Steven Wells of Montmorency is a registered nurse and horticulturalist. He has developed a horticulture therapy program at Royal Talbot Rehabilitation Centre in Kew. He was awarded a Winston Churchill Memorial Trust Fellowship to further his studies overseas.News clipping, black text, colour image.steven wells, winston churchill memorial fellowship, royal talbot, rehabilitation

The newsletter reports on local council initiatives, community programs, environmental activities, and cultural events taking place across Nillumbik Shire in late 2004. It emphasizes community participation, environmental sustainability, infrastructure improvements, and local cultural life. Key Points Council Projects and Infrastructure: Updates on road maintenance, capital works, and improvements to local facilities across the shire, Continued development of community infrastructure such as recreational facilities, parks, and public spaces, Council planning initiatives aimed at supporting sustainable growth and maintaining rural character. Environment and Sustainability: Programs encourage residents to protect local waterways, conserve native vegetation, and control invasive weeds, Environmental initiatives involve Landcare groups, wildlife monitoring, and sustainability education, Residents are encouraged to participate in community environmental projects and conservation activities. Community Services and Programs: Promotion of community services, volunteer programs, and educational opportunities through local centres. Support for families, seniors, and young people through recreational and learning programs. Community engagement remains a priority for council planning and activities. Arts, Culture and Events: The newsletter highlights local arts initiatives, exhibitions, festivals, and performances. Programs support local artists and cultural organisations, reinforcing the area’s reputation as an artistic community. Tourism and Local Economy: Promotion of local tourism, wineries, markets, and cultural attractions in the region. Efforts to strengthen the local economy and regional identity through tourism and community events. Also includes interviews with Councillors, 2004 Nillumbik Sports Awards and calandar of events. council newsletters, nillumbik news, nillumbik shire council, warwick leeson, peter yates, bo bendtsen, helen coleman, bill penrose, greg johnson, howard bulmer, bronnie hattam, michael young, living & learning nillumbik, sally hansen, julie french, julie graham, steven wells, robert hayley, greg champion, ev hales, marjorie lapworth, jan kelly, robina summers, janet mason, karen coulton, elizabeth gardner, matthew dean, madison caulfield, nicole pless, mathew munro, sten nigol, christopher armet, rachel khaw, melinda bpuer, david parsons, anton woods, erin lorenzini, zoe carr, troy sandley, marrissa filipou, ben cukier, nillumbik reconciliation group, montsalvat, eltham craft & produce market, eltham festival, nillumbik artists open studios, hurstbridge high school, family services, kangaroo ground preschool, alan marshall short story award, tom dell'anno, gayle knight

THis collection of cuttings relates to the Warrnambool Steam Packet Company.The Warrnambool Steam Packet Company was established in 1868 when capital was raised with 2000 shares at a value of five pounds each.It was established to provide passenger, accommodation and a large stock and freight service between Warrnambool and Melbourne.. At the time Stephen Henty was operating three steamers along the coast and at the prospect of losing his Warrnambool trade with the establishment of the new Warrnambool company, he sold one of his steamers , the Edina in March 1868. The first five directors elected were F P Stevens, J G Crammond, WW Jamieson, R B Paterson and George Wood. Fares were from one to three pounds and freight was 17 shillings per ton.The steamers connected with coaches from the north of Warrnambool as far as Hamilton. The cuttings record the financial position of the company for the first ten years. This collection of cuttings is valuable as a research item as it documents the development and operation as well as many of the stake holders in one of Warrnambool's earliest shipping companies. The cuttings are from a range of papers including The Warrnambool, Examiner, The Warrnambool Advertiser and the Argus.Ledger book with blue pages which is lacking the cover. It contains a number of cuttings which relate to the Steam Packet Company.Dated on first page: Monday November 1st 1869. Most of the cuttings are dated and some are from the Examiner. the Advertiser and Warrnambool Standard.warrnambool, warrnambool steam packet company, edina

Guest book signed by some of those who attended the Bachelor of Visual Art (Graphic Design / Multimedia) exhibitions and dinners hosted by the University of Ballarat. Names include the students themselves, parents, friends and alumni. Attendees' addresses include Victoria and interstate, USA (eg Florida, California), UK, the Phillipines in addresses. Other entries demonstrate the attendance of some of Victoria's well known designers and agencies at the time, including representatives from local Ballarat studios. Helmut Stenzel was third year lecturer throughout this time. Students putting together these end of year exhibitions were usually overseen by Helmut Stenzel, Steven Roberts and other lecturing staff.This guest book is significant in that it represents a period during which the Graphic Design/Multimedia program was thriving. Students and staff were engaged with Australian and international designers and guests. Several students at this time were award-winning.Hardcover bound guest book signed by Graphic Design/Multimedia exhibition attendees c1994–2000. Black leather-look cover with debossed gold foil reading "Guests".Handwritten names and comments by exhibition attendeesuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree, mt helen campus

