Black vinyl cover with zip. "Holy Bible B.L. Start 3791450" embossed on front in gold print. "Holy Bible Boxford" Embossed on spine. Inside contents of Holy Biblebible

Photographic Album by Leathersmith, Made in England (AL4M Morocco)Cover is black leather with a gold embossed trim around edges. Internal exposed leather has similar trim. Pages are paper with rounded corners and edge of paper is gold.

From the library of John Pascoe Fawkner considered together with John Batman as a founder of Melbourne and one of the first group of free settlers to arrive in Victoria 1835. J.J.Walsh who inscribed this copy married Fawkner's widow following the death of Fawkner.A folio edition in half morocco ruled in gilt over marbled paper boards with 74 engraved plates.Inscribed on main title page J J Walsh 15 Temple Court and further Inscribed and dated 'John Pascoe Fawkner, Feby 1855 Bohn' on title page and again on the verso of the last plate.john pascoe fawkner, london, melbourne

Blue Morocco leather card holder lined in blue grograin. Navy blue ribbon straps to hold cardspersonal effects, containers

Morocco Leather bound large Bible with gold edged pages and reinforced ridged spine. Pale blue calligraphic inscription on preliminary page date 1874Pencil inscription handwritten on recto of card: "Nellie Hammond""

Contains entries of Legatees and their guests and visiting Legatees at Legacy, Tuesday luncheons. Commenced 6/6/1978. Last entry 27/7/1982This was a common means of recording guests and visitors of this era.Black hardback visitors book, with gold patterned border. White paper pages. Cover, gold patterned border. Back cover, gold text, Made in England, AL4M, MOROCCO. All text is handwritten.register, guest speakers, legatees

This pass indicates Allan Quinn's travels to Africa.This pass paints a picture of the regulations that would have covered sailors visiting ports. A police pass written entirely in French. "Permis D'Escale"Written on it are: Allan Quinn Australian M/S Teuris (slight illegible) R.B. It is dated on the reverse: 24 Juin 1949police pass, casablanca, morocco, allan charles quinn (1928-1990)

