MIM SODERGREN and the WOMEN'S SKI PROGRAM The Women's Ski Program at Falls Creek and Thredbo was initiated in the mid 1980s. One of the most popular instructors involved in this program was Mim (Mariam) Sodergren. Mim developed innovative, specialized ski programs for women and children in both Australia and the United States. She and her husband Mike originated from Tahoma, California, USA. They spent 17 years of their lives without a summer, working as ski instructors in Lake Tahoe during the northern winters, and then they’d head off to Falls Creek and Thredbo in Australia. Mim and Mike Sodergren were both inspiring instructors at Falls Creek Snowsports School, dedicated to education and had a deep-seated passion for fostering an inclusive Snowsports community. Tragically Mim and Mike were among the 18 people killed 30 July 1977 in Thredbo, Australia, when a landslide tore through Thredbo’s ski resort village and demolished two staff lodges. In 1997 the Australian Professional Snowsport Instructors (APSI) established the Sodergren scholarships in memory of Mim and Mike. The Sodergren Scholarship recognises the rising potential of Snowsport instruction within Australian ski resorts and allows the recipients to further their professional development by providing all training free of charge for one season. The women’s program still operates at Falls Creek and is a "heartfelt tribute to the memory of Mim Sodergren, a beloved 1980s instructor and mentor who tragically lost her life in the Thredbo landslide in 1997. Designed by women, for women, and inspired by the enduring passion of Mim and her partner, Mike, who was also an instructor, this program is a wonderful opportunity to learn to ski in a friendly and supportive environment, just as Mim envisioned." (Falls Creek Website 2024). Mike’s Men’s Ski Program at Falls Creek is also named in honour of Mike Sodergren.These photos are significant because they commemorate an innovative ski instructor lost through the tragedy at Thredbo in 1997.Two colour photos showing groups of women participating in the Ladies' Group at Falls Creek in the 1980s, as well as a photo of Mim and Mike Sodergren. Image 1 Left to right: Leonie Docking, Carol Bartholomew, Mim Sodergren, Blanche Spargo, Jane Zagorski, Rosanne Osborn and Di Mashford Image 2 Left to right : Pat Smart, Blanche Spargo, Margaret Smith, Pam Mero, Iris Jones, Jennifer Reuter, Lee Lowther, Jane Zagorski, Mim Sodergren Image 3: Mim and Mike Sodergrenwomen's ski program, falls creek ski school, mim sodergren

Program produced as part of the open air play peformed in Hurstbridge twice on the 4th and 12th of October 2024. Contents include: Allwood history - Allwood today - Construction of The Bridge - Cast - Synopsis - Directors - Crew - Hearfelt thanks and tribute to Pam Lawson. The Premiere of the open air play The Bridge performance at Hurstbridge was by members of the Allwood Neighbourhood House and the Hurstbridge Community. To commemorate 100 years of Hurstbridge township, the production was led by local historian David Kerrigan who co-wrote the play with Keira de Hoog. The quiet life of the Diamond Creek district was shattered on the 4th October 1866 when a visitor arrived seeking food and shelter. What followed has become part of the Hurstbridge story. The death of Henry Hurst by the bushranger Robert Burke and the subsequent inquest, trial and execution of Burke captured the attention of the nation. News of the event was reported nationally and in UK newspapers. Rain at sunset on opening night set the scene for the sombre story which opened with clap sticks and imagery as part of the acknowledgement of country. Attention to detail in Act One included the enactment of writing a letter that Ellen Hurst had actually written back to her family in England, days before the incident, which set the scene – and choreography of the “capture” of Burke immediately following the shooting as drawn by the engraver Robert Bruce and published in 1866. The cast, crew and audience moved around the actual physical site the altercation took place till the final act and judgement of Sir Redmond Barry to execute Burke. The souvenir program given to ticket holders includes photos and biographies of the cast taken in costume at Gulf Station, Yarra Glen, together with background information and the narrative of the play. Guests on opening night – 158 years ago to the day of the event included Dianne Switzer, descendent of pioneer Cornelius Hailley and Rob Fergusson, descendent of Henry Hurst. plays, hurstbridge, allwood neighbourhood house

