Oval plaster mould depicting a male nude with spiral tree. Nonematcham skipper, mould, jewellery, nude, spiral tree

Round plaster relief depicting a male nude with spiral tree. Nonematcham skipper, relief, jewellery, nude, spiral tree

Round bronze medallion depicting a male nude with spiral tree motif. Inscribed MS on lower front. Inscribed Matcham Skipper top reverse.matcham skipper, bronze, medallion, male, nude, spiral tree

A community-led project to contribute to a vision for the Shire of Nillumbik. Between October 2011 and June 2012, Nillumbik Shire Council undertook a community information gathering project to ask residents "what is your vision for your local community?” Picture Nillumbik represents a collection of responses from community groups, schools and households via online submissions, photos, interviews and workshop contributions. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. The project aimed to inform community planning and identify how Council can work better with residents. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. Aimed to inform community planning and identify how Council can work better with residents. Further that the document be inspiring, stimulating and a reminder that the future is worth planning for. Includes a number of case studies of local organisations and projects including: Christmas Hills - Butterfly Studios, Strathewen Tree Project, St Andrews mosaic seat, Eltham & District Woodworkers Inc., Edendale Farm - Home harvest, Hurstbridge, Bend of Islands, Bendigo bank, Dunmoochin - Cottles Bridge, Artists Open Studios Program, World Matters and Past Matters, Nillumbik Reconciliation Group, Boots for all. Chapters include: Deep connection and resilient community, local village life, Balance with nature, a sustaining and evolving economy, creative expression, art and cultural exchange, experience discovery and fulfilment and stewarding the Nillumbik way. Each chapter includes further questions for discussion.Spiral bound document printed in landscape format. Includes text and colour photographs. 196 pagesSmall piece of paper headed "DRAFT" included at the front of the document when bound.shire of nillumbik, planning, future, christmas hills, strathewen tree project, st andrews, eltham & district woodworkers inc., edendale farm, bend of islands, dunmoochin, artists open studios program, nillumbik reconciliation group, community groups, vision, strategy

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

The White-throated Treecreeper is a commonly small bird of the Climacteridae family, that has a loud, piping, whistle-like call. Living in permanent territories and rarely seen on the ground, this species is found in forested areas of south-east and southern mainland Australia. The name tree-creeper comes from their foraging patterns, in which they spiral up the trunk of trees (usually eucalypts for their preferrable rough bark) head-first, probing for ants or nectar with their long, curved beak.The females are distinct from males through orange marks on the sides of their face. The colour of these specimens differ from white-throated tree-creepers, whose plummage on the head and back is usually a dark gray-brown. The beaks of these specimens are also an orange-brown colour whereas these birds usually have a black beak. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This mount includes two White-throated treecreepers secured on a stick, one above the other. The top specimen is female, distinguished by a distinctive orange mark on the sides of its face underneath the eyes. Both specimens have white throat, chest and streaks on the flank. The top of the head and back are both a brown to dark-brown colour, with streaks of those colours on the flank as well. The stick and specimens are mounted on a wooden platform and a swing tag is secured around a part of the stick.Swing tag: 67a. / White-throated treecreeper / See catalogue, page 20 / Wooden Mount: 85taxidermy mount, taxidermy, burke museum, beechworth, bird, treecreeper, australian birds, white-throated, white-throated treecreeper, reynell eveleigh johns

Thomas Buzza (1833-1904) was a Cornish born miner who came to Bendigo in 1853. He bought the BAckCreek sawmill (1861-1865). He had several other sawmilling enterprises and later operated a hay and corn produce store. He also built and operated paddle-steamers in the Murray Darling system. He left Myers Flat in 1893 and died in Goolwa, SA in 1904. He had married Emily Rainsdon (1852-1926) in 1867.Printed family history spiral bound with perspex cover. Contents page - no index. Contains family trees, summary of Thomas Buzza and his migration from Cornwall, details of descendants of Thomas Buzza, photographs, maps and images of birth, death and marriage certificates.Darren McFarlanegenealogy, family, cornish, buzza, bendigo, eaglehawk

material for Wieland bookMaroon spiral binder with photographs, cerificates , hand written family trees collected for the published book.

Gwen Horman was a prominent figure in Ringwood History. Her husband , Robert, was the Mayor of the Ringwood Borough in 1954 and again in 1961 and played a large part in the move for Ringwood to become a city. Gwen was a foundation member and President of the Ringwood East Infant Welfare Centre, helped fund raise for the Maroondah Hospital and was a founding member of the Ringwood East CWA in 1949. She traveled extensively and there are many diary notes of these trips included in the history.Transparent front cover and buff coloured back cover, black spiral binding contains 38 pages of printed notes and photos, some hand written amendments. Printed 25-Sep-1998. +Additional Keywords: Horman, GwenLife and times of Gwen Horman

Contents: Mayger family trees; entries from Digger database; copies of emails relating to family; copies of photographs; references to George Mayger in Melbourne directories 1874-1908; unassisted passenger list, G.Mayger; The Mayger family in Australia, compiled by Colin McKenzie.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Mayger/Maygar family.Collected by Greensborough Historical Society. Folder commenced 2012mayger family, maygar family, greensborough

