From left to right: Bill (Charles Meynell Pitt Withers), Kit (neighbour), Marge (Margery Pitt Withers), Dall (Emily Gladys Withers), Mods (Mary Pitt Withers) and Nan (Nancy Josephine Withers) Note Bill is proudly holding a copy of "The Boys Own Annual" [Nicknames and identification provided by Charles Witherers's son, John Withers, Sep 2024]On back of photo: "From left to right Bill, Kit, Marge, Dall?, Mods? and Nan About 1917" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1917, kit, margery pitt withers, nancy josephine pitt withers, the boys own annual, charles meynell pitt withers, emily gladys withers

Newspaper clipping about recognition for women artists by Walter Withers' granddaughter Mary Owen; An article on Walter Withers downloaded from Wikipedia; the Australian Dictionary of Biography entry for Walter Withers; and the entry on Walter Withers from the Artist's Footsteps website.8 page Article with text and black and white and coloured images, also information from Wikipedia and Australian Dictionary of Biographyaustralian artists, walter withers, mary owen

Mary Pitt and Nancy Josephine Withers were daughters of artist Walter Herbert Withers and Fanny (nee Flinn) Mary Pitt Withers was born December 4, 1895 at Heidelberg. Nancy Josephine Pitt Withers was born 17 May 1897 at Heidelberg, Victoria. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, 1898, nancy josephine pitt withers, heidelberg, mary pitt withers

Mary Pitt and Nancy Josephine Withers were daughters of artist Walter Herbert Withers and Fanny (nee Flinn) Mary Pitt Withers was born December 4, 1895 at Heidelberg. Nancy Josephine Pitt Withers was born 17 May 1897 at Heidelberg, Victoria.Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, 1898, nancy josephine pitt withers, heidelberg, mary pitt withers

Letters and manuscripts by Fanny Withers, wife of Walter Withers, with other material.144 p., b & w and col. illus.walter withers, fanny withers, painters

[John Withers, son of Charles Meynell Withers advised September 13, 2024: • Bill: was the nickname for John’s father, Charles Meynell Pitt Withers • Mervyn: was Charles/Bill’s good mate from school, Mervyn Britain]On back of photo:"Bill and Mervyn" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, charles meynell pitt withers, mervyn britain

Fanny Flinn married artist Walter Withers in London, England in 1887/1888. Margery Pitt Withers was their daughter who was born January 13, 1890 at Handsworth, Warwickshire, England during a visit by her mother Fanny to her parents. Walter Withers became associated with the Heidelberg School of Artists. Withers and his family lived in Eltham from 1903. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, heidelberg, 1900, fanny withers (nee flinn), scan - 3¼ × 4¼ inch quarter-plate glass neg, margery pitt withers

[John Withers, son of Charles Meynell Withers advised September 13, 2024: • Bill: was the nickname for John’s father, Charles Meynell Pitt Withers • Merv: was Charles/Bill’s good mate from school, Mervyn Britain • Dall: was the nickname for the eldest child, Emily Gladys Withers • Harry Eggington: became a family solicitor. He died from a fall whilst stepping out of a train ]On back of photo: "From left to right Mervyn, Dall, ? Harry Eggington, "Dolly" Bill About 1918" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, brougham steet, dolly (horse), eltham, charles meynell pitt withers, emily gladys withers, harry eggington, mervyn britain

According to his son John Withers, Charles Withers was known as "Bill" and Mervyn Britain was a good friend of Charles from school.Inscribed on back of photo: "Mervyn, Bill on edge of picture" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, southernwood, orchard, charles meynell pitt withers, mervyn britain

According to Charles Withers's son, John Withers, Charles was known as "Bill" and his good friend from school was "Mervyn Britain"Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, southernwood, scouts, mervyn britain, charles meynell pitt withers, brougham street

Water colour - Margey WithersThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 35mm B&W negativesepp, shire of eltham pioneers photograph collection, eltham, margery withers, souters cottage

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

Nancy (Nan) Josephine Pitt Withers was born 17 May 1897 at Heidelberg. She was the daughter of artist Walter Withers and Fanny (nee Flinn). Walter Withers and his family moved from Heidelberg to Eltham in 1903 where he set up his studio in Southernwood at the corner of Brougham and Bolton streets, Eltham. In the background is believed to Fanny Withers holding the family's dog, a spotted white terrier known as "Rip"Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, southernwood, fanny withers (nee flinn), nancy josephine pitt withers, scan - 620 format 6x9 negative, 1903, rip (dog)

Eldest daughter of Walter and Fanyy Withers, Emily Gladys in the fortified trench constructed by her younger brother Charles Withers (aka Bill) and his good friend from school, Mervyn Britain at the Withers family home, Southernwood, Eltham. The view is looking to the east with Main Road and associated buildings near ridge in distance. [Charles son, John Withers explained that his father and friend liked to play war games.]On back of photo: "Bill & Mervyn's trench 1916 or 1917" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, southernwood, trenches, charles meynell pitt withers, mervyn britain, emily gladys withers

Charles Withers (aka Bill) with his good friend from school, Mervyn Britain with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is possibly looking to the north [Charles son, John Withers explained that his father and friend liked to play war games.]Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, southernwood, trenches, scan - 620 format 6x9 negative, charles meynell pitt withers, mervyn britain

A short article about painter Walter Withers and his connection with Eltham. Withers is buried at St Helena Cemetery. A second article outlines the history of the Church.1 page, text and black and white image. st katherines church, st helena, anthony beale, st helena cemetery, walter withers

