A cream coloured cardboard cover. There is a white sticker in the middle of the cover with the words Commercial Operators Course: Studio Equipment Part 3 in black ink, The manual is held together with three metal staples down the left hand side.wireless communications, television equipment, studio equipment, marconi school of wireless

A cream coloured cardboard cover. There is a white sticker in the middle of the cover with the words Commercial Operators Course: Studio Equipment Part 3 in black ink, Top right hand corner handwitten in black reads 18615 2Lt L.B. Dawson. The manual is held together with three metal staples down the left hand side.wireless communications, television equipment, studio equipment, marconi school of wireless, 2lt lawrence bemsley dawson, 18615, royal australian corps of signals, 557 signal troop, 110 signal squadron, 561 signal troop

On June 15, 2007 Vision Australia Radio (formerly 3RPH) celebrated its 25th anniversary of broadcasting. Despite earlier broadcasts on community radio stations, a dedicated radio service for people who wanted to listen to in depth information on news and current events as well as serialisation of books had not eventuated. With the support of Commonwealth funding in 1982, stations were permitted to transmit on marine band frequencies in Melbourne, Sydney and Hobart. With the eventual movement of major stations to FM in the 1980s, provision was finally granted for RPH stations to allow them to move to the AM band in metropolitan areas. In the 1990's regional stations were established, later linking to provide the Vision Australia Radio network. Throughout all of these changes, volunteers have supported the radio station in a range of ways, including collating and reading the newspaper articles for broadcast, helping source interviews and program ideas, operating studio equipment as well as presenting programs themselves.38 digital images of the 25th anniversary of VARvision australia, 3rph radio station, vision australia radio, gerard menses, stephen jolley, pam adams, lynne kells, tim evans, roberta ashby, marj west, norm richards, vince september, norm rees, graeme dawson

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Taken by an unknown photographer. This early photograph of Slawa Horowitz-Duldig was probably taken while she was still a student at the Kunstschule für Frauen und Mädchen (Art School for Women and Girls) in Vienna. In this ‘staged’ image Slawa presents herself as a painter, equipment at hand. Slawa had intended to continue her painting studies at the Academy of Arts but became a private sculpture student of Secessionist sculptor Anton Hanak at the Kunstgewerbeschule (School of Applied Arts) the following year. This early photograph is part of a collection of photos, drawings, sculptures and paintings which document the art training system for women in Vienna between the wars. art school for women and girls, anton hanak

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Radio was a key way of communicating with the blind and low vision community across Victoria, ensuring that news and information could be shared quickly and publicly. Some centres raised funds to develop their own studios, with local content programs, based in AFB offices. Mildura began 3MPH in 1998 as the result of major fundraising for equipment and support from AFB. Additionally a low vision clinic was also officially opened in that same year.3 plastic plaques with black writing on silver background3MPH Major Donors The Association for the Blind wishes to thank the following major donors who contributed towards the establishment of 3MPH Rotary Club of Mildura Deakin Inc Wentworth Shire Council Lions Club of Mildura The H & L Hecht Trust W C F Thomas Charitable Trust Mildara Blass Limited 3MPH Honorary Taskforce Members Shirley Penny, Chairperson, Kevin Ashelford, Lois Beckwith, Rob Duffield, Cr Don McKinnon, Ross Lake, Bruce Penny, Cr Eddie Warhurst This plaque commemorates the official opening of the Mildura Low Vision Clinic by the Chief Executive Officer of the Association for the Blind Mr John Cook, 5th August 1998. This plaque commemorates the official opening of Radio 3MPH 107.5FM by the Mayor of the Mildura Rural City Council, Cr Eddie Warhurst, 12th March 1998.association for the blind, 3mph, mildura

