Ringwood Arts and Craft Society annual meeting at Ringwood Town Hall Ringwood Business and Professional Women's Club at Mirama Court, Mitcham Ringwood State School Mother's Club birthday at Methodist Sunday School Hall The ringwood Council Chaplain Rev. Bruce Adams Ringwood Guides and Brownies fundraiser British Commonwealth Youth Day Marathon-running Mayor RC Horman 1st Heathmont Scouts annual garden party New Heathmont Welfare Centre Viviani Crescent opened by Lady Brooks October 1960 - Ringwood Naturalisation Ceremony at Town Hall

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Seat - Bendigo Conservatory Gardens. Four Newspaper articles from the Bendigo Advertiser: 2808.7a Article entitled " Committee of 9 for Huxtable Memorial 1/4/1980". Describes how the Mayor of Bendigo called for a committee to consider a suitable memorial to Amy, the former Bendigo Advertiser women's editor. Also mentions a portrait to be painted and hung in a prominent location, perhaps the Advertiser Office. There were a number of other suggestions to honour her including a book to be produced containg Miss Huxtable's numerous history articles. 2808.7b A public notice 21/11/1981 from Miss N Young, President, Amy Huxtable Memorial Committee, inviting people to the presentation of the Amy Huxtable Memorial Seat to the City of Bendigo at the Conservatory Gardens on Sunday Nov 22 1981 2808.7c Article contains a photo of the seat being installed by the Superintendant of Bendigo Parks and Gardens Andrew Taylor, and the deisgner, President of the Memorial Committee Bill Delecca. It acknowledges the seat was bought by the Committee and the Business and Professional Women's Club. 2808.7d Article advising that the Bendigo City Council had granted approval for the seat.history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo professional women's club, bendigo conservatory gardens

Mrs. Valerie (Val) Mason (1927-2019) was a local sheep farmer, business-woman, Beechworth shire councillor, and mother to five children. With her husband, Charles, Mrs. Mason developed and managed the Big Valley farm estate, at Everton, which is now part of a vineyard and farm stay. Mrs. Mason was instrumental in introducing a 'paddock to plate' philosophy and business model, opening a butcher shop on the farm in 1973. Concerned with improving infrastructure and developing economic opportunities in the region, Mrs. Mason successfully stood as a local council representative for South Riding in the United Shire of Beechworth, and later become the first woman Shire President in 1979. Mrs Mason was a member of the local Business and Professional Women's Club for 37 years. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: 'Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mrs. Mason's story is historically significant for understanding economic and social changes in the Beechworth region during the latter half of the twentieth century. As a council representative, issues such as road and infrastructure modernisation and the transition from traditional government employment sectors, like Beechworth's care institutions, were challenges for local government. As a farmer and local employer, Mrs. Mason's story is testimony to the region's economic diversification as businesses like Big Valley farm shop helped shape the region's contemporary character. Mrs. Mason was among the first women to broach the traditionally all-male Beechworth Council Chambers and her story is socially significant for understanding the changing role of women in rural and regional Australia. This oral history recording offers interpretive capacity for social history themes and may be compared with other oral histories in the Burke Museum's collection. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs Val Mason /listen to what they say, beechworth, oral history, burke museum, working women, trail blazers, farm to plate, farm shop, paddock to plate, woman farmer, united shire of beechworth, rural and regional women, beechworth's first woman shire president, women in leadership positions, women leaders, australian settlement history, settler societies, victorian gold rush, heritage tourism, culinary tourism, regional land use, indigo winery, farm stay, social history

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre-tied black bow tie with a metal spring clip to attach to the shirt collar. The 2 spring clips have 'alligator teeth' to grip the collaron spring clip MADE IN AUSTRALIA SPRINGmenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A pre tied white Bow tie sewn on a neckband with an elastic clip fastenermenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. This white bow tie is a 'fixed length' type that needs to be tied by the person wearing it. MAKO SIZE 15 1/2 menswear, clothing, shirts, collars, early settlers, fashion, cheltenham, moorabbin, dairy farmers, market gardeners, bow ties, mako pty ltd

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre tied black bow tie with an elastic fastening clipmenswear, neckties, bow ties, cheltenham. moorabbin, bentleigh

Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Newspaper Articles and letters to the Bendigo Art Gallery 2808.9a First Article: Bendigo Advertiser article 18/12/1985 on "two of Bendigo's noted daughters , Ola Cohn and Amy Huxtable" Describes the restoration of the Ola Cohn drinking fountain in Rosalind Park, and the installation of the Amy Huxtable Memorial Seat in the Conservatory Gardens. Second Article: Bendigo Advertiser Letters to the Editor Column 30/12/1988 paragraph entitled "Credit where it is due: "A special tricentennial council effort would be to restore the paths, kerbs and sculpture by Ola Cohn, J H Curnow Fountain, the Bob Brothers Memorial and the Chain of Ponds" (Rosalind Park) 2808.9b Seven Pages of letters: 1. To Mrs Thelma Dingle from Doug Hall, Bendigo Art Gallery Director 30/1/1986 regards the Amy Huxtable committee funding the restoration of the Ola Cohn Fountain by sculptor Mr Marc Clark. 2. From the Amy Huxtable Committee 24/3/1986 back to the Art Gallery explaining that the committee leftover funds be given to the art Gallery to go towards the restoration of the Oal Cohn Fountain. 3. From the Art Gallery to Miss N D young, Amy Huxtable Committee 3/4/1986 thanking the committee for the funds. 4. From the committee to the Mayor and Councillors, Bendigo City, 4/2/1987 asking for an update on the project. 5. Copy of above letter. 6. From the City of Bendigo to the Committee 17/2/1987, advising of progress on the restoration of the fountain. 7. From Norma Young to the Bendigo Advertiser Letters to the Editor, advising of progress on the Ola Cohn Sculpture and the J H Curnow Fountain restoration. history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, ola cohn, j h curnow fountain

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Reports from Meeting - five pages of report and letters. 2808.10a Bereavement Card - thanks from Ruth Lockwood to the committee on the death of her husband Douglas Lockwood, Chairman of the committee. 2808.10b Rear of above card. 2808.10c * Report of the Amy Huxtable Memorial Committee 29/1/1981 held at the office of Miss N. Young * Letter to Andrew Taylor, Superintendent Bendigo City Parks and Gardens, 4/3/1981, in regards to the memorial seat in the Conservatory Gardens. * Reply to above letter from the acting Superintendent Rod Sweetnam, 6/3/1981. * Further letter to Andrew Taylor advising that the seat construction is underway, 13/4/1981 2808.10d * Updated committee signature form to the ANZ Bank, 5/5/1981 history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, douglas lockwood

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Correspondence and Newspaper Vale Article Bendigo Advertiser Article 23/10/1993 entitled: "Vale Amy: a rare individual" 2808.13e Photo of Amy from the article 2808.13a, 2808.13b, 2808.13c: The Article describe her life and contributions to Bendigo. 2808.13d - 12 pages of Correspondence and committee records. Page 1 Letter from the the committee to the art gallery 14/9/1993 re event happening (Presentation of the Ola Cohn works as funded by excess money before the committee "winds up" the letter encloses a list of whom the committee consider should be invited to the event). Page 2 List of people as above with adresses Page 3 Invitation to the above event from the art gallery 7/9/1993 Page 4 From the art gallery 29/9/1993 enclosing some factual notes on Amy Huxtable to be confirmed and added to by the committee if need be. Page 5 From the art gallery 20/10/1993 to the committee, a copy of an article written for the Bendigo Advertiser - for comments. Page 6 From the art gallery 29/1/1993 - thanking the Chairperson of the committee Miss Norma Young for her speech at the reception for the Amy Huxtable Memorial - Ola Cohn Works. Page 7 From Norma Young back to the art gallery 3/11/1993, thank you for the combined work of the gallery and the memorial committee Page 8 Another thank you letter to the art gallery committee of management 3/11/1993. Page 9 -12 Speech as given by Norma Young, chairperson of the committee to the reception at the art gallery.history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo art gallery ola cohn works

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Catalogue for an Exhibition of Watercolors by Thomas H. Bone. Held in the Advertiser Lounge, View point, Bendigo Sept 10th to the 13th, 10am to 5pm. A list of 31 watercolours.history, amy huxtable, bendigo, watercolour exhibition bendigo

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Invitation to a Presentation of Works by Ola Cohn from the President, Committee of Management and the Director of the Bendigo Art Gallery and the Amy Huxtable Memorial Committee. Two copies of a printed formal invitation to a reception to celebrate the presentation by Miss Norma Young A.M., Chairman of the Committee at 7.30 pm at the Bendigo Art Gallery.history, amy huxtable, bendigo, ola cohn, norma young bendigo, bendigo art gallery

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee Receipts for 1980 to 1983. ANZ passbook included and breakdown of the costs and donations for the Amy Huxtable memorial seat which is opposite the former Bendigo Advertiser office in Pall Mall, Bendigo.history, amy huxtable, bendigo, amy huxtable memorial committee