This sheet music is "The Parade of the Tin Soldiers', the original German title, composed by Leon Jessel as a solo piece for the piano in 1905. The work is also known as "The Parade of the Wooden Soldiers". In 1907 the orchestra version was published, Opus 123. (Op. 123, as written on the cover). The sheet music was published by Sole Publishers for the British Empire, Enoch & Sons Ld (1890-1927) of 58 Great Marlborough Street, London, W. Versions for all other countries were published by Neinrichshofen's, Verlag, Magdeburg. Orchestral and Military arrangements of the music were published by Hawkes & Son, Denman St, Piccadilly Circus, London, Leon Jessel (Jan. 22, 1821 to Jan. 4, 1942) was a German composer who was born a Jew and converted to Christianity in 1894. His works included a wide variety of music including 'The Parade of Tin Soldiers' (Die Parade der Zinnsoldaten). Jessel was also a music conductor and bandmaster. The instrumental piece 'Die Marokkanische Patrouille' (The Moroccan Patrol) was published in 1911, Opus 227. He was also known for his operettas 'Schwarzwaldmädel'(Black Forest Girl), presented in 1917, and 'Die Postmeisterin' (The Postmistress), presented in 1921. In December 1941 he was arrested and then tortured by the German Gestapo; he died in January 1942. In the early 1920s, The Parade of the Tin Soldiers became very popular; it was presented as part of a show and was re-titled The Parade of the Wooden Soldiers. It was also made into a film and its recording was a hit single record. The music continues to be played and presented and is a Christmas-time favourite.This music is significant for its connection with the German composer Leon Jessel, a victim of the Germans for being born a Jew, even though he converted to Christianity in his youth. It is also significant as a popular work of music composed in the early 1900s and later used for a variety show and a film. The music an example of entertainment in the early 20th century that has endured to current times and often played at Christmas celebrations.Book of sheet music for four tunes. The thin softcovered book has eight pages, with the front cover featuring colourful graphics of soldiers marching and others on horseback. The four tunes are: - The Parade of the Tin Soldiers, (piano solo), Composer: Leon Jessel. Ballade de la Lune, Enjolement, Lentement, document, tendrament, Publisher: for the British Empire, Hawkes & Son, Denman St, Piccadilly Circus, London, Sole Publishers for the British Empire, Printer: Enoch & Sons Ld. 58 Great Marlborough Street, London, W. Printer: Lowe & Brydone Printers Ltd. London N.W. 10 Publisher, for all other countries: Heinrichshofen's, Verlag, Magdeburg. Printed: in England by Heinrichshofen's Verlag Copyright: 1911 by Heinrichshofen's VerlagOther print on the cover includes: ALSO KNOWN AS "THE PARADE OF THE WOODEN SOLDIERS" "Op. 123" "Characteristic Piede" "SOLE PROPRIETORS FOR THE BRITISH EMPIRE" "NEW SUCCESS BY THE SAME COMPOSER 'MOROCCAN PAT(ROL) (CH)ARASTIC PIECE" "PIANO SOLO" "SIMPLIFIED" "DUET" "VIOLIN & PIANO" "Orchestral & Military Arrangements" On the bottom of pages: "E & S 4370" "Copyright 1911 by Heinrichshofen's Verlag" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, leon jessel, composer, operetta composer, the parade of the tin soldiers, the parade of the wooden soldiers, musical march, music conductor, music director, bandmaster, 19th-century classical composers, 19th-century german composers, 20th-century classical composers, 20th-century german composers, sheet music, music book, piano music, jewish composer, world war ii victim, composer: leon jessel., ballade de la lune, enjolement, lentement, hawkes & son, for all other countries: heinrichshofen's, verlag, magdeburg., book of sheet music, enoch & sons ltd london, lowe & brydone london, heinrichschofens verlag, marching music, 1911, early 20th century

The Desert Song" is an operetta based on the uprising of a Berber group against French Colonial rule in Morocco. The music was by Sigmund Romberg and the lyrics were a collaboration between Oscar Hammerstein II, Harbach and Mandel. It opened on Broadway in 1926.Bendigo Operatic Society Program for the production of The Desert Song White & orange/pink front page with a picture image of a desert scene Information on front cover: At the Capital Theatre for a five night season commencing 14th Nov, 1969 8 double sided pages with black & white photos of cast & production teamsouvenir programme, bendigo operatic society

"The Desert Song" is an operetta in two acts with book and lyrics by Otto Harbach, Oscar Hammerstwin II and Frank Mandel and music by Sigmund Romberg inspired by the 1925 upprising of a group of Berber fighters against French colonial rule in Morocco. Music Programme for The Desert Song" a musical performed by Bendigo Community Theatre and Arts Inc. October 25, 26, November 1, 2 and matinees October 26, November 3, 1991 at the Capital Theatre, View Street- a 20 page booklet with acknowledgements, advertisements, details of Acts, cast,and story synopsis. programme, concert

Anisa Sharif is a Melbourne based artist who specialises in glass mosaic. Much of her art is utilised in art-activated initiatives working with marginalised and underprivileged communities. Anisa draws her influence from Moroccan, Indian, Persian and the Art Nouveau​ genres.Mosaic art glass mosaic featuring twin peacocks. The peacock is a repeating theme in Anisa's work and is the artist's way of acknowledging and appreciating the great diversity of wonder and humour in creation. Visitors are encouraged to touch this piece — facilitating a tactile experience of the picture and the mosaic surface.mosaic, peacock, glass, gems

