Christmas 1930; Norman Arthur Woods; G.W.L GibsonPresented to future shire Secretary Norman Arthur Woods at Christmas 1930 by Shire President C.W.L GibsonGreen leatherette loose leaf book Back Page: Shire of Broadmeadows/ with compliment of season/ G.W.L Gibson / President / Xmas 1930 Book Cover: Gold embossed N.Wshire of broadmeadows, secretary, notebook, norman arthur woods, c.w.l gibson

Book used to record entries by the Shire of Merriang/Shire of Broadmeadows Poundkeeper between 1865-1954.This book records details of animals impounded by the Pound at Beveridge and their fate.The book is cloth hardcovered with a leather spine, colour brown with red insert on spine.Spine: Poundkeeper's Bookpoundkeeper, shire of merriang, shire of broadmeadows, 1865, 1954, beveridgethis

Christmas 1930; Norman Arthur Woods; G.W.L GibsonPresented to future shire Secretary Norman Arthur Woods at Christmas 1930 by Shire President G.W.L GibsonGreen leatherette loose leaf book with index in boxBack Page: Shire of Broadmeadows/ with compliment of season/ G.W.L Gibson / President / Xmas 1930 Box Lid: Walker's/ Loose Leaf Books End of Lid: Label No: 513/ Walkers/ Green with index/ Loose leaf/ Ruled / Book faint (unreadable) size of leaf 5x3in London Book Cover: Gold embossed N.Wshire of broadmeadows, secretary, notebook, norman arthur woods

Worn by Broadmeadows Shire SecretaryOwned by previous Shire SecretaryTop Hat worn by Mr. Albert T.C. Cook, Broadmeadows Shire Secretary, Black silk with cork skeleton with box white card. Inside Hat: Crown: Logo Christys' London/ Made in England for Lincoln Stuart & Propt. Ltd. Melbourne. On leather band, Logo Christys' London/ 6 5/8 / Made in England for/ Lincoln Stuart & co. Propt. Ltd. Melbourne Box: Logo Christy's London/ Trademark. Top of Box: Shipping label, Lincoln, Stuart, See imagesbroadmeadows, shire, secretary, cook

Painting of a demolished house from Shire of BroadmeadowsPainted by Jean JacksonOil on board in gold painted wooden frame.Front: "Waverley" Homestead/Built 1887 Demolished 1978 Label on back: "Waverley"/Built 1900/now Colton Close/Genuine Antique Frame $400 Back of painting: "Waverley" 1890/89 Chapman Ave/Glenroy/now Demolished/is now Colton Closebroadmeadows, "waverley", demolished, 1890, jean jackson

Painting of a demolished house from Shire of Broadmeadows.Painting by long time member of the Historical Society.Oil on board in wood frame painted fawn with gold highlights.Label: Pic-002broadmeadows, "waverley", demolished, 1890

There is very little information about this historic home .which is thought to be somewhere within the former Shire of Bulla and/or the Shire of Broadmeadows.A non-digital sepia photograph in post card format of a two storey Georgian style home with a single storey extension at the rear of the house.mansions, homesteads

Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street