W A Comeadow was a resident of Fellows Street, Kew. A one-time councillor and mayor of Kew, he was also a horticulturalist and journalist.Spiral bound, bright plasticised floral cover. Each month with a separate page and picture. Produced and distributed by WA Comeadow.w a comeadow, calendars, melbourne town council, christian-washfold collection

coloured brochures 750 outstanding musicians 130 extraordinary concerts 35 magical venues including: Melbourne town hall assembly hall athenauem theatre 1 athenauem theatre 2 Basement discs baptist church Cathedral room-ANZ Gothic Bank the melbourne club rauquet courts melbourne town hall council chambers miettas lounge gold vaults old treasury building 101 collins Street Scots Church 333 collins street capitol cinema city square kay croddocks antiquarian book shop gallery 101 melbourne town hall reception area mitre tavern novetel on collins micheals brasssere JJclark room 120 collins street reserve bank foyer the bzw colins street grand music promenade, athenaeum theatre one, the australian art orchestra, athenaeum theater two, the aspern papers, that, geoffrey tozer piano, roger woodward piano, nathan waks cello, stephen mcinytre piano, rita reichman piano

Legacy has run a programme since the 1970s of propagating saplings taken from seeds of pine descended from a pine tree from Gallipoli and giving them to various clubs, schools and town councils. Melbourne Legacy wished to mark the friendship and goodwill by the members and management of Huntingdale Golf Club as far back as 1933, by presenting a Lone Pine sapling to Huntingdale Golf Club in 1992. L/- G. M. Swan (President 1992) is on the far right. A similar photo was featured in the Widows' Newsletter in July 1992. The men in yellow blazers are Huntingdale Golf Club's captain, Tony Reidy, President, Len Rainer and past president Douglas McLean. The man in grey is unknown but could be Legatee Frank Doolan.A record of Lone Pine tree being planted at Huntingdale Golf Club.Colour photo of President Swan unveiling a Lone Pine sapling with a Legacy flag.tree planting, lone pine, huntingdale golf club

