This drawing was produced by Ron Uebergang in 1919 at the Warrnambool Technical School. Members of the Uebergang families have been in the Warrnambool/Allansford area since the early 1850s. Ronald Uebergang (1903-1971) was born in Warrnambool, the son of Ernest Uebergang and Mary Watson. He lived at the family property, Hopkins Hill, and went to Allansford State School and Warrnambool Technical School. He was mechanically-minded, fond of music and dancing and a keen photographer. He married Myra Hall and they ran a dairy farm at Hopkins Hill and later went in for grazing beef cattle. Warrnambool Technical School was established in 1913, firstly at a Timor Street site and later at Caramut Road. Today it is called Brauer College. This drawing is of considerable interest as it was produced by Ron Uebergang. Members of the Uebergang families have been prominent in the Warrnambool/Allansford area since the early days of the district’s establishment. It is also important as a good example of the type of work produced by students from Warrnambool Technical School in its early years. This is a1919 drawing of a Steam Cylinder for a 45 HP Horizontal Engine. The drawing is half the full size of the cylinder. The drawing is on a white card with the sketches done in black and red ink. The card has a heavy black margin around the edges drawn in black ink. The drawing shows a Sectional Plan and a Half Side Elevation with the Cover Plate Removed. The card has the signature of Ron Uebergang. Attached by a metal clip to the card are four pages of measurements and plans of the steam cylinder. These are in black and red ink. Three of these pages have become partly detached. ‘Designed by R. Uebergang’ ‘Drawn by R. Uebergang’ ‘Date 1/12/19’ ronald uebergang, warrnambool technical school, history of allansford, history of warrnambool

These drawings have been produced by Ron Uebergang at the Warrnambool Technical School in 1919. Uebergang family members were pioneer settlers in the Warrnambool area in the early 1850s. Ronald John Uebergang (1903-1971) was born in Warrnambool to Ernest Uebergang and Mary Watson. Ron Uebergang lived at the family property, Hopkins Hill at Allansford and went to Allansford State School and Warrnambool Technical School. He was mechanically minded, a good photographer and fond of music and dancing. He married Myra Hall and was a dairy farmer at Hopkins Hill and later grazed beef cattle. Warrnambool Technical School was established in 1913, firstly at a Timor Street site and later at Caramut Road (today it is known as Brauer College). These drawing are of considerable interest as works produced by Ron Uebergang. Uebergang family members have been prominent in the Warrnambool-Allansford area since the pioneering days of the district. The drawings also are good examples of the type of work produced by Warrnambool Technical School students in its early years.These are two designs and drawings by Ron Uebergang produced at the Warrnambool Technical School in 1919. They are drawn on white card using black and red ink. The scale of the Flywheel is three inches to one foot and the Bevel Wheels are one-third full size. The drawings are edged with heavy black lines. The two sheets have the signature of Ron Uebergang. There are also four pages of handwritten notes on the Flywheel and Bevel Wheels.‘Designed by R. Uebergang’ ‘Drawn by R.Uebergang’ ‘Date 4/1/19’ (on Flywheel sheet) ‘Date 27/5/19’ (on Bevel Wheels sheet) warrnambool technical school, ronald uebergang, history of allansford

This is a children’s book and has the signature of Esther Kruger (1924). She may be Esther Auguste Kruger, born at Penshurst in 1912 to Heinrich and Mary Kruger. She is probably related to the Kruger families of Warrnambool. Johann C.A. Kruger, of German origin, arrived in Warrnambool about 1850 and opened shops in the town, firstly with Davidson and then with the Stelling Brothers. He was also the first Manager of the Warrnambool Tramway. This book in itself is of little significance but it is interesting as an example of the type of book read by young girls and boys in the early 20th century. It is, however, of some significance because of its inscription as it belonged to Esther Kruger who was most likely connected with the Kruger families in Warrnambool. The Krugers were prominent in Warrnambool’s history in the 19th and early 20th centuries. This is a hard cover book of 80 pages. It has a dark red cover with an illustration in red, yellow, blue and black tonings of a young boy and girl with a dog. The spine has an illustration in blue, tan and black tonings of two children with a hoop. The book has a colour plate of a family scene and nine story chapters. The chapters open with an ornamental first letter of the first word. The cover is a little worn and stained and some of the pages are stained. ‘Esther Kruger 1924’esther kruger, johann c.a. kruger, history of warrnambool

This note book contains handwritten material by Ron Uebergang – notes on engineering drawings prepared for a class at Warrnambool Technical School 1919-1921. Ronald Uebergang (1903-1971) was the son of Ernest and Mary Uebergang. He attended Allansford State School and Warrnambool Technical School and spent his working life dairying and raising cattle on the family property, Hopkins Hill, at Allansford, about nine kilometres east of Warrnambool. He was mechanically minded, fond of music and dancing and a keen photographer. These notes are of interest as they were compiled by Ron Uebergang when he was a student at Warrnambool Technical School 1919-21. The Uebergang families were pioneering settlers in the Allansford area and have been prominent farmers in the area from the 1850s on. The notes also are a good example of the work done by students at Warrnambool Technical School in the 1920s. This is a hand-made book of 22 pages with notes on engineering drawings by Ron Uebergang handwritten in black ink. There is tissue paper inserted between some of the pages. There are several drawings and equations in with the handwritten material. There is some silver fish damage on the front cover. Front Cover: ‘R. Uebergang’ ‘Note Book for Engineering Drawing Grade 3’ ronald uebergang, warrnambool technical school, history of allansford, history of warrnambool

