Allison. Ray Stanyer - Ceramic Paintings. Norman Anderson - Water Colour Studies. 'Australian & Baroque' David Terry. 'Mediterranean Images' Val Restarick. Framing Shop, Brian Harding. Exhibition of Women Artists, Liz Caffin, Mary Quinlton, Debra Watkins, Lorraine Le Plastrier. Maine Images, Jacki Bickart, Valarie Blake, Sue Breeney, Kate Burtchell, Janet Chapman, Diana Davidson, Betty Hall, Deidre Hull, Molly Maddox, Norma McKenzie, Beth Oag, Rhyll Plant, Michell Phillipson, Diane Thompson. Ceramics, Ian Drumond. 'The Esplanade of Palms' (Brickworks Exhibition), John Wilkins. Han Built Pottery, George Butcher. Hollis Gallery, Richard Hollis, Kathy Hollis. 'End of an Era', Castlemaine Technical College Student Exhibition. 'Building A Country', Commissioned by the Latrobe Library, the Australian State Library of Victoria. The Festival Exhibition. 'Colour - Three Way's, Alice Clague, Geoffrey Clague, Howard Tozer. Tonal Oil Painters and Tapestry Exhibition by a group of local artists, Albert Pollard, Shirley Anderson, Valerie Blake, Ivy Brown, Marjorie Byrne, Janet Chapman, Frances Cree, Colleen Hall, Loretta Harris, Phyllis McClure, Lorraine McDowell, Norma McLean, Margaret Maher, Winsome Morrat, Jean Perry, Martha Phillips, Alison Ross, Norma Sneddon, Val Story, Irene Szabo, Jean Wells, and Alan Winzor. Roma Dodson.'BarleyTwist Cottage', Bill Davies, Linda Long, Fred Kuhnl. Photography Exhibition: Faces and Souls. Children's Books and Illustrations, Meet the authors and illustrators. Burnett Gallery and Garden, Drew Lawson, photographer of Eaglehawk. Decorated Cakes & Sugar Craft Exhibition, Barbara Porter. Sponsored by Marong Hotel. The Central Victorian Unique Design & Restoration Centre, historical photographs, sketches, etc. Badger's Keep Nursery & Mr Badger's Shop, Margaret Lees, Bill Jackson. Carriage Builders & Restorers. 'Harmonious Inspirations X Four' Kristina Browning, Catherine Tait, Rod Pitt, Lindy McAboy, Castle Mice by Sonia. Historic Cottage, 'Orvil Dean Stud', John and Anne Murdock, Judy Dean. The Heritage of Maldon, Geoffery Stocks. Stanyer's Pottery, Dragon Magic, Annett Annand, Ellan Hansa. 2(two) copies of this program.event, entertainment, castemaine state festival, castlemaine state festival, castlemaine 1990. programme. chairmen - mr bereck segan. committee:b r segan, o.b.e. (chairman), m besen, a.o. (deputy chairman), mrs h dore (hon. sec.), c anzarut, n bourke, ms m coillet, prof. c duckworth, g fairfax, a.m., k mackenzie-forbes, a.m., mrs b margetts, dr f r moulds, i.s.o., r nordlinger, j parker, m.b.e., a porter, ms m prendergast, c pyett, ms d reilly, mrs, ms l schiftan, p m schiftan, d segan, b j stewart, ms s walker, dr r wlikie. melbourne committee: i o'halloran, (chairman), mrs m rilen (hon.sec.), miss r wood (treas), mrs l bennet, mrs m bock, s cox, cr t daniell, mrs h griffiths, b heydon, n jennings, mrs c mckellar, miss m oliver, l o'toole, f ransome-smith, j shortal, dr d silver, mrs v victor-gordon, mes e warren, miss l waters. mr ian o'halloran, chairman, castlemaine. castlemaine state festival administration, festival manager: phee broadway, manager's assistant: mary harris, technical manager: lis pain, drawing prize co-ordinator: bev singleton, farnham concert co-ordinator: noel jennings with victorian rock foundation. event listings: opening by hon. jim kennan m.p., deputy premier and minister for the arts castlemaine stadium. melbourne symphony orchestra, condustor - hiroyuki iwaki, soloist - dong -suk kang. royal variety club grand final theatre royal, town crier mr neville stonehouse. kilmna 'melbourne: professor peter mcintyre, a.o. organist michael bottomly. mickleford tour. castlemaine historical society. love letters by a r gurney, starring julia blake terry norris directed by george fairfax a.m. the noel watson show.john pringle and miriam gormley operatic rantos collegium and conductor nicholas braithwaite. the incredible shrinking mortgage show', pat wilson and adrian barnes., mr p p an acrobatic delight. potts in the park. a stroll around town, historical society guide. selected antique fair. festive family fun, musician natasha moszenin, fratellini brothers, tim hurley, wally fair ground organ, foundry band, megan jones, . a guided tour, mrs marjorie rilen. goetz richter - violin, jeanell carrigan - piano. 