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee Receipts for 1980. Envelope included and breakdown of the costs and donations for the Amy Huxtable memorial seat which is opposite the former Bendigo Advertiser office in Pall Mall, Bendigo.history, amy huxtable, bendigo, amy huxtable memorial committee

Darkness and a little light: ?Race? and sport in Australia Colin Tatz (AIATSIS & Australian National University) and Daryl Adair (University of Technology Sydney) Despite ?the wonderful and chaotic universe of clashing colors, temperaments and emotions, of brave deeds against odds seemingly insuperable?, sport is mixed with ?mean and shameful acts of pure skullduggery?, villainy, cowardice, depravity, rapaciousness and malice. Thus wrote celebrated American novelist Paul Gallico on the eve of the Second World War (Gallico 1938 [1988]:9-10). An acute enough observation about society in general, his farewell to sports writing also captures the ?clashing colors? in Australian sport. In this ?land of the fair go?, we look at the malice of racism in the arenas where, as custom might have it, one would least want or expect to find it. The history of the connection between sport, race and society - the long past, the recent past and the social present - is commonly dark and ugly but some light and decency are just becoming visible. Coming to terms: ?Race?, ethnicity, identity and Aboriginality in sport Colin Tatz (AIATSIS & Australian National University) Notions of genetic superiority have led to some of the world?s greatest human calamities. Just as social scientists thought that racial anthropology and biology had ended with the cataclysm of the Second World War, so some influential researchers and sports commentators have rekindled the pre-war debate about the muscular merits of ?races? in a new discipline that Nyborg (1994) calls the ?science of physicology?. The more recent realm of racial ?athletic genes?, especially within socially constructed black athletic communities, may intend no malice but this search for the keys to their success may well revive the old, discredited discourses. This critical commentary shows what can happen when some population geneticists and sports writers ignore history and when medical, biological and sporting doctrines deriving from ?race? are dislocated from any historical, geographic, cultural and social contexts. Understanding discourses about race, racism, ethnicity, otherness, identity and Aboriginality are essential if sense, or nonsense, is to be made of genetic/racial ?explanations? of sporting excellence. Between the two major wars boxing was, disproportionately, a Jewish sport; Kenyans and Ethiopians now ?own? middle- and long-distance running and Jamaicans the shorter events; South Koreans dominate women?s professional golf. This essay explores the various explanations put forward for such ?statistical domination?: genes, biochemistry, biomechanics, history, culture, social dynamics, the search for identity, alienation, need, chance, circumstances, and personal bent or aptitude. Traditional games of a timeless land: Play cultures in Aboriginal and Torres Strait Islander communities Ken Edwards (University of Southern Queensland) Sports history in Australia has focused almost entirely on modern, Eurocentric sports and has therefore largely ignored the multitude of unique pre- European games that are, or once were, played. The area of traditional games, especially those of Aboriginal and Torres Strait Islander peoples, is an important aspect of the cultural, social and historical experiences of Indigenous communities. These activities include customs of play that are normally not associated with European notions of competitive sport. Overall, this paper surveys research undertaken into traditional games among Indigenous Australians, as well as proposals for much needed further study in this area. Culture, ?race? and discrimination in the 1868 Aboriginal cricket tour of England David Sampson As a consequence of John Mulvaney?s important historical research, the Aboriginal cricket and performance tour of Britain in 1868 has in recent decades become established as perhaps the most famous of all public events in contact history involving Aborigines, white settlers and the British metropolis. Although recognition of its importance is welcome and significant, public commemorations of the tour have enveloped the tour in mythologies of cricket and nation. Such mythologies have obscured fundamental aspects of the tour that were inescapable racial and colonial realities of the Victorian era. This reappraisal of the tour explores the centrality of racial ideology, racial science and racial power imbalances that enabled, created and shaped the tour. By exploring beyond cricketing mythology, it restores the central importance of the spectacular performances of Aboriginal skills without which the tour would have been impossible. Such a reappraisal seeks to fully recognise the often trivialised non-cricketing expertise of all of the Aboriginal performers in 1868 for their achievement of pioneering their unique culture, skills and technologies to a mass international audience. Football, ?race? and resistance: The Darwin Football League, 1926?29 Matthew Stephen (Northern Territory Archive Service) Darwin was a diverse but deeply divided society in the early twentieth century. The Commonwealth Government introduced the Aboriginals Ordinance 1911 in the Northern Territory, instituting state surveillance, control and a racially segregated hierarchy of whites foremost, then Asians, ?Coloureds? (Aborigines