Bendigo Advertiser "The way we were" from Tuesday, September 9, 2003. Singers: Golden Square State School grade 6 Choir, circa 1938. Back row from left: Jim Holland, Alan Miller, Bob Qualtrough, Fred Coombes, Claude Middelton, Vic Gilbert, Wes Hammil. Third row: Norma Rosanne, Nancy Lyall, Jim Murray, Orm Rowe, Keith Swatton, Brian Thomas, Joyce Browell, Joyce Brown. Second row: Ruth Swatton, Mabs Dent, Nell Symonds, Namcy read, Dorothy Stevens, Florence Kent, Valda Oldham, Elsie Whitworth. Front row: Kath McKay, Mavis Thurlow, Edna Jones, Beryl McCullough, Undine Wells, Dulcie Guy, Jean Knight, Elsie Sullivan.newspaper, bendigo advertiser, the way we were

Brightly designed record of posters, pamphlets, vintage books, film promos and comicsnon-fictionDocuments the ephemera used in the USA to warn against the threat of Communismcommunism, propaganda, posters, magazines, comics, vintage, pulp fiction

Off White coloured glossy card. Pink writing. ST. Clement's Anglican Debutante Ball Huntly Friday, July 13th 1984. Programme Debutantes Partners Michelle Grant, Jamie Creely, Robyn Wells, Norman Sheahan, Erica Wilkinson, Damien Tangey, Debbie Clarke, Greg Pocock, Natalie Gundry, Grant Andrea, Lynne Edwards, Rod Mills, Sally James, Darren Thompson, Kathy Creely, Peter Matthews, Lisa Tehan, Mark Yates, Amanda Clayton, Peter Morgan, Paula Ingham, Craig Clayton, Rosalyn Varker, Darren Cartner. Presented to The Bishop of Bendigo Rt. Rev. O. Heyward & Mrs Heyward 9.15p.m. Flower girl Kasie Watson, Page boy Andrew Swatton, Flower girl Emily Stevens, Page boy Bradley Clay, Chaperone Mrs. Bev. Read Trainers: Mr. Peter Ellis & Mrs. Mary Smith Pianist Mrs J.Grotto, Announcer Mrs. M. Pitson, MC Mr. Colin Silk, 1 Foxtrot Mary (Handwritten in Pencil), 2 Charmaine Muriel (Handwritten in Pencil), 3 Parma Waltz Mary (Handwritten in Pencil), 4 Gypsy Tap Lex (Handwritten in Pencil), 5 Foxtrot Muriel (Handwritten in Pencil), 6 Pride of Erin Mary (Handwritten in Pencil), 7 Progressive Barn Dance Lisa (Handwritten in Pencil), 8 Modern Waltz Muriel (Handwritten in Pencil), 9 Maxina Esma (Handwritten in Pencil), 10 Evening Three Step Lois (Handwritten in Pencil), 11 Foxtrot 12 Alberts Mary (Handwritten in Pencil), 13 Tangoette Ila (Handwritten in Pencil), 14 Foxtrot Mary (Handwritten in Pencil), 15 Valetta Waltz/ St. Bernard Waltz Lex (Handwritten in Pencil), 16 Gay Gordons Jane (Handwritten in Pencil), 17 Swing Waltz Mary (Handwritten in Pencil), 18 Foxtrot Muriel (Handwritten in Pencil), Presentation Dance Metropolitan Quadrille. Autographs.person, individual, peter ellis oam