Princes Bridge Centenary pylons under construction Possibly taken from Young and Jacksons Hotel (formerly Princes Bridge Hotel) on the corner of Flinders and Swanston streets, Flinders Street Station’s clocks and main entrance dominate, along with its distinctive copper dome and decorative façade. The time on the main clock is 1.40pm, and the sign underneath, reflecting Melbourne’s upcoming Centenary reads, “We must accommodate our Centenary visitors! Citizens! Do your share by taking paying guests.” At left is the original Princes Bridge Station, today the site of Federation Square. The riverside tram terminus advertises a Café/Tobacconist/Refreshment Room selling cigars & cigarettes, fountain drinks & confectionery, and in smaller text: “Leave your boot repairs here”. Nearly everyone is dressed in dark suits, coats and hats. The footpaths are wide and there are no traffic lights. The roadway stretches towards the Shrine of Remembrance, not yet dedicated but very dominant on the skyline. Government House is clearly visible across the wide parkland that would come to be known as Kings Domain and that is an area of deep importance to the people of the Eastern Kulin. Originally, Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, Public Works Department engineer Carlo Catani, oversaw a new channel to straighten the river and the swamps and lagoons were filled with spoil from the channel works. From the same vantage point today, only the top of the tower of Government House would be visible. The photo captures the pylons along Princes Bridge, mid-construction and being installed to mark Melbourne’s Centenary. The pylons were not without controversy. Both The Argus and The Age bemoaned them for being “made almost entirely of imported softwood timber”, denying work to native hardwood timber workers and sawmillers, and leading visitors to think Australia did not have its own exceptional native hardwoods. The pylons were also variously described in their incomplete state, as unimaginative and resembling an oilfield. Published: The Age 5 September 1934 Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Louise McKenzie Photographer notations on slide: "Pylons + St Kilda Rd C57" Published: Age (Melbourne, Vic. : 1854 - 1954), Wednesday 5 September 1934, page 11 Published title: DECORATIONS -- THEN AND NOW. Published caption: "Although not completed yet, some impression of the effect of the decorations on Princes-bridge may be obtained from the first picture which shows the majestic sweep of St Kilda road with the Shrine of Remembrance and Government House dominating the horizon. The area to the left of St. Kilda-road and in front of Government House is portion of the area which it is proposed to call the King's Domain, which extends to Domain-road and Anderson-street..." Description: East-facing, elevated view of Flinders Street Station and Princes Bridge, featuring partially completed pylons erected for Melbourne's Centenary celebrations. The Shrine of Remembrance and Government House can be seen in the distance. In the foreground are trams, cars and trucks, pedestrians, Batman Avenue tram terminus and refreshment rooms. Signage on Flinders Street Station encourages citizens to accommodate Centenary visitors. The Melbourne Centenary was held 1934-35 in celebration John Batman's proclamation that Melbourne "the place for a village". Centenary events included a visit by Prince Henry, Duke of Gloucester. A Centenary Cake measuring 50 feet in height and ten tons in weight was cut into 250,000 pieces and sold at 1 shilling per piece for charity. Spectacular floodlighting of city landmarks, the creation of the Pioneer Women's Memorial Garden, and the MacRobertson Air Race from London, were other notable activities. Research by project volunteer, Louise McKenzie: The photo in The Age collage of 5 September 1934 has a slightly cropped foreground. The original photo has been taken from an elevated vantage point, most probably the roof of the Nicholas Building on the corner of Flinders and Swanston streets. The right foreground is dominated by the main “clocks” entrance to Flinders Street Station, showing its distinctive copper dome and decorative façade. The time on the main clock is 1.40 pm. The main sign on the front of the Station reads, "We Must Accommodate our Centenary Visitors! Citizens! Do your share by taking paying guests. Write to The Official Centenary Accommodation Bureau, 436 Collins St. City. Tel M 4671”. Another sign at eye level at the main entrance says: “Cheap Trips on Sundays”. The sign on the end of the roof along the eastern side of the station reads, “The Babies Need Your Help! Support Broadmeadows Foundling Hospital Appeal. July and August”. Run by the Sisters of St Joseph of the Sacred Heart, St Joseph’s Foundling Hospital was a purpose built infants’ home for up to 300 babies, plus accommodation for expectant mothers, mainly single women. In the early 1930s, the department (Victorian Children’s Welfare Department) contracted St Joseph’s Foundling Hospital to care for an additional 60 infant state wards, and up to 175 non wards at any given time. In 1931 it also operated a mothercraft training school. The centre foreground shows the commencement of Princes Bridge. Beneath the left side of the bridge was the site of the original Princes Bridge Station, by this time incorporated into Flinders Street Station, and today the area is the site of Federation Square. It was linked to Flinders Street station by the railway tracks that ran underneath the northern approach to the bridge. This photo shows a tram terminus which has a Café/Tobacconist/Refreshment Room, selling cigars & cigarettes, fountain drinks & confectionary, and a sign: Leave your boot repairs here. In the foreground is a wide roadway running south/north, comprising two vehicle lanes each heading north/south, and a central section containing two sets of tram tracks. There are cars, buses and delivery vans on the roadway. The trams visible are Glen Iris (Route No. 6; tram no. 448), Toorak (Route No. 8, tram no. 333), ? (No. 7), ? (No. 1), and ? (No. 2A). The footpaths are extremely wide. There is a square newspaper/magazine stand on the eastern side footpath. And also a “Ferry” sign. There are no traffic lights, but a policeman is visible on the roadway. There are pedestrians – men, women, children, a porter with trolley, women with prams. Clothing comprises dark suits, coats and hats for nearly everyone. There are double headed “Collins Street” lights along the side of the roadway, and along the northern riverbank. The roadway in the foreground is an extension of Swanston Street, which becomes Princes Bridge, then St Kilda Road, stretching towards the Shrine of Remembrance, and diverting past it. The Shrine had not yet been officially dedicated, and looks very white and dominant on the skyline. On the LHS of St Kilda Road, Government House is clearly visible across the wide parkland to be known as Kings Domain. The Kings Domain area is important to the people of the Eastern Kulin nation, and also has historical importance for its association with the early settlement of Melbourne and the foundation of British colonial administration in Victoria. On the southern side of the Yarra River (Birrarung) an historic rowing boathouse is visible, located adjacent to the Alexandra Gardens. Originally Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, under the guidance of engineer Carlo Catani* a new channel to straighten the river was created and the swamps and lagoons were filled with spoil from the channel works. The gardens were then created and completed in time for a Royal visit by the Duke of York in May 1901. The gardens are named after Alexandra of Denmark, the wife of King Edward VII. Both these areas, plus the Royal Botanic Gardens Victoria, Shrine of Remembrance Reserve, Sidney Myer Music Bowl, Government House, and the Queen Victoria Gardens together form the Domain Parklands. The extent of the subsequent plantings is evident today, where from the same vantage point only the top of the tower of Government House would be visible. *Catani was born in Florence in 1852, but after arriving in Melbourne worked as a civil engineer for the Victorian Government. His last major project was the reclamation of the foreshore of St Kilda, envisaged in the style of a European resort, complete with a split level esplanade, bathing pavilions, dance halls, amusements and a French-Italian style of landscape complete with palms. The gardens at the end of Fitzroy Street, St Kilda, now bear his name. The historic boathouse visible across the Yarra is another glimpse into Melbourne’s past. “Boathouse Row” comprises 7 amateur rowing clubs, the first established in 1859 (Melbourne University Boat Club). Other Clubs were Richmond, Melbourne, Banks, Melbourne Grammar School, Yarra Yarra and Mercantile. South of the river and west of the bridge is an area today developed into the Melbourne arts precinct of Hamer Hall and the Arts Centre. But at this time it was the home of Wirths Olympia Circus, which comprised Wirths Pleasure Park (an amusement park), a 5,000 seat auditorium – Hippodrome, a roller skating rink, a glaciarium, a cinema, and the Green Mill Dance Hall. Dog shows were also held at Olympia. The Green Mill Dance Hall closed in 1950, and the remainder of the Wirth buildings on site were destroyed by fire in December 1953. The feature of the photo is the pylons erected along Princes Bridge to mark Melbourne’s Centenary in 1934. The sixteen plastered pylons were designed by Roy Prentice, the second person to qualify as an architect at The University of Melbourne’s Bachelor of Architecture degree, in 1933, aged 