'king lear', berenice kavanagh and suzanne kersten. the chagell ensemble, rita reichman, piano, semmy stalhammer, violin. trevor jones, viola. david pereira, cello.steven reeves, double bass. pat wilson and adrian barnes. festival hymns. 'recital' hellen noonan, douglas horton, david chesworth, jacqui everett, jude gunson. music for flute and piano, dereck jones - flute, jeanell carrigan - piano. 'brass with class' william evans - trumpet, david farrend - trumpet, russell davis - french horn, ken mcclimont - trombone, eric klay - bass trombone. piano recital - richard mapp. chris ludwick's society synocopators - cabaret, chris ludowyk - trombone, peter gaudion- trumpet, richard miller - reeds, pip avent - tuba, cal duffy's - drums. 'cup eve comedy' rachel berger and richard stubbs. festival nightcap mr p p. botanicla gardens tour kevin walsh. alice's adventures in wonderland glenn elston. by arrangemnent with feipp and park projects and elston, hocking and woods pty ltd. family concert, piano for 4 hands jocelyn abbott richard mapp, actor justin shortal. cup day sports carnival. fashion parade, lucheon available ar georgians in george clark place. the melba trio, carolyn hayes - oboe, jane stacvy - cor anglais, seng tong - oboe. 'images' prudence davis - flute, jeffrey crellin - oboe, peter lynch - guitar. 'sounds in time' andree cozens - soprano, berenice kavanagh - words, dudley - simons - piano, john snowden - guitar, peter taylor - set design & lighting. 'music for celestial voices' laurence - jenkins - organ, mary anderson - harp, margot anderson - harp, margot cory - soprano. 'proms for preps' nehama patkin. organ recital keeith bottomley. kaweka walk, kaweka reserve committee. 'camille claudel'. the tudor choristers musical director - john o'donnell. 'something for everyone' nehama patkin - piano, guitar and voice, peter clinch - saxophone and clarinet, major australian orchastras.'the dock brief' & 'what shall we tell caroline' neville stonehouse, kay barker, david bickart, angela walter. 'bluebeard' the rag & bone theatre company. poedijono and the javanese gamelan, poedijono (teacher), musician, dancer and puppeteer. botanical gardens tour, kevin walsh, horticulturist and garden writer. 'music through the ages' 'pizzicato' - classical guitar ensemble, courthouse, bruce millar, meryl wilkinson, greg wilkinson, greg james, joan maher, danny silver. bach and vivaldi - elysium ensemble greg dikmans - art director, flute & recorder, julie hewison - violin, lucinda moon - violin, janet ferandez - viola, miriam morris - cello, rosemanry westbrook - double bass, john o'donnell - harpsichord. 'handle by candle' laurence jenkins. sarah grunstein at the piano, sarah grunstein. 'let the children sing' castlemaine children's choir, director michael bottomley, soloist peter bottomley. 'made in australia' phillip day, bruce waston, & 'twankydillo'. the dancers company of the australian ballet, les sylphides, dame peggy van praagh, sir john betjeman, robert ray. 'the wooden child' handspan theatre, douglass horton, ken evans, andre greenwell, peter j wilson, philip lethlean. botanic gardens tour kevin walsh. divine accidents and heavenly venues' william (bill) akers, a.m., director of productions, australian ballet. jazz at the jail. stroll round castlemaine, historical society. muckleford tour, naturalists club. 'sketches' the argus guitar quartet, jochen sxhubert, tania ravbar, samantha tout, chi ly.scores for instruments and voices, phylis bachelor. fred shade, flute; mara miller, violin; len vorster, piano; loris synan, soprano; students of the faculty of music, melbourne university. music for four hands at one keyboard, jocelyn abbot and richard mapp. paul grabowsky and the groovematics, paul graboesky, piano. andrew gander, drums. doug de vries, guitar. bob venier, trumpet, flugelhorn. ian chaplin, saxophone. garry costello, double bass. shelley scown, vocals. 