Mary Pitt Withers was the fourth child and third daughter of artist Walter Herbert Withers and Fanny (nee Flinn), born December 4, 1895 at Heidelberg, Victoria. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, heidelberg, 1898, mary pitt withers

Charles Withers (aka Bill) with his good friend from school, Mervyn Britain with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is possibly looking to the south and Southernwood family home [Charles son, John Withers explained that his father and friend liked to play war games.]Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, bill, mervyn, southernwood, trenches, scan - 620 format 6x9 negative, charles meynell pitt withers, mervyn britain

Charles Withers (aka Bill) with his good friend from school, Mervyn Britain with mock trenches and rifles at the Withers family home, Southernwood, Eltham. The view is looking to the east with Main Road and associated buildings near ridge in distance. [Charles son, John Withers explained that his father and friend liked to play war games.]On back of photo: "Bill (left) Mervyn (right) in their trench 1916" Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, 1916, main road, southernwood, trenches

Portrait - A.W. Withers c1900stawell

Withers Family Group. Halls Gapstawell

R.W. Withers. Grocer Shop Stawellstawell

Grave of Walter Withers at St Katherine's Churchyard, St. Helena, Victoria. In Memory of Walter Withers Artist Born October, 22, 1884 Died October, 13, 1914 Walter Herbert Withers (22 October 1854 — 13 October 1914) was an Australian landscape artist and a member of the Heidelberg School of Australian impressionists. He lived the later stages of his life in Eltham and died there.Roll of 35mm colour negative film, 2 stripsKodak CP 100 5094st helena, st katherine's church, walter withers, artist, cemeteries, st katherines

Grave of Walter Withers at St Katherine's Churchyard, St. Helena, Victoria. In Memory of Walter Withers Artist Born October, 22, 1884 Died October, 13, 1914 Walter Herbert Withers (22 October 1854 — 13 October 1914) was an Australian landscape artist and a member of the Heidelberg School of Australian impressionists. He lived the later stages of his life in Eltham and died there.Roll of 35mm colour negative film, 4 of 7 stripsFuji HR100walter withers, artist, cemeteries, st helena, st katherines, st katherine's church

Charles Meynell Pitt Withers (aka Bill) was the son and last child of artist Walter Herbert and Fanny (nee Flinn) Withers. He was born February 5, 1902 at Heidelberg and baptised April 4, 1902 at St John's, Heidelberg. The family moved to Southernwood at the corner of Brougham and Bolton streets, Eltham in 1903. [His son, John Withers advised that his nickname was "Bill"]Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, southernwood, 1905, charles meynell pitt withers

Margery Pitt Withers was the daughter of artist Walter Herbert Withers and Fanny (nee Flinn) She was born January 13, 1890 at Handsworth, Warwickshire, England during a visit by her mother Fanny to her parentsMany items in this collection have suffered from significant water damage and black mouldjohn withers collection, heidelberg, 1900, postcard, margery pitt withers

A compilation of information on the Batman Apple Tree collected and written by Noel Withers.This is possibly the oldest apple tree in Victoria. It was planted on the banks of the Plenty River in 1841.5 pages of text and illustrations.batmans apple tree, noel withers, john batman, robert whatmough, frederick nevin flintoff, plenty river, 1841

Interview with Greensborough Historical Society President Noel Withers.Newspaper clipping with text and coloured photograph.March 2 2012 DV Leadergreensborough historical society, noel withers

Charles Meynell Pitt Withers (aka Bill) was the youngest son of artist Walter Withers and Fanny (nee Flinn). He was born at Eltham 5 February 1902. Tyrrell George Granville Evans was born on 17th August 1892 Enlisted (No. 789) 7 July 1915 as a Private and was assigned to the 31st Battalion. Promoted to Sergeant 1 Nov 1915. Disembarked Suez 7 Feb 1916 Admitted to 32nd Stat. Hospital in France 21 July 1916 with a gunshot wound to the left arm. According to daughter-in-law, Janet Evans, on 19 July 1916, in the battle near Pozieres on the Somme, he was hit by a German high explosive shell and was unconscious and badly wounded. His left arm was shattered, and he had a bullet wound on his leg. Embarked at Boulogne on H.S. Cambria for Middlesex War Hospital, England 24 July 1916. Evans returned to Australia and was discharged medically unfit, 7 April 1917. After months in the Caulfield Hospital his arm could not be saved, and it was amputated 18 July 1917. On July 6, 1918, Tyrrell George Granville Evans married Mary Pitt Withers at Eltham, daughter of artist Walter Herbert Withers (deceased) and wife Fanny (nee Flinn). They had three children, Mary Roberta Evans born February 8, 1921, at Balwyn and twins Shirley and Joyce born June 10, 1922. Mary died 17 days later, June 27, 1922, at Balwyn. Tyrrell had to cope with three children under three years old and a missing left arm. He had been lefthanded before his war injuries. He had help from the family, especially his sister. On August 1, 1924, Tyrrell George Granville Evans married Marian Frances Wilcox and they had two children: Barbara Marian, born 27 July 1925 and Tyrrell Granville, born 3 July 1928. The children were all brought up together in Glen Iris. Tyrrell became renowned as a one-armed golfer and tennis player. He was Senior Vice-President of the Lawn Tennis Association of Victoria and was on the committee of the Metropolitan Golf Club. At the time of his retirement, he was General Manager of the Colonial Meat Company. Tyrrell died September 3, 1962 and was succeeded by sixteen grandchildren. Contributed to by Janet Evans (daughter-in-law), 27 May 2024Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, eltham, tyrrell george granville evans, 1917, bolton steet, scan - 620 format 6x9 negative, southernwood, charles meynell pitt withers