27. Simon Reeves in his article marking the 100th birthday of Roy Prentice on 20 June 2006 reports that the State Electricity Commission sponsored this work, and the Argus reported that “… the pylons were “illuminated from within to give the effect of soft radiance”. Australia Home Beautiful 1 Oct 1934 reports in a very detailed and comprehensive article: The 10 taller pylons, including flagpole, were 48 ft, with a base of 8 ft. Timber-framed and faced with fibrous plaster and galvanised sheet iron, each structure was securely bolted to a concrete foundation three feet in depth. Panels of glass let into the shaft of each pylon were indirectly lit by 40, 100 watt lamps, and the upper bank of internal lamps were dyed so as to flood the panels with a deep red light. The decorative painted shields and flagpoles/pennants were illuminated by three 200 watt projectors concealed in the roof of each pylon, and were part of an electric night light decoration scheme involving 28 miles of wire to supply more than 20,000 lights. An article in the Argus on 18 October 1934 provided minute detail of the lighting erected in Melbourne for the Centenary, converting it “… into a coloured fairyland by night.” The estimated cost of 10 pounds per hour the lights were on. The display included 800 standard light poles 30 feet high which were tiered with electric bulbs concealed in inverted cones, 138 specially designed “Venetian poles” draped in flags trophies and streamers. The streets included in the electric night light decoration scheme were Bourke Street from Spring to William, the entire length of Collins Street, Flinders Street from Elizabeth to Spring, Lonsdale Street from Elizabeth to Swanston, Swanston and Elizabeth Streets from Flinders to Lonsdale, and parts of Springs and Spencer Streets. Together with the Princes Bridge pylons, approximately 28 miles of wire was required to supply power to the more than 20,000 lights. And that is just in the city of Melbourne. It was estimated the same amount of lighting was duplicated among other local councils. The pylons were not without controversy. The Argus on 28 August 1934 in an article headed “Imported Timber in Pylons” reported that the Princes Bridge pylons are “made almost entirely of imported softwood timber”, and have therefore denied work to native hardwood timber workers and sawmillers. The same day the Melbourne Age ran a similar story, bemoaning the fact that foreign oregon had been used which may lead tourists to think Australia did not have its own exceptional native hardwoods. A Camberwell City Councillor described the pylons as unimaginative, and the Herald reported that skeletons of pylons for the Centenary decorations in their present form led the area to resemble an oilfield! The Yarra River and Princes Bridge have long been a focal point of Melbourne life. In the early days of European settlement in Melbourne a rope-hauled punt carried people across the Yarra River. A surge in population and increased shipping traffic created a need for a bridge. There was difficulty in agreeing on a suitable site for the bridge (options were crossing at Elizabeth, Swanston, Queen or Market Streets), but the NSW Government favoured Swanston Street and the Melbourne Town Council decided on a temporary bridge across the Yarra spanning from the foot of Swanston Street. This first bridge was a single span timber toll bridge designed by Scottish born bridge designer David Lennox, and completed in 1845. It was 120 feet long, had a roadway of 17 feet wide, and a footpath on one side of 4 feet. It was leased to the Melbourne Bridge Company in the name of Robert A Balbirnie. The tollhouse was on the north side of the river and the toll keeper, Patrick Doherty, was credited with saving nine lives during the four years he was in charge of the toll station. The second bridge was stone (completed 1850), and named Prince’s Bridge after the HRH Prince of Wales, later Edward VII. It was designed with an elliptical single arc and an exceedingly small rise in proportion to the span. However, this design created an obstacle for flood waters, and together with Melbourne’s increasing population it was quickly apparent that a new bridge was required. At its opening on 15 November 1850 coincided with the imminent declaration of Victoria as a separate colony, it provided a moment of great celebration for Melbournians and “The opening ceremony was described as the grandest processional display witnessed in the colony.” (ToMelbourne.com.au) Princes Bridge in its present form, as depicted in this photograph, was designed by Jenkins, D’Ebro and Grainger, and constructed in 1886-88 by David Munro. John Grainger (father of Australian composer Percy Grainger) did the majority of the design work for the bridge. The structure was to have three arches each 96 feet wide measured across the river, and the banks on both sides were raised to allow more space for floodwater to flow. St Kilda Road was originally many feet below the current level. The bridge is of architectural significance for its substantial size, giant half columns, extensive use of wrought and cast iron, decorative elements (cast-iron lamps) and the skilled stonemasonry in the construction of the abutments and piers. Its main design features are similar to those of Blackfriars Bridge in London (1870). The bluestones were quarried from Footscray, the Malmsbury stones were from quarries at Kyneton, and the granite from Harcourt. The cost was met by the State of Victoria, City of Melbourne, and six out of seven of its municipalities, and their coats of arms feature on the bridge. The building of the bridge reflected the boom period of Melbourne, including the Victorian gold rush 1851- late 1860s, and its contractor, David Munro, was also responsible for the construction of Queens Bridge and Sandridge Railway Bridge. The Centenary pylons are no longer in place, but today this intersection still plays a major part in Melbourne’s daily life: people still meet “under the clocks” at Flinders Street station, and the route in and out of the city along St Kilda Road is often a feature of parades such as Moomba, the Grand Final Parade, and of course the Anzac Day Parade which commences at the Princes Bridge intersection and finishes at the Shrine of Remembrance. There are many tram routes, which cross the Bridge, and it directs pedestrians towards the Arts Precinct, the various components of Domain Park, plus the Southbank restaurant and rowing precincts. Even though this is a street scene, it feels very intimate; the viewer is instantly immersed in the activity of a Melbourne afternoon, looking down St Kilda Road from a viewpoint near today’s Federation Square. References: DECORATIONS -- THEN AND NOW. (1934, September 5). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205880269 'Flinders Street railway station', Wikipedia, https://en.wikipedia.org/wiki/Flinders_Street_railway_station 'St Joseph’s Foundling Hospital (1901-75)', Finding Records, Department of Health and Human Services, State of Victoria, https://www.findingrecords.dhhs.vic.gov.au/collectionresultspage/St-JosephsFoundling-Hospital-Babies-Home#departmental-administration 'Alexandra Gardens', City of Melbourne, https://www.melbourne.vic.gov.au/community/parks-open-spaces/major-parks-gardens/Pages/alexandra-gardens.aspx 'Wirths Circus', Wikipedia, https://en.wikipedia.org/wiki/Wirth's_Circus 'Roy Prentice: Centenary Architect', Built Heritage Pty Ltd, Simon Reeves, https://www.builtheritage.com.au/downloads/prentice.pdf 'Princes Bridge', Heritage Council Victoria, https://vhd.heritagecouncil.vic.gov.au/places/817 PORT PHILLIP. (1846, April 1). The Sydney Morning Herald (NSW : 1842 - 1954), p. 3. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article12886251 'Edward VII', Wikipedia, https://en.wikipedia.org/wiki/Edward_VII 'Princes Bridge', ToMelbourne.com, https://tomelbourne.com.au/princes-bridge/ 'Princes Bridge', eMelbourne, https://www.emelbourne.net.au/biogs/EM01189b.htm 'Princes Bridge', Australia for everyone, http://australiaforeveryone.com.au/files/melbourne/princes-bridge.html 'Victorian gold rush', Wikipedia, https://en.wikipedia.org/wiki/Victorian_gold_rush IMPORTED TIMBER IN PYLONS (1934, August 28). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10952507 Princes-Bridge Pylons. (1934, August 28). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205532235 Pylons Appear Near Princes Bridge (1934, August 18). The Herald (Melbourne, Vic. : 1861 - 1954), p. 1. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243104375 PRINCES-BRIDGE PYLONS. (1934, September 20). The Age (Melbourne, Vic. : 1854 - 1954), p. 10. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205873535 28 Miles of Wire (1934, October 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 1 (The Junior Argus). Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10977836 'Historical references for Boathouse Row, Melbourne', http://boathouserowmelbourne.com.au/history/ 'ITALIAN DELEGATION TO HONOUR CARLO CATANI, DESIGNER OF THE ST KILDA FORESHORE, St Kilda Historical Society, 2001, https://web.archive.org/web/20070928061938/http://www.skhs.org.au/~SKHSarticles/articles/Carlo_Catani.html# HISTORY IN LIGHTS (1934, July 12). The Herald (Melbourne, Vic. : 1861 - 1954), p. 16. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243172436 'Dressing Melbourne for the Duke', The Australian home beautiful: a journal for the home builder. Vol 12 No. 10 (1 October 1934), page 21, 58. Retrieved September 14, 2023, from http://nla.gov.au/nla.obj-2950922209Photographer notations on slide: "Pylons + St Kilda Rd C57".centenaries, bridges, lighting, flinders street railway station