Two photos of the Patron's Certificate in a leather wallet to be presented to Sir Rohan Delacombe on 10 March 1973, in commemoration of his service to Legacy as Patron. The incumbent Governor of Victoria is the patron of Legacy. 1973 was the Golden Jubilee year of Legacy It came from a Legacy envelope marked "P1" in red pen, with assorted photos of major events such as 1973 Federal Conference, 1983 Morwell, 1973 Legacy march Anzac Day, 50 year celebration inclusion in Anzac Day March, with authority of RSL (some are items 00440 to 0442).A record of relationship with the Governor of Victoria.Black and white photo x 2 of Patron's Certificate."Patron's Certificate in Green Morocco leather wallet 1973", written in blue pen. Stamped "Property of Legacy Melbourne" in purple ink. Stamped "John Squire Photography" in purple ink. B1226-2 in pencil.governor of victoria, golden jubilee, patron

This model of camera was made between 1946 and 1957. (http://www.brownie-camera.com/71.shtml)Morocco-grained imitation leather covered metal body with two brilliant finders. Plain matt enamel front; metal wind knob and release button with a single blade shutter. (http://www.brownie-camera.com/71.shtml) This camera took box rollfilm, with 629 film size. The picture size was 2 1/4 X 3 1/4" .(http://www.brownie-camera.com/71.shtml) Instruction books for this model are available at http://www.brownie-camera.com/manuals.shtml camera, photography, brownie, kodak, box brownie, photographic equipment

This hat is one commonly called a fez but there are many variations of the style and colour and many different names according to the country or group wearing this type of hat. The name fez comes from the city of Fez, the capital of Morocco up to 1927. This style of hat was part of the traditional clothing of Cyprus and introduced into the Balkan countries in the Byzantine era. In the early 1800s it was made part of men’s clothing by the Sultan of the Ottoman Empire and was used particularly as part of the military uniform. Today in military circles it is used as part of a dress uniform only but is extensively worn by men in many countries and is now seen to be part of oriental cultural identity. This particular fez appears to be a theatrical prop.This hat is not an authentic one, being a theatrical piece, but it will be useful for display.This is a short cylindrical peakless hat made of cardboard covered with a burgundy-coloured felt. There is a black tassel attached to the top and hanging down the side of the hat. The inside of the hat has a green and white striped material around the edge and patterned material covering the rest of the inside. ‘8’men’s headwear, history of warrnambool

Map of the World as it was during World War One. map of the world, world war one, france, spain, england, ireland, germany, austria-hungary, rumania, servia, albania, greece, bulgaria, russia, asia minor, turkey, egypt, tripoli, morocco, algeria, tunis

Bendigo Operatic Society Theatre Programme 'The Desert Song.' Capital Theatre Bendigo October 18th, 19th, 21st 22nd, 23rd and Special Performance 24th, 1957. Arranged by J.C. Williamson Theatres Ltd. Norman Lee Producer. Musical Director Max O' Loghlen. Bendigo Concert Orchestra. Music Sigmund Romberg. Book & Lyrics Otto Harbach, Oscar Hammerstein II, Frank Mandel. Main Cast: Mervyn Penno, Alfred Annison, Max Beckwith, Greta Smyth, Alfred Austin, Brian Thomas, Brian Brewer, Rosalie Spencely, Harry Brewer, Alan Ewart, Adrian Van Dyke, Margaret Rule, Bert Donovan, Barbara McGregor, Coral Shiell, Charles Phillips, Ruth Ennor, Ian Beckwith, Malcolm Cannon, Reg Boromeo. Songs Include: 'High on a Hill', 'The Riff Song', 'Ho, Bold Men of Morocco,' 'Margot', 'I'll Be a Bouyant Girl.' 'Why Did We Marry Soldiers,' 'Romance,' 'The Desert Song,' 'Then You Will Know,' 'Song of the Brass Key,' 'Let Love Go,' 'One Flower in Your Garden,' 'The Sabre Song,' 'Farewell,' 'All Hail the General' and 'Soldier, When the Battle is Over.'Cambridge Press, Bendigo.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/the_desert_song