A collection of documents relating to the Batman apple tree and those men associated with it: Martin Batey, Frederick N. Flintoff and Johannes Adam Bosch.Documents relating to possibly the oldest apple tree in Victoria. The tree was allegedly transplanted from John Batman's orchard in Melbourne to the banks of the Plenty River in Greensborough circa 1841, by Mr Flintoff.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the 'Batman' Apple Tree in GreensboroughCollected by Greensborough Historical Society. Folder commenced 2012.batman apple tree, greensborough, martin batey, frederick flintoff, johannes bosch

Contents: Partington Family history: from Lancashire to the unknown; family tree [with corrections]; copies of photographs; obituary of Trevor Partington 2002.History of the origins of this Greensborough pioneer family. (2 files)20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Partington familyCollected by Greensborough Historical Society. Folder commenced 2012.partington family, alan partington, noel withers

Contents: My story of the Iredales and old Greensborough by George Iredale; Family tree of George Iredale and Sarah Hurst; James Iredale and descendants; 1878 news article 'Shooting case at Greensborough'; funeral notice for James Iredale 1885; advertisement for staff Iredale & Co, Para Road Greensborough.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Iredale family.Collected by Greensborough Historical Society. Folder commenced 2012.iredale family, george arthur iredale, sarah hurst, james iredale, george gilding

Contents: Ely family tree Frederick Ely was born in Cowlinge Suffolk, in 1838. (His parents were George Ely b1793 and Sarah Poulter b1792, both born in Cowlinge. Frederick came to Australia on the ship 'Ocean Monarch' in 1856 with (most likely) his brother George, aged 34, his wife Elizabeth Piper, aged 22, and daughters Elizabeth, aged 2, and Harriet, aged 1. George and his family settled in the Harcourt area of Victoria, as did his brothers William and Henry. In 1857, Henry, his wife Mary Anne (Parker) and a daughter came to Australia, and settled in Greensborough for a short time, then moved to Harcourt, taking a large amount of apple tree cuttings and plants from Greensborough, where he, brother William, William Eagle, a childhood friend from Cowlinge, and a Nathan Vick, planted and stated apple orchids.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Ely family.Collected by Greensborough Historical Society. Folder commenced 2012.ely family, splatt family

Contents: Handwritten list of burials of McLaughlin and Black families at St Katherine's St Helena; handwritten family tree by Shirley Fraser; letter re McLaughlins Lane; un-named family photos; television fan memorabilia from 1950s.History of the origins of this Greensborough family. Includes McLaughlin, Fraser, Black.20-page plastic binder, spiral bound, purple cover. Contains documents relating to the Black and Fraser family.Collected by Greensborough Historical Society. Folder commenced 2012.black family, shirley fraser, mclaughlin family, watsonia

Contents: Poulter family tree; Digger records for Poulter family; Death Certificate Violet Poulter (nee Staines); family tree of Samuel Poulter and Dianna Johnston; Obituary William Poulter; Family group record William Poulter and Mary Frost; Death Certificate George Henry Staines Poulter 1949; Death certificate Elizabeth Poulter (nee Bathgate) 1989; Australian Army record of George Henry Staines Poulter; Newspaper article "True bloods of our shire"1992.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Poulter family.poulter family, violet poulter, george henry staines poulter, samuel poulter, william poulter

This family tree gives details of five generations of descendants of Henry Bartlett (Barl) Splatt. Compiled by Val Wilson (nee Rolfs).14 pages. In black spiral folder with clear cover.henry bartlett splatt, barl splatt, val wilson(nee rolfs), poulter, chapman family, splatt family

Stage 1 deals with identification and location of trees and tree groups within HGC boundaries and condition assessment and works recommendations for trees and tree groups in North West area. By Stephen Fitzgerald Arboriculture (Hawthorn East). Includes 3 inserts dated 2024 of plant lists, Banyule planting schemes and significant tree registers.Various paging, maps, illus. Clear cover, metal spiral binding. heidelberg golf club - history, course layout, tree planting, trees

Spiral bound booklet of forty four photocopied pages. A family history and descendants of Cornishman John Henry Burt. Illustrated with colour and B&W photos, family trees, obituary notices, newspaper cuttings, census lists, etc. Author not given.burt family history, family history

Soft Cover, around A5 size horizontal, has been spiral bound, has a clear plastic cover to protect inner cover. White outer with green inner & photo of a Captain Cook Pine, black writing 66 pages

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

The house was in Sussex Street, next to the library building, and was the home of the Todd family.Black and white photograph of two ladies standing on front verandah of a weatherboard house."Lilly Pilly tree". "Lil Poultney and Pet Todd". "Taken about 1910 we could hear all the music from our veranda. Dance music band music children's concert from the old Shire Hall what a lovely old hall it was with a cedar spiral staircase. Huge magnolia tree in front & clock".lil poultney, pet todd, houses

Rev. Thomas Hastie was the first Presbyterian minister in Buninyong, serving for 44 years to 1891. He is buried in the Buninyong Cemetery. The folio includes a family tree, genealogical and historical notes and original booklets from the centenary and 125th anniversary commemorations of the Buninyong Presbyterian Church. The church joined the Uniting Church of Australia in 1977 and is now known as the Ballarat South Uniting Church.rev. thomas hastie, buninyong, buninyong presbyterian church, ballarat south uniting church, religion, presbyterianism, uniting church