Both copies - This sheet music was composed by A.J.Bates in 1928 as part of the Warrnambool celebrations when the city won the Ideal Town competition that year. This was the first Ideal Town award, a competition sponsored by the The Sun newspaper with the finalists decided by votes sent in by The Sun readers. Warrnambool won in the large town category. Warrnambool Council and local businesses used the award as a tourist promotion tool. An original link to Warrnambool through music.Both copies -Cream paper with black text and black and white illustrations along the top and left hand side in banners.Six pages. Inside the front cover are the words to the song while the musical score is on pages 3-5. back cover is blank.Written and composed by A.J. Bates. Printed by McCarron Bird & Co 479 Collins Street Melbourne.warrnambool the ideal town, sheet music

This marble stopper bottle came from the Warrnambool aerated waters manufacturer, John Rowley. A marble stopper bottle was filled upside down so that as soon as the filling stopped the stopper was forced down to seal the bottle against the rubber ring. Pressure inside the bottle would keep the marble pressed against the top of the bottle. To open the bottle the marble was pressed down where it would fall into the neck chamber below. The marble would stay inside the chamber when the bottle was tilted up for drinking. John Rowley (1837-1893) was born in England and came to Australia in 1856. In 1865 he opened a branch of the Geelong Corio Brewery at the corner of Timor and Banyan Streets, Warrnambool, bottling the beer, not brewing it. In 1870 this business was closed and Rowley developed his soft drinks business which he had established in 1868. In 1872 the business was called the Warrnambool Steam Aerated Works when a steam engine was purchased from Melbourne. By this time the factory was turning out 600 dozen bottles a day. For some time Rowley also had a factory in the Western District town of Hamilton. By the 1880s the Warrnambool factory was occupying half an acre of land, was employing 13 people and manufacturing 20 varieties of drinks. Rowley was active in community affairs, serving four years on the Warrnambool Council and he was on the committees of the Warrnambool Hospital and the Mechanics’ Institute.This bottle is of great interest as it comes from the factory of the prominent 19th century Warrnambool aerated waters manufacturer, John Rowley. This is one of the few bottles we have from the Rowley factory. Cordial manufacturing was an important industry in Warrnambool for over 100 years and John Rowley was a key figure in this industry. This is a marble stopper green-coloured glass bottle. The body is rounded with a round base and it has deep indentations at the top of the body that narrows to form a small chamber. The neck tapers to the top of the bottle which has a moulded glass top and a rubber ring inside the top. A green marble is loose in the neck chamber. Details of the soft drinks manufacturer are impressed into the glass on the side of the bottle. ‘J.S.Rowley’s Aerated Waters Warrnambool & Hamilton’ ‘D. K.’ john searle rowley, warrnambool, cordial manufacturers in warrnambool, history of warrnambool