Model ship was presented to the Melbourne Maritime Museum by the British Phosphate Commissioners. Built as Tri-Ellis (1958-74), Tryphena (1974-78), Man Tat (1978-80), 1980 broken up. DWT 13,756 SPEED 14 KNOTS.AT 112RPM. BOILERS LARKSON TRIMBLETUBE. FUEL CONSUMPTION 7 TPD. GENERATORS W.H.ALLEN - 4CYL.2SA290/470. 480B.H.P.320L.W.-220V 333RPM DAILY CONS - 1.5 TONS. EMERGENCY GEN R & H. 40 K.N. -220V. REFRIGERATING MACH: J & G HALL LTD. SUPERSTRUCTURE: FORECASTLE 62'..2 DECKS RIVETED AND WELDED. CARGO BATTONS NOT FITTED. 9 BULKHEADS. RISE OF FLOOR 6".WATER BALLAST 3,296 TONS INCLUDING TUNNEL TANKS 1,341 TONS. 'TWEEN- DECKS FORWARD 274 TONS. REFRIGERATED CARGO INSTALLATION - 6 HOLDS - 55.2',52',54',59.5',43' ,53'. GRAIN CAPACITY :621,640 CU. FT. BALE CAPACITY : 573,810 CU. FT. INSULATED CAPACITY : 5,050 CU.FT. 6 STEEL HATCHWAYS (27',30',30'* 30') (30'* 27.75') (27', 24' * 28' ). 12 WINCHES...DERRICKS 1 (25), 2 (10), 10 (5). MACHINERY: OIL 2SA 7CY.C20 * 1400MM EXHAUST 470MM. 6500 BHP. FUEL BUNKERS: 2135 TONS HIGH VISCOCITY FUEL. The main engine was an opposed piston type Harland & Wolff 6-620/ 1870 6 for the number of cylinders.. 620 for the cylinder bore and 1870 for the combined strokes of the main exhaust pistons in each cylinder. This engine was based no a Burmeister and Wain design but H & W gave these engines their own type designation. Sailed on board its maiden voyage to Australia via Casablanca Morocco where she collected her first load of phosphate. We sailed to Geelong via the Suez canal and the Port of Aden (Yemen) and Freemantle. The first load of phosphate was unloaded at Corio Bay (geelong) Formerly part of the collection of Melbourne shipping company, Howard Smith Ltd. Ship builder's model of the cargo ship Tri-Ellis IMO 5368196 - Body of moulded polyurethane painted in red, black and grey, the deck painted in red, with detailed fittings, machinery, rigging and superstructure, raised on a wooden base. Original ship built Clyde 1958, 11,761 gross tonnes, 531.5' x 68' x 31' (162.0 x 20.73 x 9.45m)plaque at foot of model "MV TRI ELLIS/ LENGTH B.P. 486'-3"- BREADTH MLD 68'0" - DEPTH MLD 40'6"/ TONNAGE GROSS 11,760/ Built by HARLAND & WOLFF LTD/ For BRITISH PHOSPHATE COMMISSIONERS" On model "TRI-ELLIS" painted black