The domestic sewing box would have been used in the home.A brown varnished rectangular wooden lidded Sewing Box with a lift out top section which has 16 varying sized compartments for storing sewing accessories. There is a has a hollow area underneath the tray. The lid is attached with brass hinges and it has a brass lock and small key. There are several sewing items included - cotton reels and thread, assorted darning thread for hosiery, wool and nylon threads, a box of black pins, assorted sewing needles, thimbles, small decorative sewing scissors, black rolled tape, mixed buttons, hooks and eyes, nickel plated fittings for hats, vintage stocking hooks, a stick of white chalk, two (one green and one ivory) antique cotton thread winders and a medium sized vintage safety pin.a Variety of brands of items include - 'Rite Tone', 'Della Darn' 'C No Darn', 'Clark's Filosheen' hosiery thread, 'Barbour's Linen Wax Thread', 'The Flora MacDonald Best Steel Bodkins' 'National Hat Guard' nickel plated steel and brass fittings, 'Chadwick's Wool and Nylon' reinforcing mending thread, 'The Myrene Snap Studio' size 1 rustless press studs, 'The Pagoda Brand' rolled tape 5 yds, 'Cross Fox Brand' Best quality Steel Stems (long plastic headed pins), 'Toledo' brass thimble and a black box of 'F. Tayler & Co's Solid Headed Mixed Pins'. The brass lock has 'SECURE PATENT' stamped in to it on the inside of the edge of the front of the box. there is also a small VR with a tiny rounded pattern opposite the Patent sign. sewing equipment, sewing box, sewing, embroidery scissors, functional object

In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p59 It’s a centre for sharing knowledge and friendship and it stands on the former hub of Eltham’s original township near Pitt Street. The Eltham Living and Learning Centre, with around 2000 participants a year, began in 1975 as one of the first Community Education Centres in Victoria. Classes ranging from macramé to wine making to environmental living have enriched the lives of thousands of people through the generosity of tutors sharing their skills free of charge. The centre’s heart is the brick cottage, built in 1858 by tanner John Pearson. He bought the three and a half acre (1.4ha) allotment fronting Maria Street (now Main Road) and stretching down to the Diamond Creek. The allotment formed part of a 316 acre (127.8ha) subdivision, owned by Josiah Holloway, called Little Eltham, north of the original Eltham Reserve.1 The allotment then passed through the hands of several speculators before it was sold to Pearson for £100 in 1857. Mr Pearson’s children attended the Eltham Primary School from 1864 to 1867. But creditors took possession of the property when his tannery folded in 1867. It was then sold to publican Benjamin Wallis, who owned the Eltham Hotel at the corner of Pitt Street and Main Road. In 1899 the property was bought by Richard Gilsenan, who became acting head teacher of the Eltham Primary State School in 1906. In the 1950s, retired engineer Dr Alfred Fitzpatrick and his wife Claire bought the property, and made structural changes. Claire, a journalist and community campaigner, modified and built pens for goats and poultry, a stable, a garage and planted fruit trees and a vegetable garden. In the early 1970s a young woman called Carina Hack approached Gwen Wesson at the Diamond Valley Learning Centre (Victoria’s first Community Education Centre) about starting a community centre. Following Wesson’s suggestion, Hack spoke to Shire President Alistair Knox ‘one bleak rainy afternoon, sipping hot drinks and discussing life’.2 Eltham Shire Councillors Frank Maas and Don Maling proposed a community activities program and the council received a $50,000 Commonwealth Government Grant for this venture.3 The Fitzpatricks sold their property to the council and moved next door and Claire taught at the new centre, which Hack named. Eltham obviously wanted such a centre as Hack recalls. ‘During the next two months we had about 50 volunteers working day, night and weekends, scrubbing down, plastering and painting walls, replacing floors, repairing fences, recycling furniture, sewing curtains and cushions, donating furniture, toys, equipment, clean-ing and gardening…’4 The first enrolment day saw a queue stretching up the driveway nearly to the gate and the first sessions attracted 270 people a week. Soon the outbuildings were converted into pottery studios and a large workshop. From 1979 the Eltham Art and Craft Market was held in the centre’s grounds and the Friends of the Centre ran it from 1980. A former program coordinator, Margaret Johnson, remembers enrolment day in the late 1970s and 1980s, when hundreds of people would queue – and some even camped overnight! Overnighters were greeted in the morning with fresh tea and toast. Another tradition was The Enrolment Day Cake with Recipe, given to volunteers. ‘One happy Enrolment Day fell on February 14 and let’s just say that St Valentine found some willing participants, paying $2 for a kiss.’5 Meanwhile the participants’ children could play at the Council Eltham Lower Park house in Hohnes Road, later in Susan Street. But the centre has had difficulties too. In 1990 a fire destroyed the stable and the police suspected arson. However the pavilion was built in its place.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, benjamin oliver wallis, claire fitzpatrick, don maling, dr alfred fitzpatrick, eltham living and learning centre, frank maas, john pearson, richard gilsenen, tannery

Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.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 knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

Handwritten notes, and typed copy of same, on the New Chum Railway Mine and other mines and connections between various mines underground. Descriptions of mines and their equipment. Mines mentioned are: New Chum Railway Mine, Eureka Extended, Shenandoah, Shamrock Mine, Young Chum, Old Chum, Little Chum, New Chum Tribute, Cravens, Garibaldi, New Chum Consolidated, Menzies, Ellesmere, Consolidated, Denis, Lansell's 222, New Chum United, Kochs & Hildebrandt Mine, Lazarus, Central Blue, Lazarus No 1 Coy, Hudson's, Burrows & Sterry, Victoria Tribute, North Old Chum, Lansell's Big 180, Sandhurst, Victoria Quartz, The Great Central Victoria (known as the 'Midway'), Victoria Consols, Advance, Adventure, Ironbark, Victoria Gold Mines Company, No 83 claim, The Hercules & Energetic, North Energetic, Victoria Pilot, Bendigo Amalgamated Goldfields Company, Pearl, Hercules No 1, Hercules New Chum, Great Extended Victoria, New Victoria Catherine, Mystery (later the Duke of Edinburgh), New St Mungo, Duchess Tribute, Extended South Devonshire, South Devonshirte, Duchess of Edinburgh, Princess Alexandia (later United Devonshire), Danes, United Devonshire, South Devonshire, Hopewell, Phoenix, Unicorn, Lady Barkly, Sadowa, Eastwood Lease, Ellenborough, Belmont & Saxby, York & Durham, Acadia, Williams United, Ulster, North Red White & Blue, North Deborah, Catherine Reef United, Central Catherine, Princess Alice, Catherine Reef United, Murchison, North Catherine (or Franklin), Catherine Reef Extended,document, gold, gold mines of bendigo & eaglehawk, new chum railway mine, gold mines of bendigo & eaglehawk, eureka extended, shenandoah, shamrock mine, young chum, old chum, little chum, new chum tribute, cravens, garibaldi, new chum consolidated, menzies, ellesmere, consolidated, denis, lansell's 222, new chum united, kochs & hildebrandt mine, lazarus, central blue, lazarus no 1 coy, hudson's, burrows & sterry, victoria tribute, north old chum, lansell's big 180, sandhurst, victoria quartz, the great central victoria (known as the 'midway'), victoria consols, advance, adventure, ironbark, victoria gold mines company, no 83 claim, the hercules & energetic, north energetic, victoria pilot, bendigo amalgamated goldfields company, pearl, hercules no 1, hercules new chum, great extended victoria, new victoria catherine, mystery (later the duke of edinburgh), new st mungo, duchess tribute, extended south devonshire, south devonshirte, duchess of edinburgh, princess alexandia (later united devonshire), danes, united devonshire, south devonshire, hopewell, phoenix, unicorn, lady barkly, sadowa, eastwood lease, ellenborough, belmont & saxby, york & durham, acadia, williams united, ulster, north red white & blue, north deborah, catherine reef united, central catherine, princess alice, catherine reef united, murchison, north catherine (or franklin), catherine reef extended, mr clark magee, john delbridge - engineers, a harkness & sons, mr lansell, b c v 8 studios, mr gibbs, mr barnet lazarus, mt alvernia hospital, p m g repeater station, john brown knitwear, mr burrows, mr sterry, john wybrants, mr wittschiebe, theodore ballerstadt, mr wm rae, california hill state school, freeman & coy

John Wearne migrated to Victoria from Cornwall in 1853. He was living in the Lintons/Smythesdale district by 1858, where he had mining interests. He married Ann McGie in 1865, after his first wife Selina Harris (married 1858) died in 1860. John and Ann Wearne had ten children, all born at Linton. Ann McGie, born in Scotland in 1846, was a daughter of Henry McGie, a sawmiller, who pioneered the use of steam-driven timber-milling equipment in his sawmills in Victoria.Sepia photograph of an older bearded gentleman wearing suit and tie seated with left arm resting on lap, right arm resting on chair arm, and woman wearing glasses and long two piece, long sleeved outfit standing at left of man, her right arm resting on back of chair and left arm hanging by her side."To dear Mrs -?- (name crossed out) from J and A Wearne with best wishes".john wearne, ann wearne nee mcgie