Off White coloured glossy card. Pink writing. ST. Clement's Anglican Debutante Ball Huntly Friday, July 13th 1984. Programme Debutantes Partners Michelle Gran,t Jamie Creely, Robyn Wells, Norman Sheahan, Erica Wilkinson, Damien Tangey, Debbie Clarke, Greg Pocock, Natalie Gundry, Grant Andrea, Lynne Edwards, Rod Mills, Sally James, Darren Thompson, Kathy Creely, Peter Matthews, Lisa Tehan, Mark Yates, Amanda Clayton, Peter Morgan, Paula Ingham, Craig Clayton, Rosalyn Varker, Darren Cartner. Presented to The Bishop of Bendigo Rt. Rev. O. Heyward & Mrs Heyward 9.15p.m. Flower girl Kasie Watson, Page boy Andrew Swatton, Flower girl Emily Stevens, Page boy Bradley Clay, Chaperone Mrs. Bev. Read Trainers: Mr. Peter Ellis & Mrs. Mary Smith Pianist Mrs J.Grotto Announcer Mrs. M. Pitson MC Mr. Colin Silk 1 Foxtrot, 2 Charmaine, 3 Parma Waltz, 4 Gypsy Tap, 5 Foxtrot, 6 Pride of Erin, 7 Progressive Barn Dance, 8 Modern Waltz, 9 Maxina, 10 Evening Three Step, 11 Foxtrot, 12 Alberts, 13 Tangoette,14 Foxtrot, 15 Valetta Waltz/ St. Bernard Waltz, 16 Gay Gordons, 17 Swing Waltz, 18 Foxtrot Presentation Dance Metropolitan Quadrille. Autographs.person, individual, peter ellis oam

This photograph was taken in 1945, as WW2 was ending. It shows Orbost men who are members of the Orbost Football Club, their Club trainer, and Club President. Football has always been a strong and well-supported sport in the Orbost district, with two teams in Orbost, another at Newmerella and outlying localities. These days (2023), there is only one club still existing in Orbost with a clubhouse and football field at Lochiel Park.Evidence of Orbost Football Club, 1945A b/w photograph of a group of 20 men wearing jumpers with a logo OFC and two other men in suits. This is a posed photograph with men at the back standing, and men at the front kneeling. It has been taken on a sportsfield. On back of photo: Orbost Football Club 1945. Back row L-R Artie Young (trainer), Alex McDonald, Mac Lock, Rick Railey, Tom Wehner, Bill Murphy, Clarrie Stevens, Ray Smith, Alan Hammond, -------------, Clyde Lynn, Maurice Marshall, John Stoddard (President) Front row L-R ----------------, ----------------, Reg Kettyle, Ray Cooney, George Watson, --------------, Sam Lynn, Jim Lynn, ...Parsonssport, football, orbost football club

Black and white photograph - Grade 3D and 4D,1961"Attached to photograph" Back Row- L to R: ?, Terry Bacon, ?, ?, Max Collins, Russell Payne, David Jenning, John Grayling, Michael Thwaites. 2nd Row- L to R: Malcolm Pearson, John Hardstaff, Gary Ladergess, James Fuller, Stephen McGoldrick, Keith Corbett, Colin Carrington, Mark Wells, Craig Austin, Craig McLaughlin. 3rd Row- L to R: Anne Joyce, Vicki Munro, ?, ?, Peter Bullock, Gary Davies, Freda Howson, ?, Ann Downey. Front Row- L to R: Julie Cook, Kay Langford, Carol (?), Meg Flowers, ?, Irene Pagram, Fay (?), Cathy Austin, Christine Schrum, Judy Stevens. Teacher: Mrs Saluter

Black and white photograph - Grade 5, 1976."Attached to photograph" Back Row- L to R: Mark Stortenbecker, Stephen Owen, Stephen Hughes, David Flynn, Barry Flynn, Dean Johns, Grant Ruttey, Scott (?). 2nd Row- L to R: Andrew Wright, Lincoln Gill, Columbina Davis, Joanne Rigg, Jennifer Ashton, Nicole Joscht, Jane Tierney, Andrew Johnson, Adrian Murray. 3rd Row- L to R: Steven Day, Ian Burne, John McBroom, Guy Summers, Tony Hutchmeon, Ken Weller, Stephen Hager, Paul Kempton. Front Row- L to R: Linda Hack, ?, Suzanne Boroaby, Lorna Marklin, Susan West, Diane Jesson, Rosemary Boyce, Georgina Baltas, Janine Prouse. Front - Sitting : Roger Simpson. Teacher: Isabel Marshall.