'my most loved songs' david bickart - basso. chapliapin, mceachern, pinza, robeson, dawson. stroll around town, historical society. breakfast at buda. garden open. festival eucharist, choir and orchestra directed by kevin bottomley. music, madness, magic. itchy feet pep band, 'sound steppers', 'legs on the wall', andrew elliot, antebodies. a guided tour of angligan parish church. john farnham in concert. exhibitions: aspects of france: the australian artist's view. artsits include john russell, lloyd rees, david davies, john dent, eric wilson, e phillips fox, ethal carrick, rupert bunny, max meldrum, will ashton, george bell and others. annemieke mein: embroidery and applique. castlemaine artists incorportated 6th biennieal exibition. dominique segan castlemaine state festival drawing prize 1990. 'provocative pieces'.'feathered friends' barbara muir. through the looking glass. handmade - for pleasure, julie cook - dolls and puppets; traude beilharz - hats; gwen cook - embroidery; erika beilharz - woven pieces. 'high art' students of castlemaine. 'works in wood' laurie vella. old telegraph station, pioneers and old residents association, jubilee booklet on sale. studio exhibition, juliana hilton: prints, paintings decorated screens and furniture. val restarick: pottery and outdoor planters. 2nd biennial ernest leviny commemorative silver exhibition, leading contemporary silversmiths; hendrick foster, tony kean, mike wilson, flynn bros, andrew last, mark edgoose, peter gerter, beatrice schlabowsly, marian hoskings, karyn kirby, chris sherwin, peter mcbride, fran allison. ray stanyer - ceramic paintings. norman anderson - water colour studies. 'australian & baroque' david terry. 'mediterranean images' val restarick. framing shop, brian harding. exhibition of women artists, liz caffin, mary quinlton, debra watkins, lorraine le plastrier. maine images, jacki bickart, valarie blake, sue breeney, kate burtchell, janet chapman, diana davidson, betty hall, deidre hull, molly maddox, norma mckenzie, beth oag, rhyll plant, michell phillipson, diane thompson. ceramics, ian drumond. 'the esplanade of palms' (brickworks exhibition), john wilkins.han built pottery, george butcher. hollis gallery, richard hollis, kathy hollis. 'end of an era', castlemaine technical college student exhibition. 'building a country', commissioned by the latrobe library, the australian state library of victoria. the festival exhibition. 'colour - three way's, alice clague, geoffery clague, howard tozer. tonal oil painters and taperstry exhibition by a group of local artists, albert pollard, shirley anderson, valerie blake, ivy brown, marjorie byrne, janet chapman, frances cree, colleen hall, loretta harris, phyllis mcclure, lorraine mcdowell, norma mclean, margaret maher, winsome morrat, jean perry, martha phillips, alison ross, norma sneddon, val story, irene szabo, jean wells, and alan winzor. roma dodson.'barleytwist cottage', bill davies, linda long, fred kuhnl. photogralhy exhibition: faces and souls. children's books and illustrations, meet the authors and illustrators. burnett gallery and garden, drew lawson, photographer of eaglehawk. decorated cakes & sugar craft exhibition, barbara porter. sponsored by marong hotel. the central victorian unique design & restoration centre, historical photographs, sketches, etc. badger's keep nursery & mr badger's shop, margaret lees, bill jackson. carriage builders & restorers. 'harmonious inspirations x four' kristina browning, catherine tait, rod pitt, lindy mcaboy, castle mice by sonia. historic cottage, 'orvil dean stud', john and anne murdock, judy dean. the heritage of maldon, geoffery stocks. stanyer's pottery, dragon magic, annett annand, ellan hansa.