William Wilson Jamieson came to Warrnambool around 1857 after running a Ironmongers business in Hawthorne died . He opened his store in Liebig St which he operated until his death in 1882. He was quite active in the community serving on the town council for a number of years and also the Oddfellows Lodge and the Mechanics Institute. He came to Warrnambool in 1857, after running an Ironmonger's business in Hawthorn and having worked for the hardware company McEwan & Co. in Melbourne. He bought a weatherboard building that had previously been a 'bowling saloon' in Liebig Street and opened a business that Gardner describes as a general store and Turnbull describes as a drapery store. He was a member of the town council from 1862 to 1874 and from 1877 to 1880 and also served as mayor for two terms. He was also active in community organisations including the Mechanics institute and the Oddfellows This token is of great importance. It is significant for three reasons: 1. It is an example of an 1850s Australian token, demonstrating an early business practice in our history. 2. It is an example of a Warrnambool token produced by an important Warrnambool business (only two firms in Warrnambool produced tokens)A round copper token. The token was issued by: W.W. Jamieson & Co.. Liebeg St. Warrnambool, Storekeepers 1862 which is in raised lettering on the obverse of the token. The reverse features a blindfolded woman with the scales of Justice in her raised right hand. She is standing beside the seashore with a sailing ship in the background AUSTRALIA is stampedabove the figure anf the date 1862 is stamped below.W.W. JAMIESON & CO STOREKEEPERS LIEBEG STREET WARRNAMBOOL. AUSTRALIA1862jamieson token, warrnambool, william wilson jamieson, warrnambool ironmonger