Taken some time between 1914-18, the photograph depicts an aerial view of Villers-Bretonneux in France, a region which was part of the Western Front during World War I. The image mostly shows rural landscape. The Western Front was the main theatre of war during World War I. Following the outbreak of war in August 1914, the German Army opened the Western Front by invading Luxembourg and Belgium, then gaining military control of important industrial regions in France. The German advance was halted with the Battle of the Marne. Following the Race to the Sea, both the French-British and German armies dug in along a meandering line of fortified trenches, stretching from the North Sea to the Swiss frontier with France. The First Battle of Villers-Bretonneux occurred between 30 March - 5 April 1918. It took place during Operation Michael, part of the German Spring Offensive on the Western Front. The offensive began against the British Fifth Army and the Third Army on the Somme, and pushed back the British and French reinforcements on the north side of the Somme. The capture of Villers-Bretonneux, close to Amiens, a strategically important road and rail-junction, would have brought the Germans within artillery-range. In late March, troops from the Australian Imperial Force were brought south from Belgium as reinforcements to help shore up the line. In early April, the Germans launched an attack to capture Villers-Bretonneux. After a determined defence by British and Australian troops, the attackers were close to success until a counter-attack by the 9th Australian Infantry Brigade and British troops late in the afternoon of 4 April restored the situation and halted the German advance on Amiens. The Second Battle of Villers-Bretonneux occurred between 24 - 27 April 1918, during the German Spring Offensive to the east of Amiens. It is notable for being the first occasion on which tanks fought against each other. A counter-attack by two Australian brigades and a British brigade during the night of 24 April partly surrounded Villers-Bretonneux, and on 25 April, the town was recaptured. On 26 April, the role of the Moroccan division of the French army was crucial in pushing back German units. Australian, British and French troops nearly restored the original front line by 27 April.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. Additionally, the record's significance is enhanced by its depiction of Villers-Bretonneux. The battles that occurred in this town during World War I are especially historically significant to Australia as this is where the Australian Imperial Force had one their greatest World War I victories. An Australian flag still flies over Villers-Bretonneux in the present. Furthermore, a plaque outside the Villers-Bretonneux Town Hall recounts the battles fought to save the town in 1918. Kangaroos feature over the entrance to the Town Hall, and the main street is named Rue de Melbourne. More officially, recognition of the significance of the battle in Villers-Bretonneux is found at the Australian National Memorial, which was built just outside the town. It commemorates all Australians who fought in France and Belgium and includes the names of 10,772 who died in France and have no known grave. Each year, a small ceremony is held at the memorial to mark the sacrifice made by the soldiers. Lastly, the record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper.Obverse: yAE.2.35. / 125 / 62d.2834.35.36.VA.5. / 12.G.18-11 / F.-(?)" /military album, wwi, world war i, villers-bretonneux, australian imperial force, aif, france, war, army, conflict, germany, 1918, battle

One of the first documented mentions of pudding can be found in Homer's Odyssey where a blood pudding roasted in a pig's stomach is described. This original meaning of a pudding as a sausage is retained in black pudding, which is a blood sausage originating in the United Kingdom and Ireland made from pork or beef blood, with pork fat or beef suet, and a cereal. Another early documented recipe for pudding is a reference to asida, found in a tenth century Arabic cookbook by Ibn Sayyar al-Warraq called Kitab al-Ṭabīḫ (Arabic: كتاب الطبيخ, The Book of Dishes). It was described as a thick pudding of dates cooked with clarified butter (samn). A recipe for asida was also mentioned in an anonymous Hispano-Muslim cookbook dating to the 13th century. In the 13th and 14th centuries, in the mountainous region of the Rif along the Mediterranean coast of Morocco, flour made from lightly grilled barley was used in place of wheat flour. A recipe for asida that adds argan seed oil was documented by Leo Africanus (c. 1465–1550), the Arab explorer known as Hasan al-Wazan in the Arab world. According to the French scholar Maxime Rodinson, asida were typical foods among the Bedouin of pre-Islamic and, probably, later times. In the United Kingdom and some of the Commonwealth countries, the word pudding can be used to describe both sweet and savoury dishes. Unless qualified, however, the term in everyday usage typically denotes a dessert; in the United Kingdom, pudding is used as a synonym for a dessert course. Puddings had their 'real heyday...', according to food historian Annie Gray, '...from the seventeenth century onward'. It is argued that 'the future of the boiled suet pudding as one of England's national dishes was assured only when the pudding cloth came into use' and although puddings boiled in cloths may have been mentioned in the medieval era, one of the earliest mentions is in 1617 in a recipe for Cambridge pudding, a pudding cloth is indicated; 'throw your pudding in, being tied in a fair cloth; when it is boiled enough, cut it in the midst, and so serve it in'. The pudding cloth is said, according to food historian C. Anne Wilson, to have revolutionised puddings. 'The invention of the pudding-cloth or bag finally severed the link between puddings and animal guts. Puddings could now be made at any time, and they became a regular part of the daily fare of almost all classes. Recipes for them proliferated.' https://en.wikipedia.org/wiki/PuddingPuddings and pudding making have evolved over the years, and continue to do so. White ceramic pudding bowl with fluted decoration on the outside.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, puddings, ceramics