Poundkeepers Book. Details of all animals impounded by the Poundkeeper beginning 1955 to May 1994. Gives all details including owner, cause of impoundment, amount, damages and remarks.bendigo, council, cattle markets, bendigo saleyards collection - city of bendigo poundkeepers book, r w james, r h king, c kelly, f barr, w c buttrey, e bowles, f street, j mcdonald, rupert mansfield, a h hull, h hardingham, t r pitson, r w somerville, r w salathiel, mrs b leeck, c j mcleod, mr a stephens, l j pitson, l roach, j smith, mr oakes, l comer, a e cartwright, mrs osterfield, g cowling, e mcleod, a michelson, h hardingham, k gray, k yanner, a cartwright, k rutland, f cameron, i dole, l dempsey, i purtill, bell's, mr love, c douglass, r gill, r mitchell, g j friswell, a p tresize, w shelton, g nelson, f grainger, g j doyle, h c wood, r j knight, v l heath, v l valli, a o tresize, k w nolen, w k tresize, j w tresize, w h francis, e tresize, r foley, j mckenzie, s j larsen, r j knight, mrs e g bath, d farrar, e f granger, h j watters, a e brady, p r dixon, mrs g wicks, mrs k jinks, t i mcredmond

Town Hall, The Bendigo Choral Society. Season 1922, 2nd Concert. Oval photo of Mr. W C Frazier A.R.C.O. Conductor. Twenty = first Grand Concert. Town Hall, Bendigo. Wednesday, Sept. 13th, 1922. Artists: Madame Elsie Davies. Miss May McGauchie, Miss Myrtle Knight, Mr. L Bienvenu. Conductor: Mr. W C Frazier, A.R.C.O. Pianiste: Miss Eileen Hains, A.T.C.L. Patron-His worship the Mayor (Cr. M G Giudice). President- Mr. H M Leggo. Vice Presidents: Sir John Quick, Hon. Sternberg, M.L.C., Hon. Herbert Keck, M.L.C., Hon. R H S Abbott, M.L.C., Hon. D Smith, M.L.A., Mr. A. A. Dunston, M.L.A., Cr. J H Curnow, Cr. J E Holland, Mr. Oscar Flight, Mr. E S Cahill, Dr. W J Long, Dr. O Penfold, Mr. A L Bolton, O.B.E., Mr. G E Bolton, Mr. D Berriman, Mr. Alf E Wallis, Mr. J G Oliphant, Mr. Arthur Whitehead, Mr. W Watts, Mr. A E Sayer, Mr. William Wright, Mr. Magnus Cohn, Mr. Geo. Mackay, Mr. Barkly Hyett, Mr. A G Finister, Mr. W E Bradshaw, Mr. W J Campbell, From the performing members: Mr. E H Collett, Mr. A W McGibbony. Conductor: Mr. W C Frazier, A.R.C.O. Sub-Conductor: Mr. E A Miller. Pianiste: Miss Eileen Hains, A.T.C.L. Treasurer: Mr. D H Holden. Librarians: Mr. R J Duguid, Mr. H Veale, Mr. W Mansell, and Mr. A Ditchburn. Auditor: Mr. H T Bayton, A.A.I.S., L.I.C.A. Committee: Office Bearers, with Mesdames T Scott and Darvall, and Misses Colgan, Gail, Jamieson, Lethlean, and Messrs. Jeffery, McClure, H Cock, F J Walter and Wittscheibe. Including Tax: 2/6 Reserved, 1/6 Ordinary. Hon. Secs.: J Hudspeth, 85 Wills Street, Z S Martin, 66 McKenzie Street. Concert to commence at 8 pm. Programme Songs: The Dark-eyed Sailor, Just as the tide was flowing, Nelson's Gone a Sailing, The Radiant Morn of Spring, Una voce poco fa, Hullamzo Balaton, Morning Hymn, Awake, Sweet Love, Now is the Month of Maying, Brunhilde's Battle Cry, Cradle Song, The Three Fishers, Legende, To the Forest, I heard you go by, The Lilac Tree, Se, Sailing at Dawn, Song of the Sou'' Wester, The Little Admiral, Farwell. Words for some songs in program. Artists: Mr. L Bienvenu, Ladies of the Choir, Madame Elsie Davies, Miss Myrtle Knight, Miss May McGauchie, Ladies of the Society, Choral Society. God Save The King. BIZET'S Garmen. Special Announcement. This popular and celebrated Opera will be given I its entirety at as early a date as possible. Vocal scores have specially cabled for from London. Mr. Frazier would welcome the co-operation of the vocalists of our city in the performance of this charming Opera. Rehearsals commence next Tuesday at the Temperance Hall at 8pm, when it is hoped there will be a large response to his request. The public are reminded that the subscription to the Society is only 1/1/- per annum. Secretaries will be glad to give all information. Joint Hon. Secs.: J Hudspeth, 85 Will St., Z S Martin, 66 McKenzie St.Boltons Print, Bendigoprogram, theatre, town hall, the bendigo choral society. season 1922