This is one of the earliest surveys and maps of Warrnambool harbor, Lady Bay. Being done in 1853, it shows the depths of the bay area marked in fathoms, currents and directions and areas of rocks around mouth of the Merri and the Western side of the bay as well as a large sand spit to the middle right of the beach region.. It also marks the large areas of seaweed and fuci in the outer bay area. It has the area of Pertobe Lagoon marked and shows the early tracks to the town. The engraving work was done by Tulloch and Brown, with Tulloch being one of the earliest engravers and lithographers in the state of Victoria. He arrived in Melbourne in 1849 and set up business with James Davie Brown in 1853 with Brown being a map engraver. They were awarded bronze and silver medals for their work at the Victorian Industrial Exhibition. He also worked in the vignettes on the Proeschel Map of Victoria.This map is of high historical and comparitive significance as it shows the Lady Bay area prior to the changes that have occurred in the last 160 years with the building of the breakwater. The issue regarding access to Lady Bay remains a current one. The engraver D Tulloch engraved some of the earliest scenes of the goldfields in Ballarat and as such has left a record of a very early and important era in Australian history. Rectangular cream paper with black text. Map area is outlined by fine black lined border. Key in top right hand corner and scale at bottom middle of map.Map is labelled Town of Warrnambool printed at top of map. Small logo at top right corner which has “Hydrographic Department” in circle around an anchor. Lady Bay Warrnambool Surveyed by John Barrow assistant surveyor Engraved by Tulloch & Brown in bottom right corner. Melbourne engraved by order of the legislative Council of Victoria in middle bottom.map, warrnambool, town of warrnambool map 1853, tulloch & brown map 1853, lady bay warrnambool,, warrnambool harbour, warrnambool breakwater, warrnambool beach

This is a glass cup which has been painted and etched at the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition lasted three months and was staged at the Liebig/Timor Streets intersection at the Warrnambool Town Hall and Council buildings with some temporary buildings added for the occasion. It was reported that 70,000 people visited the displays, attended the concerts and entered the competitions. John Villiers, a Warrnambool painter and decorator with a glassware and chinaware shop in Liebig Street, had a stall at the Exhibition. He brought from Melbourne a glass etcher who etched glass souvenirs such as this one for patrons of the Exhibition. It was the first time that glass etching had been done in Warrnambool. Alice McConnell was born in 1885 in Warrnambool to Robert McConnell and Matilda Russell so she was about 11 or 12 at the time of the Exhibition. She died at the age of 17 in Warrnambool. Her father was possibly the proprietor of the R. and J. McConnell livery stables which later became a transport company in Warrnambool.This glass is most significant because it is one of the few surviving souvenirs of the important Warrnambool Industrial and Art Exhibition of 1896-7. It is also a memento of Alice McConnell, the owner of the glass, who died at the young age of 17. The item comes from the estate of Ken Wooles who was a descendant of the Wooles family prominent in Warrnambool as monumental masons. He was also related to the McConnell family on his mother’s side of the familyThis is a glass cup with a handle. It has a curved shape and has a painting of a young girl with brown hair in a white decorative setting. The glass is etched with the name of Alice McConnell and this was done in 1897 at the Warrnambool Industrial and Art Exhibition of 1896-7. There is a crack near the handle.‘Warrnambool Exhibition, Alice McConnell, 1897’warrnambool industrial and art exhibition 1896-7, alice mcconnell