Hard cover book, blue cover, buff spine and corners, 'Share Register' written on spine. Affixed to front page Act No. 228, blue document, certifying that the mining company called 'The Prince of Wales Tribute Company' was incorporated at the Court of Mines Sandhurst. Dated 30th May 1870. Book contains an alphabetical listing of shareholders, dates 1869 - 1870, providing details such as who the shares were transferred from and to, calls on shares. Names include: Francis Babett; William Blackham, Joseph Bell, Joseph Brandon, Joseph Bullen, Josephy William Carrs, Charles Henry Colliers (Collins?), W.J. Cocking, J Davies, John Gregory Edwards, P. Fletcher, George Freeman, Peter Gilbert, John Henry Giles Harry Giles, Thos Gilbert, J.P Gray, J. Greenslade, Alfred Horbury, Michael Hayes, J(?) Holman, Geo Hull, Hugh McColl Henry Marshal, Matthew Moran, Alfred Miller, John Miller, Henry Oates, Phillip O'Neill, John Powell, Morris Phillips, William Piggott, Charles Quinn, John Roberts, Aime Ruedin, Nm Rae, John Scott, John Sinclair, P Simonsens, R Southby, William Thomas, Edward Tinsdale, William Henry Templeton, Sam Trant, John Taylor, David Veale, Walter Watkins J & S Williams, S. Williams, N (?) Winter, Geo Watson N (?) Webb, ITEMS IN THIS BOX HAVE NOT BEEN SCANNED.business, mining, prince of wales tribute co.