Book, hard cover, 12 sections, sewn with end papers, 210 pages, titled "Destination unknown", written by Agatha Christie, published by The Crime Club, 1954. Has the stamp of the Footscray Tramway Library, asking it to be returned within 14 days inside the front cover and in many places throughout the book, along with Number "606" on the inside front cover and on the spine of the book. The book was part of a library run by the depot staff to provide materials during broken shifts and to take home. From Wikipedia - accessed 26/12/2019: Plot summary Hilary Craven, a deserted wife and bereaved mother, is planning suicide in a Moroccan hotel, when she is asked by British secret agent Jessop to undertake a dangerous mission as an alternative to taking an overdose of sleeping pills. The task, which she accepts, is to impersonate the wife of Thomas Betterton, a nuclear scientist who has disappeared and may have defected to the Soviet Union. Soon she finds herself in a group of oddly-assorted travellers being transported to the unknown destination of the title. The destination turns out to be a secret scientific research facility disguised as a modern leper colony and medical research center at a remote location in the Atlas Mountains. The scientists are well-treated, but they are not allowed to leave the facility, and they are locked in secret areas deep inside the mountain whenever government officials and other outsiders visit. Hilary Craven successfully passes herself as Betterton's wife Olive, because he is miserable and wants desperately to escape. Hilary discovers that the facility was built by the fabulously wealthy and somewhat villainous Mr Aristides, for financial rather than political ends. He has lured the world's best young scientists to it with various deceptions so that he can later sell their services back to the world's governments and corporations for a huge profit. She falls in love with Andrew Peters, a handsome young American who was in the group with her on their journey to the facility. With the help of clues she has left along the way, Jessop eventually locates and rescues her and the others held there. Peters turns out also to be on a mission, intent on bringing Betterton to justice for the murder of his first wife. Betterton, revealed to also be a scientific fraud who plagiarized his work, is arrested. Hilary no longer wants to die, and she and Peters are free to begin their life together.On the top of the first page "13/3" indicating the price, "m/arz"? on the bottom left hand corner and inside the front cover the label of "Robertson & Mullens Ltd" booksellers.trams, tramways, footscray depot, libraries, novels, personnel, crews, shifts

Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p175 It’s Saturday morning and thousands of people are visiting St Andrews Market at the corner of Heidelberg-Kinglake Road and Proctor Street. It’s hard to find a park. Cars are banked up along the narrow road and crammed in a nearby parking area. Yet, at the market, people look relaxed and happy amongst the yellow box gums on the site where the Wurundjeri people used to gather. Stone artefacts unearthed there by Koorie researcher, Isabel Ellender, indicate the site was once a Wurundjeri meeting place, according to Aboriginal Affairs Victoria.1 Acoustic sounds mingle with quiet conversations. A guitarist blows a mouth organ while his bare toes tickle chimes. A tiny busker, perhaps five years old, plays a violin while sounds of a harp emerge from the hall. One stallholder, selling delicious-looking pastries, chats to another in Spanish, then to me in broad Australian. ‘I was born in Fitzroy but my mother came from Mexico and my dad from Serbia,’ she smiles. A New Zealander fell in love with Mongolia and now imports their hand-made embroidered clothes and Yurts (tents) and runs adventure tours. A young woman visited Morocco and when friends admired the shoes she bought, she decided to import them and sell them at the market. Oxfam sells Fair Trade toys and clothes and displays a petition to Make Poverty History. Other stalls sell Himalayan salt, jewellery made from seeds from northern Australia, glass paper-weights from China as well as locally grown vegetables, flowers and organic freshly baked bread. A woman sits in a state of bliss under the hands of a masseur. Another offers Reiki or spiritual healing. A juggler tosses devil sticks – ‘not really about the devil,’ he smiles. This skill was practised thousands of years ago in Egypt and South America he says. At the Chai Tent people lounge on cushions in leisurely conversation. The idea for the market was first mooted among friends over a meal at the home of famous jazz and gospel singer Judy Jacques.2 Jacques remembers a discussion with several local artists including Marlene Pugh, Eric Beach, Les Kossatz, Ray Newell and Peter Wallace. ‘We decided we wanted a meeting place, where all the different factions of locals could meet on common ground, sell their goodies and get to know one another,’ Jacques recalls. They chose the site opposite another meeting place, St Andrews Pub. A week later Jacques rode her horse around the district and encouraged her neighbours to come along to the site to buy or sell. On February 23, 1973, about 20 stallholders arrived with tables. They traded ‘second-hand clothes, vegetables, meat, cheese, eggs, chickens, goats, scones, tea, garden pots and peacock feathers’. Now around 2000 people visit each Saturday. People usually linger until dusk. The market – with around 150 stalls of wares from a wide variety of cultures – stands alongside Montsalvat as the most popular tourist attraction in Nillumbik. By the 1990s St Andrews Market was in danger of being loved to death, as the site was becoming seriously degraded. The market was spreading in all directions and the degradation with it. A local council arborist’s report in 1994 noted exposed tree roots from erosion and compaction. The Department of Sustainability and Environment threatened to close the market if the degradation was not rectified. After many months of research, discussions and lobbying by a few residents, the council formed a Committee of Management, with an Advisory Committee, and introduced an Environment Levy. The State Government, the council and the market, funded terracing of the site to stop erosion, and retain moisture and nutrients. Vehicles were excluded from some sensitive areas and other crucial zones reserved for re-vegetation. Volunteers planted more than 3000 locally grown indigenous species. The old Yellow Box trees fully recovered and are expected to give shade for many years to come.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, didgeridoo, jesse tree, st andrews market, swiss hang drum

Vol. 8, No. 3, Jul-Aug 2003 CONTENTS Short Story by Christine Fontana 3 Corrina Taustche on Terri Bird 7 Barry Dickins on John Jenkins 10 Fiona Sievers on Jordie Albiston 11 Julian Chapple's tales from India 12 Justin Fitzpatrick on the Warrandyte Theatre 13 Sandy Jeffs' Poetry 16 Book Review - Barenboim and Said 19 CD Review by Betty Scarlett 20 Jenni Mitchell - 'To The Ice' 21 Scott Henley on Marion Borgelt Exhibition 22 'Wandering Whittlesea' 24 'Origin: Dunmoochin' at Montsalvat 25 Artin' About 26 Wining & Dining 30 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, art masters, thompsons amcal pharmacy, clemm christesen, christine fontana, corrina tauschke, terri bird, willy wonka's ice cream gourmet food, nillumbik art in public places award, eltham wiregrass gallery, wild dog hill recording and project studio, sushi wushi eltham, fiona sievers, julian chapple, warrandyte mechanics institute, montsalvat, eltham fullife pharmacy, warrandyte cafe, northcote pottery, smiths gully general store, jenni mitchell, scott henley, marion borgelt, zelij moroccan interiors, st andrews hotel, city of whittlesea heritage program, hawkestowe park, bundoora homestead, dunmoochin, il primo restaurant carlton, hurstbridge nursery, bulleen art & garden centre, eltham gourmet poultry & game, bahnhof cafe, manningham arts centre, manningham gallery, arts on burgundy, bendigo bank, hurstbridge & districts community bank branch, alan marshall short story award

This item is part of a collection of photographs and postcards found at 'Lost and Found' market, Lygon street, Brunswick East over the period between April 2013 and September 2013.tangier; morrocco; postcard; 1905