This set was given by the Warrnambool City Council Councillors to Horace Lawson on the occasion of his marriage in 1898. Horace Edward Lawson was the son of Susan and Thomas Lawson. The latter at one time had a drapery business in Liebig Street. Horace Lawson was the Town Clerk of Warrnambool from 1893 to 1918. He was a keen cyclist and a member of the Warrnambool Volunteer Artillery Corps. In 1918 Lawson was appointed the Secretary of the Municipal Association of Victoria, a Melbourne appointment. This set is of considerable interest as it was presented to Horace Lawson, notable in Warrnambool’s history as a long-serving and successful Town Clerk. This silver-plated tea and coffee set has four items – coffee pot, tea pot, sugar basin and milk jug. All have the same etched decorative patterns on the sides and the lids and all have handles attached with a nut and a bolt. The tea pot and the coffee pot have the maker’s marks on the bases and there is an inscription on the side of the sugar basin. The lids of the coffee pot, tea pot and milk jug are hinged. ‘W. Mammatt & Sons Sheffield’ ‘Presented to H. E. Lawson Esq. Town Clerk by the Mayor & Councillors of Warrnambool on the Occasion of his Marriage Sept. 1898’horace lawson, history of warrnambool, silver tea set

This journal shows payments made for a number of Council and community expenses. It includes entries relating to Town Hall, Botanic gardens, Parks, road costs, baths, beach improvements, Warrnambool Racing Club. It shows account transfer journals Provides an overview of expenses of Council in the early 20th century.Dark blue water wave fabric over card with light brown points and binding. Red leather label with gold text and border. Pages edged in pink green, yellow and white pattern. 102 Pages.Journal Town of Warrnambooltown of warrnambool 1914-1926, warrnambool expenses 1920, warrnambool town hall, warrnambool baths

The Warrnambool Industrial and Art Exhibition of 1896-7 was held for three months in the Town Hall/Council Chambers/ Mechanics Institute buildings with additional temporary buildings placed on the Liebig and Timor Streets corner area. It was one of the biggest events ever held in Warrnambool with an estimated 70,000 attending. John Villiers, the owner of a glassware and crockery shop in Liebig Street and a well-known theatrical performer, had a large display stand at the Exhibition. He displayed glassware items from Britain and Europe and sold souvenirs of the Exhibition. Villiers engaged Mr Bartholomew, a Melbourne engraving artist, and he gave engraving exhibitions at Villiers’ stall. Glass etching had not been seen in Warrnambool previous to this. No doubt many of his engraved objects were sold and this glass tumbler would be one of these. This is a valuable and significant item because:- 1. It is an important souvenir from the Warrnambool Industrial and Art Exhibition of 1896-7, the only one we have from Villiers’ stall. 2. It is an example of what is believed to be the first etching on glass to be done in Warrnambool. The identity of ‘M.R.’ is not known. This is an etched glass tumbler from the Warrnambool Industrial and Art Exhibition of 1896-7. It is plain glass with a solid base. A three branched frond of fern is on one side of the glass and a two-branched frond of leaves on the other. ‘Warrnambool Exhibition, M.R. 1897’ warrnambool, warrnambool industrial and art exhibition 1896-7, etched glass tumbler, john villiers 1896, warrnambool souvenirs, villiers