10570 South African (Boer) War Memorial Bendigo. The monument commemorates those who died in service or were killed in action while serving in the South African (Boer) War. It is a bronze statue of a soldier on a granite base. Leader (Melbourne), 19 November 1904. “There was a large assemblage on the afternoon of 11th November, when the ceremony of unveiling the soldiers' memorial statue was performed by Brigadier-General Gordon in the presence of a muster of branches of the defence forces. The statue, which is in bronze, is mounted on a massive granite base, on the foot of which is the following inscription: — "Bendigo's tribute to the memory of the Australian soldiers who, in the South African war of 1899 - 1902 gave their lives for Queen and Empire. The statue was modelled by Mr. J. Walker, a young Bendigonian, who has been studying for two or three years under Mr. A. T. Woodward art instructor at the local school of mines.“ Ola Cohn recalled in her autobiography meeting John Walker as a sculpture student at the Bendigo School of Mines and that he had later received the commission for the Boer War Memorial although she neglects to mention its location. John Walker was born in Bendigo and first studied sculpture at the Bendigo School of Art. Walker, then went to England to study at the Royal College of Art London, and in Paris at the Académie Colarossi and Julian Academy. John Walker worked as a sculptor in both Bendigo and West Brunswick before turning to chicken farming in the Bendigo suburb of White Hills. The photo of A. T. Pattinson was taken by George Leake Massingham, a professional photographer, who had seven children, one of whom died at birth. After arriving in Australia from England, he established himself as a travelling photographer, an occupation he continued after his marriage. He travelled throughout country Queensland, Victoria and New South Wales, setting up studios along the way. The family ended up moving with him, travelling to Sydney, Narrandera, Bendigo, Newtown, Geelong and Deniliquin. Correspondence re Boer War Memorial Bendigo Boer War Memorial Bendigo. Letters and photo from and to Mrs Wilson, eldest daughter of Mr Arthur T. Pattinson who was a model for the Boer War sculpture. 10570a A black and white photo of Trooper Arthur T. Pattinson restored by BHS Volunteers. 10570b The original photo as sent by Mrs Wilson to Harold Curnow (Bendigo Historical Society) in 1962. The photo is mounted on heavy brown cardboard and has an old catalogue number of "P680" inscribed on it. The cardboard is torn and held together with sticky tape. On the front in italics is printed G.L. Massingham, Bendigo. 10570c Notes on the rear of the photo from Mrs Wilson state that "the photo is of Arthur T. Pattinson (Rusty), an Australian Light Horse trooper who served in the Boer War. The Boer War Memorial in Pall Mall Bendigo represents a trooper on guard. The sculptor was Jack Walker who used Pattinson as a model, and it is regarded as an excellent likeness." 10570d A letter from Harold Curnow back to Mrs Wilson on Jan 4th, 1963, acknowledging receipt of the photo and a letter received, noting the significance of the historical information. 10570e Handwritten letter 29/11/1962 from Mrs Wilson to Mr Curnow introducing herself as Mr. Pattinson's eldest daughter and answering the letter he wrote to her father. She mentions the bad health of her parents. Arthur modelled for the statue at least two to three times per week in a studio on the top floor of a building in Bull St. He was the original model to the best of her knowledge. Another model possibly Mr P. Handmear may have sat as a model for renovations (*). The rifle was a light horse rifle issued to Pattinson as he was still serving in 1904. Arthur and Handmear were boys together and very close. * Note - the plaster model was repaired prior to casting in metal. 10570f An obituary notice: 18/11/64 "On Nov. 17 at Frankston, Emma, wife of the late A. T. Pattinson (Rusty), late of Bendigo. 10570g Letter Nov. 20th, 1962, from Harold Curnow to Mr Arthur T. Pattinson, Kent St., Mornington, Vic. "Dear Mr Pattinson, Last week your brother, Brit., whom I have known for many years, supplied the Bendigo Advertiser with some interesting information regarding your role as the model for the late Jack Walker when he was making the statue for the Boer War Memorial here. Yesterday however, another claimant to the distinction of being the model was advanced in the Bendigo Advertiser by Mr Richard Marshall, of Moran Street, Bendigo who said that the soldier's model was Phillip Handmear. I understand that your brother has sent the newspaper cuttings on to you. When he called to see me yesterday, he suggested that I write to you for further particulars. Can you recall the discussion you had with Jack Walker when he approached you about acting as the model and do you remember how many times you posed for him, and whether the work was done in the house, in the yard, or in one of the outbuildings at Moran Street? In short, any details at all. At this point in time we are considering an interesting facet in Bendigo's history, so any seemingly unimportant incidents could really be useful if we knew about them. Have you any old newspaper cuttings mentioning your name in connection with the memorial? Do you remember any remarks that passed between you and Jack Walker during the long sessions you must have put in on this work? This could be very important. And do you recall where the rifle came from? Did you or Jack Walker borrow it from the military authorities? Back in 1934 Jack Walker recalled having had to pull the plaster model down and remake it when he discovered it was slightly off-balance and was slowly toppling forward. He told me he had to get his model to pose again. Do you know anything about this? Could it have been that he got Mr. Handmear in for the final stage of the work? That, of course, would apply only if you were not available. Incidentally, I never heard of Mr Handmear until I saw his name in yesterday's "Advertiser". In any case I intended contacting your brother or you to enquire whether any member of your family has an old photograph of you in your Boer War uniform, that is, one taken about the time of or just after the Boer War. I am sure that members of the Bendigo Branch of the Royal Historical Society would be most interested to see it. I hope you will have the time and inclination to consider the many points I have raised in this letter because the subject has aroused a lot of interest in Bendigo. Hoping you are well and quite as active as you wish, I remain, with all good wishes, Yours sincerely, Harold Curnow". john walker, jack walker, boer war memorial bendigo, arthur pattinson, soldiers' memorial bendigo