Used on 23rd. January 1992 at the Ringwood Convention Centre with the order of proceedings, names of candidates for Citizenship, Parliamentary Representatives, Federal and State, and list of members of the Ringwood City CouncilWhite A5 bifold card programme white , with gold and green printing, gold frame on front with City of Ringwood 1960 logo. +Additional Keywords: WIlliams, Max, mayorCANDIDATES FOR CITIZENSHIP Mortimer ANGUS Alberto MARTINEZ Mohammad ARAGHIZADEH Andrew MAXWELL Mane ARAGHIZADEH Susan MAXWELL Mavis BELL Ian MILLER Caroline BENETATOS Bronwynn NOTHNAGEL Habibe BILGIC Sandra OSWALD Fiona BIRCH Anthony PIETERSEN Joseph BOMNICI liana PIETERSEN James BREMNER Margaret PIETERSEN Maria BREMNER Tanya PIETERSEN Bridget BROWNE Ankia PIETERSEN Robert G BROWNE Sascha PIETERSEN Cora BROWNE Serge PRATESI Robert E BROWNE Sotiris PTOCHOPOULLOS Eileen BROWNE Bridget QUINN Colm BROWNE Gerard QUINN Lesley CASSIDY Danielle QUINN Leah CASSIDY Edel QUINN Li Ping CHIANG Judith RABI Colette CORE-PHILPOT Elizabeth RIVETT Mala DE SILVA Catherine ROBERTSON Saman DE SILVA Erzsebet SARI Manarangi DE SILVA MihalySARI Shalendra DEO Dominiua SARI Martin FOREMAN Benedek SARI Milan GOJIC Peter SKINNER MIra GOJIC Jenny MAN-YING SO Snezana GOJIC Andrew WAI-YING SO Silviu GRECEA Zdzislawa STANGIERSKA On IM Kenneth STEVENS Roshan IRANI Katalin SZALLASI Ronald JOHNSTON Kirsty SZIRQN George KAPPAS Sakan TEK Henry KARCZMARCZUK Steven TOWNEND Dorota KOLACZ Stanley WAIGHT Martin KULIC Karen WALKER Muhammad LAHZA William WALKER Valerie LESTER John WELLER Lajos LEVAI Maureen WELLER Louise LITTLE Freda WHITAKER

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

List of Full Course Students' 1941, Editorial, Honour Roll, The Literary Society, Fumes from the Lab, Arts & Crafts Gossip, Sport, Commercial Notes, The Junior Techs Black, green and gold soft covered magazine of 56 pages including advertisements. Artwork Mr Allsop - By Margaret Taylor Mr Lambert - By Isabel Boustead Mr Mein - By Margaret Taylor Gaffer - By Margaret Taylor Bickarts Lino Cut Competition Section A - 1st place - By Winsome Hender Barney - By Margaret Taylor Tony - By Isabel Boustead Jack - By Margaret Taylor Lake Wendouree - By Mavis Heinz Issie - By Margaret Taylor Smoking Man - By Margaret Taylor Beryl - By Margaret Taylor Joyce - By Margaret Taylor Pat - By Isabel Boustead Bickarts Lino Cut Competition Section A - 2nd place - By John Henderson Albert - By Isabel Boustead Chick - By Isabel Boustead Leila - By Margaret Taylor Scottie - By Margaret Taylor Mary - By Margaret Taylor Margaret - By Isabel Boustead Bickarts Lino Cut Competition Section B - 1st place - By Maurice Collins Gladys - By Isabel Boustead Squizzy - By Margaret Taylor & Joyce Thompson Spence - By Margaret Taylor Pop-eye - By Margaret Taylor Haymes - By Margaret Taylor and Joyce Thompson Hucker - By Margaret Taylor Minnie - By Margaret Taylor & Joyce Thompson Ian - By Isabel Boustead Keep quiet or I'll slap you - By Isabel Boustead Joe-Joe - By Isabel Boustead Jean - By Isabel Boustead Elva - Isabel Boustead Bickarts Lino Cut Competition Section B - 2nd place - By John Henderson Blondie - By Maurice Collins Wilk - By Isabel Boustead Gladys - By Isabel Boustead Dawn - By Isabel Boustead Signed on front cover by "H. Darby" Has Receipt for Miss Darby for the amount of two shillings from activities and extraneous accounts , signed by W. Hinderballarat school of mines, magazine, r. spence, i. grant, isabel boustead, kenneth palmer, eric marshman, a. stevens, margaret dark, john r. elliott, joy martin, gilbert t. myers, marian peirce, john p.l. gibbs, winsome hender, peggy wells, geoffrey mounter, p. martin, john h. calaby, dr pound, mr mein, lorraine siemering, j. lockhead, herb christensen, max coward, ernest gribble, stan laurie, jim martin, jack nott, bill walters, adrian ward, fred badenhope, eddie gilpin, john hassell, frank jelbart, bob monteith, george lugg, dick menhennett, j. r. pound, william r. burrow, w. e. hender, mavis heinz, a. j. henderson, eric goon, donald eltringham, k. richards, leslie f. evans, ian d. mclachlan, philip c. kempe, maxwell w. lawrence, g. hale, william rowe, murray linklater, alan s. fisher, james w. mcclure, norman m. murray, william h. wray, mackay gleeson, john g. wilson, edward t. mann, keith s. waller, kenneth g. gingell, joan banes, patricia goldsmith, coralie clogan, miss rollan, mrs mcilvena, elva davies, maurice collins, betty davison, a. pilven, j. hucker, m. beaumont, k. mclachlan, r. harbour, d. browning, a. grieve, a. white, h. bantz, j. waddington, r. leigh, b. holloway, k. fletcher, l. lehmann, r. dunstone, s. wallis, e. n. thompson, mr hosie, loris hopwood, dawn austin, f.g. procter, gladstone procter