Richard Osburne (1825-1895) came to Warrnambool in 1847, a pioneer resident in the new settlement. In 1851, with John Wilkinson, he founded Warrnambool’s first newspaper, the Warrnambool Examiner, and issued it weekly for some months until he left the town for the goldfields. Returning in 1853 he resumed publication of the Examiner and continued it, intermittently in its last few years, until 1880. He was acknowledged in his day as the Father of the Warrnambool Press and was a dominant figure in Warrnambool’s early history. He was associated with the establishment of the Aboriginal Reserves, Fire Brigade, Mechanics’ Institute, Warrnambool Council, National School, Presbyterian Church, Public Wants Committee, Villiers Building Society, Fish Protection Society, Dramatic Club, Cricket Club, Otway Gold Exploration Syndicate and other institutions. In 1882 he went to live in Melbourne, returning to publish his ‘History of Warrnambool’ in 1887, a Queen’s Jubilee publication. Richard Osburne’s book is a seminal work of the 19th century history of Warrnambool and its importance cannot be over-emphasized. The original copies of this book are now hard to get and are very valuable. This facsimile is kept because the facsimiles are also now becoming rare and they are good examples of the way a facsimile is reproduced and the reason for the existence of this particular reprint– the importance and usefulness of Osburne’s history and the need to make it accessible to researchers today.This is a facsimile edition (1980) of Richard Osburne's book on the history of Warrnambool from 1847 to 1886. It is a hard cover buff-coloured book with gold lettering on the spine. The dust cover is cream-coloured paper with black writing. Inside the cover is a map of southwest Victoria (1880). There are five fold-up inserts (sketches, diagrams etc), a number of business advertisements, sepia photographs and sketches and an index. The dust cover includes information on the author. There are 25 chapters, a foreword by the Prime Minister of Australia, Malcolm Fraser and a Preface The proceeds of the book reprint went to Flagstaff Hill Maritime Village.This is a facsimile edition (1980) of Richard Osburne’s book on the history of Warrnambool from 1847 to 1886. It is a hard cover buff-coloured book with gold lettering on the spine. The dust cover is cream–coloured paper with black writing. Inside the cover is a map of southwest Victoria (1880). There are five fold-up inserts (sketches, diagrams etc), a number of business advertisements, sepia photographs and sketches and an index. The dust cover includes information on the author. There are 25 chapters, a foreword by the Prime Minister of Australia, Malcolm Fraser and a Preface The proceeds of the book reprint went to Flagstaff Hill Maritime Village.richard osburne, the history of warrnambool, warrnambool examiner

Many organisations organised functions to celebrate the Service given by their employees during WW1.8 page programme from Melbourne Council to Volunteers for WW1. White cardboard bound in one hole by brown string. Writing on cover in gold and red. Rising Sun Emblem on one side and Commonwealth Emblem on other side. Invite from Melbourne Lord Mayor to Volunteers who served abroad at the front. Pages 2,3,6,7, blank. Page 5 has the programme for the day, page 6 has a place for autographs with a picture of Town Hall at bottom. Last page (back) has an honour roll for those that served and died.Message on front "Smoke Social given by Lord Mayor of Melbourne, Councillor The Hon J.C. Aikman MLC - to - The Officers of the Melb City Council who volunteered for Active Service abroard in the Great War 1914-1918". "Town Hall 16th April 1920". melbourne city council, commemorations, ww1

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Richard Kottek 1988 Entrant No. 16 Ref: Series 34, Items 6, 50, 51 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, scan - 35mm negative, alistair knox park, eltham town park, film - kodak ga 100 5095, richard kottek

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Lucas McAuliffe 1988 Entrant No. 37 Ref: Series 34, Items 15, 16, 69, 70 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, alistair knox park, eltham town park, film - kodak ga 100 5095, lucas mcauliffe, playground, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Sean Brady 1988 Entrant No. 145 Ref: Series 34, Items 33, 34, 105, 106 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, alistair knox park, eltham town park, film - kodak ga 100 5095, scan - 35mm negative, sean brady

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Wendy Price 1988 Entrant No. 147 Ref: Series 34, Items 35, 36, 107, 108 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Front: Entrant No. and name on printed label Rear: Entrant No., name and address on printed label; also 'Series 34' and the 'Item No.' in pencilshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, eltham photographic survey exhibition, series 34, series 35, alistair knox park, artist, eltham town park, film - kodak ga 100 5095, scan - 35mm negative, shillinglaw cottage, wendy price

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Fred Mitchell 1988 Entrant No. 5 Ref: Series 34, Items 3, 4, 46-49 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in ornage inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, eltham town park, film - kodak ga 100 5095, fred mitchell, scan - 35mm negative

Eltham Town Park was partially constructed on a tip site. The park and lake were landscaped in 1973-1974. As early as late 1980 a proposal to rename it Alistair Knox Park was met with significant community resistance with a petition of 1600 signatures against however Council ultimately pushed the name through in 1987. Many residents continued to call it Eltham Town Park for some years later. Richard Kottek 1988 Entrant No. 16 Ref: Series 34, Items 6, 50, 51 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, alistair knox park, richard kottek, eltham town park, film - kodak ga 100 5095, scan - 35mm negative