The Garryowen Perpetual Trophy is awarded annually to the winner of one of the most prestigious equestrienne events in Australia, the Garryowen Equestrienne Turnout. The competition is named after three-time Royal Melbourne Show champion saddle horse, GARRYOWEN, whose owner Violet Murrell died tragically whilst trying to save GARRYOWEN from a stable fire in 1934. A Heroine of Racing Mrs Violet Murrell of Melbourne, was a heroine who died trying to save her horses when the racing stables burned. The reason for her rescue attempt was twofold; she was both trying to retrieve an asset and was rescuing an animal from its agony. The heart of the racing world in Melbourne went out to Murrell and trainers, jockeys, and stable-boys came in crowds to her funeral. 'In the racing stables, in truth, the horse and the man are part of each other; and Mrs Murrell's name, with the manner of her death, will live as a tradition in the fraternity of men and horses to which she belonged'. (Sun, Sydney, Sunday 1 April 1934, p. 4) Began with a fire This trophy began as a tribute to a brave woman who risked and lost her life trying to rescue her horses and dog from a fire in 1934. It has become the premier turnout event for horsewomen in Australia. The idea came from a gathering at the Police Depot in St Kilda Road Melbourne, where friends of Violet discussed how to remember her and her beloved horse GARRYOWEN. The event was first staged at the 1934 Royal Melbourne Show. The public, through the Sporting globe newspaper, contributed to the cost of buying the 12 inch bronze statuette which is a perpetual trophy. The winner is also presented with a blue sash fastened with a small photograph of Mrs Murrell riding GARRYOWEN. Jockey, jumper, show ring rider Violet Murrell was 29 years old when she died. She had a career as a flat-race jockey riding and winning against men. She was also a successful jumps jockey. (Mandy Bede)A bronze horse statuette mounted on a slab of marble and a wooden base with metal plates.trophy, horses in action, horses, melbourne royal horses in action competition, prizes, turnout, blue ribbon competitions, murrell, violet murrell, garryowen, garryowen perpetual trophy, garryowen equestrienne turnout

Digitised video (2.66GB) Duration: 51 minutes. Recorded August, 2022 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Louise Blake is a writer and historian with an interest in the stories of women, families, and communities on the nineteenth-century goldfields in Australia and New Zealand. Inspired by her family connection to the gold mining settlement of Woods Point, Louise completed a PhD on Women and Community on the Upper Goulburn Goldfields in north-east Victoria in 2019. In this talk Louise will share her research on Lawrence and Esther Chubb, who lived and worked at Gaffneys Creek on the Upper Goulburn Goldfields in the 1870s and 80s. In a series of letters Lawrence wrote to his family in England, and now held by the State Library of Victoria, Lawrence shared his early struggles as an independent miner on the central Victorian goldfields, his protracted courtship with Esther, the ordinary intimacies of their life at Gaffneys Creek, the work that Esther did to support the family in this remote mining region, as well as the material and emotional support provided by and to family, friends and neighbours. A rare and revealing source, these letters help to expand our understanding of the lived experience of mining families, particularly the work that women did to sustain families and communities, in this period of waged labour and tribute mining in Victoria.

Article One - Charge! - image of members of the aboriginal group carrying out a baton charge Article Two - Officer's Tribute - image of aborigines at Wangaratta carry out ceremony of changing of the guard Article Three - Two Australians - image of Shirley Anderson, 8, of Wangaratta frequently entertains Diggers, singing and dancing. She visits camp nearly every day to chat with guard on duty. Aboriginal soldiers formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time. The soldiers from Lake Tyers enlisted at Caulfield between June and July 1940 include Harold Cornelius HAYES VX 48217 DOB 2/4/1916 Enlisted 25/7/40 Discharged 22/3/1941 Edward FOSTER VX48218 DOB 25/5/1921 Enlisted 25/7/1940 Discharged 22/3/1941 Noel Ernest HOOD VX48194 DOB 3/1/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Edward Leslie MULLETT VX48199 DOB 30/6/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Samuel Richard RANKIN VX48201 DOB 23/7/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Stewart HOOD VX47351 DOB 23/1/1903 Enlisted 18/7/1940 Discharged 22/3/1941 William GORRIE VX48208 DOB 22/11/1921 Enlisted 25/7/1940 Discharged 22/3/1941 David John MULLETT VX48195 DOB 10/6/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Arthur Alexander (Tom?) MULLETT VX48198 DOB 25/11/1914 Enlisted 25/7/1940 Discharged 22/3/1941 Images relates to the "special platoon" based at No 9 Camp Wangaratta as being the Australian Army's first all Aboriginal Unit formed in 1940. The soldiers were all volunteers mainly from Lake Tyers in Victoria. In addition to normal army training they performed guard duty at the Army Hospital and Camp. They formed the Gum Leaf Band and led the troops at community singing and assisted in Methodist Church services. Three black and white newspaper articles adhered to cream paperWarrior Tradition Written in blue ink 28/12/1940no 9 camp wangaratta, aboriginal platoon

This album of Comradeship activities was compiled by Legatee Fred Holdsworth. It contains photographs, newspaper cuttings and ephemera relating to various “Comradeship” activities (social gatherings) held throughout the 1970s and early 1980s. Items included various events legatees participated in. First few pages had photos from a gathering at Cruden Farm on 15 May 1977. Cruden Farm was owned by Elisabeth Murdoch, the mother-in-law of Legatee Geoff Handbury. It appears there was a kite flying contest. Names are not listed. Three photos were from Queensland where Legatee Wal Escott had retired at Mundoona apartments, Noosa Heads, one photo shows him with Lorna Grimwade on 6/10/1979. There is a black and white photo of Max Armstrong, Rex Hall, Harry Burton, Warren Hardy riding horses in the Anzac Day march. The year is not known but an accompanying newspaper article mentions that they had been riding every year for 13 years on horses loaned by the police mounted branch. The newspaper clipping shows another photo of the four. A photo of seven legatees including David Carter were at the Numurkah Annual meeting in 1978. There are 8 photos of a gathering of Legatees and their wives at Stanhope in 1979. A photo of a Christmas party at Chaucers in 1979 was missing from the page, it has shown Choirmaster Reg Thomson and Choristers; Rob Allison, Bruce Hall, Les Patch, Bill Seager, David Syme and Ron Austin; with the M.C. being Fred Holdsworth. There was a trip to a trout farm in Alexandra Yea area in February 1978. At a comradeship evening there a photos showed the Comradeship committee of Harold Berg, John Cooper and Fred Holdsworth. Also photos from Anzac Night in 1980 and 1981. Plus other gathering at people's homes. A black and white photo of men in formal black tie, is from a night at the Windsor Hotel to farewell Sit Thomas White to become Australia's High Commissioner in London. Left to right are Sir Archie Michaelis, Sir John Latham, Sir Thomas White, Lt Col Donovan Joynt and Sir Stanley Savige. At the 1981 comradeship Christmas party, the held a 'this is your life' tribute to President Ken Green.The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other.Brown vinyl photo album. The front cover is embellished with a double gold border. The album contains thirty pages bearing both colour and black and white photographs as well as newspaper clippings from various “Comradeship” events during the 1970s and 1980s.Inside cover - “A record of Comradeship activities / Fred Holdsworth” ? First page - “AT CRUDEN PARK / 15 May 1977” Third page - “CHAMP THE KITE MAN” Fourth page - “THE SHRINE 1977” / “THE CHAMP” / “REX” Fifth page - “Lorna Grimwade/ + Wal Escott/ at Noosa Heads, Q. / 6/10/79” Sixth page - “Max Armstrong, Rex Hall, Harry Burton, Warren Hardy” Seventh page - “Numurkah Annual 1978” / “ANZAC Night 1973” Eighth page - “STANHOPE 1979” Ninth page - “THE CHRISTMAS CHORISTERS at CHAUCERS CANTERBURY 1979.” / “FEARLESS FREDS FAMOUS FOLLIES. CHOIRMASTER. Reg Thomson. CHORISTERS. Rob Allison. Bruce Hall. Les Patch. Bill Seager. David Syme. Ron Austin. / M.C. Fred Holdsworth.” Tenth page - “ALEXANDRA YEA / ~ / FEBRUARY 1978” Eleventh page - “COMRADESHIP HIERARCHY 1979 / HAROLD BERG / DEP CHAIRMAN / JOHN COOPER / CHAIRMAN / FRED HOLDSWORTH / TREASURER” Twelfth page - “ANZAC NIGHT / ~ / 1980” Eighteenth page - “ANZAC NIGHT - 1981” Nineteenth page - “ANZAC NIGHT -1981” Twenty Second - “THIS IS YOUR LIFE / 1981 comradeship/ christmas party” comradeship, events, legatee event