Set of 14 Digital images, from negatives taken by George Stevens on 30/12/1967: 1 - Tram 17 As the Bridge St traders Christmas Tram in Surt St at Armstrong St with Crockers and the CBA bank in the background. 2 - Tram 33 In Sturt St with the Town Hall in the background 3 - Tram 28 Has the destination of City, at the City stop with the Town Hall in the background 4 - Tram 41 A well loaded tram for Lydiard St North at the City stop. Has two Johnnie Walker whiskey roof adverts 5 - Tram 31 Turning from Sturt St West into Hamilton Ave 6 - Tram 41 Northbound in Drummond St North. 7 - Trams 41, 13, 14 Wendouree Parade at Depot loop looking west, 8 - Tram 13 Wendouree Parade south of Gardens Loop 9 - Tram 14 Arriving at the Mt Pleasant terminus in Barkly St at Cobden St/ Note the tram stop signage 10 - Tram 28 Skipton St 11 - Tram 28 Albert St 12 - Tram 28 Crossing Albert St - taken from the south side of the crossing 13 - Tram 28 At the terminus with the Royal Mail Hotel in the background - taken from the eastern side of Albert St 14 - Tram 28 At the Lydiard St Nth level crossing with the Signal gantry, Reids Palace, Provincial Hotel and the signal box in the view.Yields information about the tramcars used on 30/12/1967 and the various locations around the system.Set of 14 digital images scanned from black and white negatives.tramways, sturt st, sebastopol, tram 17, tram 33, tram 28, santa tram, hamilton ave, albert st, tram 41, tram 13, tram 14, drummond st nth, wendouree parade, mt pleasant, barkly st, skipton st, level crossing

A Research Strategies Workshop, held at Action House on the 23rd and 24th of February, 1979. This is one of two photos accompanying an article written by the Chairman of RAAV, Dr R Strang, titled "Affiliation of RAAV with AARF". The article appears on page 3 of the Vol. 12, March 1979 edition of RAAV's News Review. The text in the sub-heading is as follows: "One of the objectives in the constitution of R.A.A.V., is to seek affiliation with the A.A.R.F. This had the aim of providing in Australia a union of community organizations dedicated to the fight against ar-thritis." As well as meetings with the Australian Arthritis and Rheumatism Foundation (AARF), there were several meetings held over a period of four days, beginning on Friday the 23rd of February. These included meetings with representatives from the various state associations, the Research Committee of the Australian Rheumatism Association, and the AARF Scientific Advisory Committee. This photo is captioned: "Members of the A.A.R.F. Executive Committee Meeting at Action House. At the head of the table on the right, Dr. Steven Malazzo, Chairman and on the left Mr Douglas Hughes, Honorary Secretary."B&W photo of a group of people sitting around some tables placed in a large square formation. There are several documents on every table. In the background, there is a large television set on a stand, with a small table next to it. A briefcase has been placed on top of the television. On top of the table is a large rectangular item with a cover placed over it, an open AIWA (consumer electronics brand) box, and other miscellaneous items. There are also two windows with blinds.[Handwritten in pencil] ARRF MEET SAT Members of the A.R.A. attending the Research Strategies Workshop at Action House with Chairman, Dr. Ken Muirden at the head of the table. [Handwritten in pencil beneath "Dr. Ken Muirden", in smaller a smaller sized font] members of therheumatism and arthritis association of victoria, raav, australian arthritis and rheumatism foundation, aarf, research strategies, workshop, scientific advisory committee, action house, royal talbot rehabilitation centre, dr steven malazzo, chairman, mr douglas hughes, honorary secretary, dr strang, article, affiliation of raav with aarf, news review, 1979

