Built circa 1930s this timber house has 6 rooms and fronts Poulter Avenue Greensborough. It was for sale in 2015 and photographs were taken by a GHS member.These older home sites are being redeveloped and photos give some idea of how Greensborough looked in the early 20th century.Digital copy of colour photograph.

Built circa 1930s this timber house has 6 rooms and fronts Poulter Avenue Greensborough. It was for sale in 2015 and photographs were taken by a GHS member.These older home sites are being redeveloped and photos give some idea of how Greensborough looked in the early 20th century.Digital copy of colour photograph.

Built circa 1930s this timber house has 6 rooms and fronts Poulter Avenue Greensborough. It was for sale in 2015 and photographs were taken by a GHS member.These older home sites are being redeveloped and photos give some idea of how Greensborough looked in the early 20th century.Links: 01339.01377.01406.01483.01488.01527.01653 Digital copy of colour photograph.

Built circa 1930s this timber house has 6 rooms and fronts Poulter Avenue Greensborough. It was for sale in 2015 and photographs were taken by a GHS member.These older home sites are being redeveloped and photos give some idea of how Greensborough looked in the early 20th century.Digital copy of colour photograph.

Looking back at how Diamond Creek evolved.News article 2 pages, black text, colour image.diamond creek, community centre, clarrie stone

Importance of religion in the Yendon community is evidenced by the two churches. This is the weatherboard building of the catholic church and there was also a brick Anglican Church. Both these buildings were eventually removed when congregations declined as the community declined in the twentieth century.The catholic church was looking a bit delapidated in this photo taken just before it was demolished. Locals recall how the priest had to contend with all the birds nesting in the roof as the church slowly deteriorated.This is the only known photo ( as of 2010) of the Catholic Church in Yendon before it was removed.Enlarged printed copy of scanned Sepia photo of the Catholic Church, a wooden structure with a pitched tin roof, at Yendon just before it was removed.The grass is high and the barbed wire is not strained. The arched church windows have several broken panes of glass.It is a rectangular building with two additional spaces - an entry and a vestry. religion, tin roof, church, yendon, catholic, arched windows, vestry, broken panes of glass, weatherboard churches, pitched roofs, barbed wire

Believed to be Mrs Jane Bailey (nee Matthews) (d. 1904) and her grand-daughter Ruby Jane Bertha Smart (1890-1903) in front of the Smart family cottage in Bridge Street, Eltham, c.1903 Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Ruby Jane Bertha Smart born abt 1890 died in 1903 in Eltham. Her brother Alfred Francis Smart was born abt 1887 and died 1966 in Mont Albert, Vic. (Accessed via Ancestry.com) Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Original print 10.5 x 16.5 cmFor postcard print: Inscribed on envelope: "Return to Mrs H. Butherway, 22 Bridge St, Eltham." Also "Photo Mrs Clark Hampton (nee Smart), original Smart's house - Bridge Street, 95 years ago." Also "Right - Mrs Clark's grandmother Mrs J Smart Left - Her daughter Ruby dies soon after photo taken. Brother Alf Smart died about 6 years ago." Inscribed on back of photo "247 Vincent St, Leederville" It is believed that this inscription may be somewhat mixed up.sepp, shire of eltham pioneers photograph collection, eltham, bridge street, alexander wilson smart, bigamy, bush cottage, early settlers, houses, jane bailey (nee matthews), mary jane smart (nee bailey), murder, ruby jane bertha smart, smart family home, smart home

The Everard Memorial was officially dedicated on 22 April 2004 by Betty Lynch OAM, daughter of William Everard and sister of Blanche Shallard. Newsletter No. 156 May 2004 THE MT. EVERARD CONNECTION Mt Everard in the Kinglake National Park commemorates William Hugh Everard, State Member for Evelyn and father of our member Blanche Shallard who died some eighteen months ago. Doug and Gwen Orford represented the Society at the unveiling of an interpretive sign at Mt Everard. Doug has written this account of the event on 22nd April. We all travelled to Kinglake and met near the Fire Station where we were picked up by two buses provided by Parks Victoria to take us to the top of Mt Everard. There we enjoyed morning tea (needed to as we from·the first bus had to walk the last hill when the bus broke down) while we waited for the official party to arrive. While waiting we had a look at the open four sided interpretive feature donated by Mrs Betty Lynch OAM (sister of Blanche) in memory of their father Bill Everard who was the State Member for the area for many years and in recognition of Kinglake National Park's 75th birthday. The information display describes the Blue Ant Butterfly, the Coconut Ant and the Swamp Pea, all of which are indigenous to the area. The Chief Executive of Parks Victoria welcomed everyone on this warm windy day after which Betty explained how the blue ant butterfly cohabited with the ants and survived. The swamp pea is described as a rare indigenous plant to the area. She also spoke of her father's interest in the area. The Governor, John Landy, then spoke before he and Betty moved up to the display board and cut the red ribbon from around it.10 colour photographsbetty lynch, everard memorial, mt everard, kinglake national park, dedication, blanche shallard

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

This product was introduced in an era where the "silky smooth" look was in vogue. From the 1920s on, American and British film stars set the tone of how clean cut (hero type) masculine look attracts the opposite sex faster and in greater quantities than the "unkempt" or natural maintained look. This look was bold and "polished" and had the intended projection that the hair matched the character of "I look after myself and have a high opinion of physical appearances". As fashion goes this slick and well maintained look has circled many times, in and out of history and in Australia in the 1950s this was a prime example. The liberation of the stereo type of both sexes occurred in the 1960s when the freedom loving "hippie culture" had a marked affect upon the city inhabitants but not so strong among rural males. Sexism was still rife in that time frame.This jar of Brylcreem was a part of the (masculine) rural scene for a longer period than that found in the larger towns and cities. The long held "men are men" and "women are women" distinction between the sexes lingered on more in rural areas because of the perceived physical differences, mainly "strength" and perceived tasks such as "men only" activities (heavy farm/mining/construction). The jar of Brylcreem maintained the respectable male look for those special occasions when males "dressed" up and looked clean physically and well behaved (to show respect to the women folk)This glass jar with a glued on,red background, label detailing the product Brylcreem (a men's) hairdressing ointment is empty of its original product. It has been contoured on each side to allow for a man's fingers to comfortably and firmly grip the jar. This form would allow even "greased up" hands to maintain control. The glass thickness is far greater than needed and also added the extra stability to the standing jar. The shape of the jar is a latent attempt to emulate the physique of a fit young man (small waist, expanded and muscled mid rift and large shoulders). The jar does not distract from viewing its contents (clear glass). It has a black gloss screw (on/off) lid made from mild grade steel. The jar holds approximately 200 grams of a thick molasses textured product. On the front red Label; in large white letters "BRYLCREEM" underneath this is in smaller silver print "THE PERFECT HAIRDRESSING" underneath this is a banner type motif with a crown at the top and a black letter "B"in the centre. Below this and in much smaller print are printed in black script "BEECHAM (AUSTRALIA) PTY. LTD. MELBOURNE VICTORIA M A Imen's deportment, toiletries, men's hair styles, physical appearances

[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

Typed below photograph, "Looking north along Ringwood Street from corner of Bond Street. Mullum Creek is in dip. Note how bare Loughnan hill was. Taken mid 1930s".

Romance and appeal of roads and a look at the future of Australian roads and transport

The National Bicycle Game is an Australian-made and designed board game for 2, 3 or 4 players made by The National Game Company of Ballarat and Melbourne between 1930 and 1950. The earliest board games date from the mid-18th century and were printed on copper or steel plates and coloured by hand. By 1839 lithography was first used, making it possible for publishers to produce larger quantities of all types of toys. By the 1890s the games were mounted on to a folded board. Popular subjects were of an historical or geographical nature, as well as transport including motoring, aviation and railways and various sports. The board game 'A Motor Ride' ,made by The National Game Company, was possibly the first large-scale manufacturer of locally-designed board games in Australia. The firm was established in Ballarat, Victoria, at the beginning of the twentieth century by W. Owen. Other board games made by National include the 'Victory-United Nations" game, 'Fairyland', 'Yacht Race', 'Golf Game', 'Bicycle Game', Steeple Chase', 'Our Great Game' about football, 'Courtship and Marriage', 'Around the Commonwealth by Aeroplane', and 'Dugouts and Trenches' as well as the more traditional games such as Ludo, Snakes and Ladders, and Noughts and Crosses. This game board has been well-used. The game is significant because it uses scenarios familiar to Australian children in the first half of the twentieth century. This game board reflects the experience of being a child in the twentieth century. Toys were how children were socialised and taught. Most toys mimic the adult world, and looking at them can tell us something about how the world has changed. A folding game board for The national Bicycle Game for 2,3 or 4 players. It has a yellow spiral track on which the player progresses at the throw of the die, starting at the clubhouse until reaching home. In the background are pictures of rural scenes.board-games recreation cycling national-game-company