Three pages titled Guide to Some Famous Mines. Compiled by A Richardson. Each mine is listed as on the reef it is situated on. Reefs are The New Chum Line of Reef and the Garden Gully Line of Reefs, and the Devonshire Group. Mentioned is the mine's location, depth of shaft, poppet legs, machinery, location of engine house, gold yield, dividends and owners of mine. The mines are: The New Chum Line of Reef. The New Chum Railway, Kochs Pioneer, Windmill Hill, Confidence Extended, Johnson's No 1, Johnson's No2, Johnson's No 3, North Johnson's, Princess Dagmar, Golden Age, Johnson's Reef Extended, Golden Pyke, Constellation, Great Northern, Virginia, Specimen Hill United, New Argus, Clarence United, North Argus, South New Moon, New Chum Hill, The New Chum and Victoria, Catherine Reef United. Garden Gully Line of Reefs. The Great Southern, Ulster United, Londonderry, South Garden, The Sea Amalgamated, Garden Gully United, Victory and Pandora, Unity Mine, Carlisle United, Cornish United, Eureka Extended, South Belle Vue United, Shenandoah, Shamrock, New Chum Consolidated, New Chum United, Lansell's 222, Rae's Open Cut, Great Central Victoria, Victoria Consols, The Ironbark, Hercules and Energetic, Pearl, The Devonshire Group. North of Staley,The Duke of Edinburgh, New St Mungo, Duchess Tribute, South Devonshire, Duchess of Edinburgh, Princess Alexandra, West United Devonshire, Hopewell, Phoenix. Yhe Mungo Mines. Unicorn, South St Mungo, Lady Barkly, The St Mungo, Sadowa, Eastwood. Snobs Hill Group. The Ellenborough, The Belmont and Saxby, York and Durham, The Acadia, William's United, The Victoria Hill - Ironbark, The North Old Chum, Lansell's Big 180, Ballerstadt's Open-Cut and The Victoria Quartz.bendigo, history, long gully history group, the long gully history group - guide to some famous mines, a richardson, the new chum railway, kochs pioneer, windmill hill, confidence extended, johnson's no 1, johnson's no2, johnson's no 3, north johnson's, princess dagmar, golden age, johnson's reef extended, golden pyke, constellation, great northern, virginia, specimen hill united, new argus, clarence united, north argus, south new moon, new chum hill, the new chum and victoria, catherine reef united, the great southern, ulster united, londonderry, south garden, the sea amalgamated, garden gully united, victory and pandora, unity mine, carlisle united, cornish united, eureka extended, south belle vue united, shenandoah, shamrock, new chum consolidated, new chum united, lansell's 222, rae's open cut, great central victoria, victoria consols, the ironbark, hercules and energetic, pearl, the duke of edinburgh, new st mungo, duchess tribute, south devonshire, duchess of edinburgh, princess alexandra, west united devonshire, hopewell, phoenix, unicorn, south st mungo, lady barkly, the st mungo, sadowa, eastwood, the ellenborough, the belmont and saxby, york and durham, the acadia, william's united, the victoria hill - ironbark, the north old chum, lansell's big 180, ballerstadt's open-cut, the victoria quartz

[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

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Editorial - - 5 Adelaide to Sydney on the Endeavour - P. Kelly - 7 A tribute to Capt. G.A. Molyneux - T.E. Goldfinch - 27 The Bos’n’s Chair - R.N. Thiele - 29 A Gallant Steward - B. Springthrope - 33 The Australians return to the Phillipines - W.S. McUtchen - 35 Sunbathing is good for the eyes - Capt. R. Hart - 49 William Thomas, The Liverpool Shipowner & the Holyhead — wrecked on Point Lonsdale - G.I. Hawkes - 50 “Seahorses” - G.M. Naug - 56 Henry Greathead 1757-1813 Inventor of the Lifeboat - B.M. Morris - 57 The Milag Book - K. Shewan - 63 Life & Death of a Shipyard - E. Pennell - 65 A Donkey’s Breakfast & Parish Rig - W.P. Shemmeld - 69 The Indian Rope Trick — witnessed - R.A. Bloom - 74 MV Otaio, Training for the Sea at Sea - J. Giles - 77 “Sailorman” - N. Smith - 85 Can you solve the mystery? K.S. - 87 A Norwegian apprentice in the 1930s - Capt. G. Skomedal - 88 Snippets from the papers of Alexander McLennan — Sailmaker - J. McLennan - 103 A Mother’s Letter - B.M. Morris - 106 The Carrick ex City of Adelaide - R.C. Shepherd - 108 Book Reviews - - 111sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch

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