1412.01 - Sunshine Technical School 1973 Class 1A (Check Year) Back 1. Peter Bell, 2. Paul Torey, 3. Mario Theophanides, 4. David Siddall, 5. Grant Sullivan, 6. Tony Darcy, 7. Roy McClean, 8. Craig Kimpton, 9. Tony Sproule, 10. John Diquatho, 11. Branko Relic Middle: 1. Monica Azzapardi, 2. Jenny Nowell, 3. Toni Hawkins, 4. Debra Whitehand, 5. Deborah Redgard, 6. Jean Clarke, 7. Anna Piaquadio, 8. Joanna Chends, 9. Lesley Neale, 10. Debra Knight Front: 1. Peter Michaelides, 2. Wayne Marshall, 3. Michael Barrow, 4. Allen Jowson, 5. Keith Hamann, 6. Rocco Di Mieri, 7. Robert Wright, 8. Dominic Narka, 9. John Dalli|1412.02 - Sunshine Technical School 1973 Class 1B Leanne Reeve, Kerri Oldoates, Lill G, Karen Fowler, Jackie Connally, Kerri Huntly, Estbhs Bell, Mary D, Dorais Attahd / Andrew, Moclmon, Peter R, Steven Ready, Colin Macphson, Robert Best, Steven S, Sil, Tommy, Dargo, Andrew Loins / Edward G, Craig Baggot, Loenard Wells, Robert Rudd|1412.03 - Sunshine Technical School 1973 Class 1B (Check Year) Back row (left to right): Gary Baggott, Robert Rudd, Edward Gauci, Steven Schuliga, Drago Recek, / Tommy Johns, Glenn Boudrie, Andrew Lyons, Andrew Esposito, Horatio (Tony) Xavier, / Stellios (Stan) Ambelas, / Middle row: Mr. Yewers, Karen Fowler, Kerri Huntley, Elspeth Bell, Kerri Oldaker, Debra Revel, / Leanne Reeve, Ljilja (Lilia) Jocinovic, Jackie Connolly, Doris Attard, Mary Debrineat, / Front row: Leonard Wells, Darren Holman, Malcolm Henderson, Peter Rohner, Stephen Reddie, / Colin Macpherson, Robert Bese, Joseph Bezzina|1412.04 - Sunshine Technical School 1973 Class 1F|1412.05 - Sunshine Technical School 1973 Class 1F Names (Check Year) Back row (left to right): Emanuel Pulis; Michael Winch; Carmelo Spiteri; Steven Kiss; Richard Busutill; Haydn Young; Peter Webb; / Peter Murphy; Steven Arnott; Raymond Vella; / Middle row: Debra Murray; Sharon Wadley; Robin Skelton; Mary Duhaq; Beverly Haslett; Kerry Trice; Sharon Kayler-Thompson; Kaylene Shoobert; Julie Harvey; Gracy Ciappara; / Front row: Mario Abela; Andrew Ellis; Joseph Talent; Silvo Camenzuli; Tony Todesco; Graham Hilton; / Mark Spiteri; Bernie Hyett|1412.06 - Sunshine Technical School 1973 Class 1H (Check Year) Back row (L -> R): / Freddie Carava, Robert Anderson, David Bottiglieri, Ted Czepiel, / Trevor Sherwell, George Marshalidis, Terry Camilieri, / Rodney Cheney, Louis Sammit, Jeffrey Skipper, Vladko Mucaji. / Centre row (L -> R): / Anne Dane, Sandra Murphy, Rosemary Hildebrand, Denise Slade, / Angela Astorina, Annette McIntyre, Catherine Lewis, Jennifer / Graham, Anne Ayton. / Front row (L -> R): / Ronnie Bezzina, Paul Harrison, Andrew Fenech, Kevin Mullan, / Colin McDonald, Steven Fagan, Martin Thomas, / Peter Aquillina|1412.07 - Sunshine Technical School 1973 Class 3BC|1412.08 - Sunshine Technical School 1973 Class 3DD|1412.09 - Sunshine Technical School 1973 Class EF|1412.10 - Sunshine Technical School 1973 Class 3FF|1412.11 - Sunshine Technical School 1973 Class 4C|1412.12 - Sunshine Technical School 1973 Class 4D|1412.13 - Sunshine Technical School 1973 Class 5B|1412.14 - Sunshine Technical School 1973 Prefects Photo a|1412.14 - Sunshine Technical School 1973 Prefects Photo bsunshine technical school, technical school, sunshine, class photo

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern