A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

Eltham Day Care Centre The Centre made two banners; the first was made during a one-day workshop with Tracey Naughton utilising individual fabric painted triangles and joining them together. This workshop was so well received that the Centre wanted to make another banner over a longer period. Tracey suggested that local felt artist, Alice Ruxton, Tracey's grandmother, work with the group. The group wanted to do something with an historical theme and Tracey brought some photos from the Historical Society's files. A design was created from these. Felt, a physically demanding medium, attracted a number of men to participate in this banner, as well as women. Weekly workshops were held over a couple of months, with everyone at the Centre very interested. The completed banner was returned to Tracey to attach a backing. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp30-31)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, eltham day care centre, community banner project, tracey naughton

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner

Book dedication, “Dedicated to the men and women of Victoria’s central Gold Fields who served and made the supreme sacrifice in our name”.1) .2) Books, soft cover, cardboard, white print on front and spine, front cover illustrated sepia tone photo of a soldier in uniform, back cover illustrated sepia tone photo of Soldiers marching with crowd of spectators, 73 pages, plain white, illustrated B & W and sepia photographs.On title page adhesive sticker printed in red ink, “Central Goldfields/Art gallery”, hand written in black, “With Compliments”books military, history, ww1 biography

Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member of the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. Ursula Hoff (from the National Gallery Victoria) judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Born Isabel McCausland, she married Robert Huntington in 1931. women of note, isabel huntington, ballarat school of mines, ballarat high school, ballarat technical art school, royal melbourne institute of technology, rmit, victorian division of red cross, director of handcrafts, rosanna high school, montmorency, heidelberg military hospital, supervisor of handcrafts, art shows, melbourne, ballarat, hamilton, mccausland, robert huntington

Belonged to Clarence (Clarrie) Edward Nicholls who was a communications person on the Sunderland Flying Boats. He was in the Battle of Britain. He was seconded to the RAF and flew out of Plymouth. He was shot down a number of times. He was in the peace keeping corps in Japan and then Korea, and then went into the full time Korea. At one time Clarrie and his two brothers were in New Guinea at the same time. They knew they were all there together but they could not find each other, and officials would not tell them where they were. He flew the last Sunderland back to Lake Boga. He wanted to buzz his parents in Wodonga so he knew he was on the way, but the authorities wouldn't let him. Clarrie Nicholls was a flag bearer for the Melbourne Olympics.Red hard covered book of 200 pages. The following images are by official war artist Geoff Mainwaring (SX13471) who later taught painting at the Ballarat Technical Art School. * 'And Again. So-Heave', page 121 * 'Day's Work Done', page 121 * Untitled image, pg 185 Includes photographs of General Sir Thomas Blamey, Corporal Jim Gordon, John Lavarack, Iven Maccay, Australian Women's Army Service, Convalescent Diggers at Heidelberg Hospital; and maps of the Malay Peninsula and Singapore.clarence nicholls, nicholls, world war 2, geoffrey mainwaring, new guinea, singapore, libya, solomon islands, charles bush, ivor heale, g.j. browning

The photograph was created by Geelong artist Julian Aird and framed by a business in Geelong. The window in the photograph is of the 1928 stained glass window and the baptism fold in the St Nicholas' Seamen's Chapel at Flagstaff Hill Maritime Village, which were installed at Flagstaff Hill's for the Chapel's opening in 1981. About the Window - The window in this photograph, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s and Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass memorial nameplate has an inscription that dedicates the window to Dr. Connell. The inscription reads: "A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928, A.D." The photograph's significance lies in the subject of the stained glass window, and its connection with the history of the local Warrnambool Base Hospital, dating to Dr Connell's work there in the early 20th century.This photograph captures the light shining through an arched, stained glass window behind a baptismal font. Rectangular framed photograph, portrait view, behind glass, with black frame and matt. A cord for hanging it is attached at the black, and there is a black, round felt pad on each lower rear corner. The photograph by Julian Aird is titled 'Illumination' and was framed in Geelong. Details of title, and photographer are handwritten on the back and and printed label gives the contact details of the framer. Written by hand in black pen " 'ILLUMINATION' / MARITIME MUSEUM WARRNAMBOOL", "JULIAN AIRD / TEL/FAX. 03 52890457" " Printed on adhesive label "EASTERN VIEW / PICTURE FRAMERS" "Proprietors Steven & Annemarie Hocking / 162 Malop Street, Geelong, Vic, 3220 / Ph. (03) 5229 5935" Logo on label in centre of oval with text [2 tall water birds facing each other with a water fountain between them]flagstaff hill maritime museum & village, maritime museum, maritime village, great ocean road, shipwreck coast, ulian aird, illumination, photograph, dr. connell, stained glass window, baptism font, gbert john connell, st nicholas seamen's church, warrnambool hospital, dr connell memorial window, eastern view picture framers, steven & annemarie hocking

255 pages with colour and black and white illustrations; notes, bibliography, index.non-fictionAlmost hidden within religious buildings, hospitals, school chapels and civic buildings, stained-glass windows tell of Australians at war. Bronwyn Hughes focuses on commemorative stained glass—an overlooked art form—describing its rich artistic and architectural heritage and the artists and firms who created it. Memorial stained glass serves to depict and illuminate the men and women who fought and died for their faith and their country. It has a tragic beauty. The book includes stained glass windows from the St Peter chapel of the Mission to Seafarers.australian history, ww1, ww2, boer war, vietnam war, stained glass windows, bronwyn hughes

Snapshot in time of tall ship and the relaxed clambering about the rigging by sailors. The C.B. Pedersen is also referred to as a Training Ship for Swedish seamen and cadets. A reference in Annual reports and in Jottings from our log notes that classes in Swedish amongst other languages were offered by the LHLG to members and some of the earliest photographs note Swedish sailors relaxing. The first officer and captain of the C.B. Pedersen are depicted in photograph (0706) on permanent display. In the Sydney Morning Herald, Tuesday 27 April 1937, page 12: "The C. B. Pedersen was built in 1891. It has visited Australia several times, the most recent occasion having been in 1935, when It was anchored in Port Phillip Bay, Victoria, for several weeks, awaiting a suitable cargo. At length the master, (Captain Hjalmar Dahlström) announced that, as no cargo could be obtained he would be prepared to carry passengers in a voyage to Gothenburg, via Torres Strait. Eight persons, including three women and a small boy were accepted as passengers, and signed on as members of the crew at salaries of 1/ a month". Artist Violet Teague was one of the passengers. She painted during the voyage and exhibited her work in 1938. Built in 1891 the C.B Pedersen, a four-masted steel barque (2142 tons) was used as a training Barque. The ship foundered in April 1937, the crew was saved. Several other photographs of the C.B. Pedersen taken by the same studio are held at the State Library of Victoria.Training of seamen has always been of of keen interest to the Mission to Seamen and many cadets have been welcomed over the 20th Century when widespread training was undertaken by a number of seafaring nations. Black and white photograph of 9 men hanging from ropes in the rigging. One man is upside down, another is holding his hat out. The mast is off to the right-hand side of the photograph and there are several ropes and chains.On the back of the photograph in the top left-hand corner is an ink stamp with the text "Peckham Photographic Studios/Geo Beachcroft/Propr./21 Charlotte St./Richmond/Victoria, Australia". In black pen is the text "Hanging on up aloft/C.B.Pedersen".richmond, chains, rope, seafarers, rigging, peckham photographic studios, geo beachcroft propr, cb pedersen, tall ships, captain hjalmar dahlström, windjammer

New sculptures honouring returned service man and women will be created for Greensborough's War Memorial Park.News clipping, black text and colour image.leigh conkie, greensborough war memorial park

Arthur Street, Eltham next to ANZ Bank The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, p46) Used in Shire of Eltham display at the Eltham Community Festival, 7 November 1987. Shire of Eltham Engineering Department Providing the resources to undertake • Survey, design, consultation • Road construction and maintenance • Bridge construction and maintenance • Street sweeping • Drain and pit cleaning • Traffic engineering installation and maintenance • Garbage collection • Tip management, land reclamation and beautification • Maintenance of community buildings • Provision of community and recreation facilitiesIllustrative of services provided by former Shire of ElthamColour photograph 20 x 29 cm mounted on green-painted chipboard 28 x 35.5 cm (string on back for hanging) Ref: 01842-0Title printed on label adhered to board below photograph (replaced June 2017)display panel, eltham festival, eltham peace banner, hiroshima day banner, infrastructure, shire of eltham, laurel eckersall, anne laurence, betty johnson, joan maclagan

Wicked Women (1988-1996) was a sex-positive lesbian erotica magazine established, published and edited in Sydney by Francine (Jasper) Laybutt and Lisa Salmon. Later edited by Kimberly O'Sullivan.Pen an ink drawing on laid paper.Signed and dated by the artist lower right.

Reginald Stoneham was born in 1879 and died March 1942. He was a popular accompanist and recording artist in the early part of the 20th century. Among his works were All for Australia, Back to Warrnambool, The drover, Bendigo for the weekly Times, Mildura and Home to Ballaraat.He also penned music under the name Alberto Algrati which were his middle names.A piece of music written specifically for Warrnambool by a popular artist of the time.Taken from the Weekly Times: Words and music to the Waltz of Warrnambool printed on one side and Our women’s Section printed on the reverse.Song composed by Reginald Stoneham. The Weekly Times June 25 1932warrnambool, reginald stoneham, alberto algrati, back to warrnambool, waltz of warrnambool

Bicentennial/Heritage Week Display, "The Eltham Tradition", Eltham Shire Office, 17-22 April 1988. In an interview in the Australian Women's Weekly, (29 April 1970), months before his death in October 1970, Ian Hassall discusses his life with author Maureen Bang. "Ian Hassall can look back on his life with few regrets. He believes like his friend author Alan Marshall, that when you're old you should be able to "look back on life as a book with lots of pictures". Artist Ian Hassall has a lifetime of pictures". Colour photographactivities, alan marshall, eltham shire office, heritage display, heritage week, ian hassall

[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

Vivienne Young was a teacher at Orbost Secondary College. She is well known as an artist particularly in the medium of felting. She moved from a farm in Wairewa to live in Orbost and is still involved as a felt artist taking her skills regularly to Mongolia working with women there to re-vitalise the felting skills of local women. The Orbost Butter and Produce Co Ltd was registered on June 1st 1893. The site of the factory was purchased at a cost of five pounds from Mr James Cameron. (See In Times Gone By - Deborah Hall)The Orbost Butter and Produce Co. Ltd was registered on June 1st 1893 and was an important source of income to the Orbost district.A pen and ink drawing of the Orbost Butter Factory in Lochiel Street on the corner of Browning street as it was before 1911 when it became the bean factory. It is outlined in black and shaded in brown tones. orbost-butter-factory young-vivienne