and others of mixed descent) and, lastly, the so-called ?full-blood? Aborigines. Sport was important in scaffolding this stratification. Whites believed that sport was their private domain and strictly controlled non-white participation. Australian Rules football, established in Darwin from 1916, was the first sport in which ?Coloured? sportsmen challenged this domination. Football became a battleground for recognition, rights and identity for all groups. The ?Coloured? community embraced its team, Vesteys, which dominated the Northern Territory Football League (NTFL) in the 1920s. In 1926, amidst growing racial tension, the white-administered NTFL changed its constitution to exclude non-white players. In reaction, ?Coloured? and Chinese footballers formed their own competition - the Darwin Football League (DFL). The saga of that colour bar is an important chapter in Australia?s football history, yet it has faded from Darwin?s social memory and is almost unknown among historians. That picture - Nicky Winmar and the history of an image Matthew Klugman (Victoria University) and Gary Osmond (The University of Queensland) In April 1993 Australian Rules footballer Nicky Winmar responded to on-field racist abuse by lifting his jersey and pointing to his chest. The photographic image of that event is now famous as a response to racial abuse and has come to be seen as starting a movement against racism in football. The racial connotations in the image might seem a foregone conclusion: the power, appeal and dominant meaning of the photograph might appear to be self-evident. But neither the fame of the image nor its racial connotation was automatic. Through interviews with the photographers and analysis of the use of the image in the media, we explore how that picture came to be of such symbolic importance, and how it has remained something to be re-shown and emulated. Rather than analyse the image as a photograph or work of art, we uncover some of its early history and explore the debates that continue to swirl around its purpose and meaning. We also draw attention to the way the careful study of photographs might enhance the study of sport, race and racism. ?She?s not one of us?: Cathy Freeman and the place of Aboriginal people in Australian national culture Toni Bruce (University of Waikato) and Emma Wensing (Independent scholar) The Sydney 2000 Olympic Games generated a national media celebration of Aboriginal 400 metre runner Cathy Freeman. The construction of Freeman as the symbol of national reconciliation was evident in print and on television, the Internet and radio. In contrast to this celebration of Freeman, the letters to the editor sections of 11 major newspapers became sites for competing claims over what constitutes Australian identity and the place of Aboriginal people in national culture. We analyse this under-explored medium of opinion and discuss how the deep feelings evident in these letters, and the often vitriolic responses to them, illustrate some of the enduring racial tensions in Australian society. Sport, physical activity and urban Indigenous young people Alison Nelson (The University of Queensland) This paper challenges some of the commonly held assumptions and ?knowledges? about Indigenous young people and their engagement in physical activity. These include their ?natural? ability, and the use of sport as a panacea for health, education and behavioural issues. Data is presented from qualitative research undertaken with a group of 14 urban Indigenous young people with a view to ?speaking back? to these commentaries. This research draws on Critical Race Theory in order to make visible the taken-for-granted assumptions about Indigenous Australians made by the dominant white, Western culture. Multiple, shifting and complex identities were expressed in the young people?s articulation of the place and meaning of sport and physical activity in their lives. They both engaged in, and resisted, dominant Western discourses regarding representations of Indigenous people in sport. The paper gives voice to these young people in an attempt to disrupt and subvert hegemonic discourses. An unwanted corroboree: The politics of the New South Wales Aboriginal Rugby League Knockout Heidi Norman (University of Technology Sydney) The annual New South Wales Aboriginal Rugby League Knockout is so much more than a sporting event. Involving a high level of organisation, it is both a social and cultural coming together of diverse communities for a social and cultural experience considered ?bigger than Christmas?. As if the planning and logistics were not difficult enough, the rotating-venue Knockout has been beset, especially since the late 1980s and 1990s, by layers of opposition and open hostility based on ?race?: from country town newspapers, local town and shire councils, local business houses and, inevitably, the local police. A few towns have welcomed the event, seeing economic advantage and community good will for all. Commonly, the Aboriginal ?influx? of visitors and players - people perceived as ?strangers?, ?outsiders?, ?non-taxpayers? - provoked public fear about crime waves, violence and physical safety, requiring heavy policing. Without exception, these racist expectations were shown to be totally unfounded. Research report: Recent advances in digital audio recorder technology provide considerable advantages in terms of cost and portability for language workers.b&w photographs, colour photographs, tablessport and race, racism, cathy freeman, nicky winmar, rugby league, afl, athletics, cricket, digital audio recorders