This little book is very old, presumably 19th century, but the wording on the front cover is indecipherable, no date is evident and the first and last pages are missing. The book was owned by Mary Jane Freckleton with the main inscription written in an adult hand – ‘Mary Jane Frickelton, Mailers Flat’. The spelling of Mailers Flat with an ‘e’ was not a mistake but this was the common spelling in the 19th century and the early 20th century. According to the Freckleton family history ‘Freckleton’ was sometimes spelled ‘Frickelton’ or ‘Frickleton’. Mailors Flat is nine kilometres from Warrnambool and the Mailors Flat School, number 1210, was opened in 1872 in Caramut Road and closed in 1994. The first Head Teacher was Julian Castles. There were Freckelton families in the 19th century in Port Fairy, Caramut, Woolsthorpe, Woodford and Mailors Flat. The Freckletons at Mailors Flat were engaged in farming. Mary Jane Freckleton was for a time a pupil teacher at Mailors Flat School. She was born at the Injemira property and married Henry Giles. This is an interesting book because of its age and because it belonged to Mary Jane Freckleton, a member of the Freckleton families, early settlers in the areas north of Warrnambool. She may have used the book when she was a pupil teacher at the Mailors Flat School. This is a hard cover book of 284 pages (some pages missing). The cloth cover is brown and much torn and stained. There are 86 chapters of prose and verse and a sprig of dried flowers is enclosed in the pages. There is the red stamp of the Warrnambool & District Historical Society on the first page and several snippets of writing in black ink on the front and back pages.‘Mary Jane Frickelton Mailers Flat’mary jane freckleton, mailors flat school

Mary Craig Cox was born in Winton, Queensland, on 23 November 1881. She was 41 when she joined Victoria Police on 25 September 1925. Her Record of Conduct and Service describes her as being 5'4" tall, weighing 8st, 2lb, of thin build with blue eyes and brown hair. She was the third police woman to join the ranks and, like the others, she was attached to the plain clothes branch of Victoria Police. She retired on 23 November 1936, having reached the compulsory retirement age of 55. Victoria Police Plain Clothes Branch, 1927, with Mary Cox on the rightpolice women, cox, mary craig 7710, plain clothes branch, police woman, policewomen

Photograph of Patrick Charles Gascoigne and his wife Mary Ann (nee Radford). He is dressed in a suit (top button closed only) and his wife in a long white or light coloured dress, possibly a wedding dress.Mr & Mrs P.C. Gascoigne (blue pen on rear)kelly gang, edward kelly, ned kelly, glenrowan, constable gascoigne, patrick charles gascoigne, mary ann gascoigne, mary ann radford, police murders

This is a most comprehensive and succinct history of the Palmer/Wood family and their descendants from 1838 to 2013. Several members of the Palmer family were prominent in the history of Warrnambool and district. These include Octavius Palmer of Waarn, Claude Palmer of Dalvui, William Palmer, Manager of the Bank of Australasia in the 1860s and Thomas Palmer of Grasmere. The noted novelist, Mary Gaunt, who lived in Warrnambool for some time, was the granddaughter of Frederick and Mary Palmer. These biographical notes of the Palmer family are of some significance as they will be very useful for researchers.These are 13 pages of printed notes enclosed in a folder with a clear plastic front cover and a black plastic back cover. The pages are attached using plastic clips. The pages include illustrations and photographs. Palmer – The Family of Frederick William Palmer and Mary Eliza Wood of Woodlands, Tasmania 1838-2013 Front Cover: ‘Palmer – The Family of Frederick William Palmer and Mary Eliza Wood of Woodlands, Tasmania. Researched by Florence Charles, 1838-2013palmer, frederick william palmer and mary eliza wood of woodlands

William Horne Barrett was the great uncle of the donor and maker of the DVD, Newell Barrett. The DVD contains photographs of Barrett’s enlistment and embarkation for England and the photographs are accompanied by a commentary and text. Sergeant William Barrett enlisted in the 39th Battalion, C Company in 1916, and, although he came from Ballarat, his name is on the Warrnambool War Memorial as a local enlistment. His mother was Mary Ann Horne and the Hornes were farmers in the Allansford/Nullawarre area. Barrett was killed in action in October 1917 at Broodseinde, Belgium. He was buried near the trench he was occupying and today has no known grave. This DVD is of some significance as it contains information on a World War One soldier who was connected to the Warrnambool area through his mother, a member of the Horne family who were farmers in the Allansford/Nullawarre area. It will be useful for researchers.This is a DVD-R disc of the enlistments and embarkation details of William Horne Barrett (World War One). The running time is 56 minutes. The cover has two photographs of the Canberra Australian War Memorial in muted colour and an inset photograph of William Barrett. Front Cover: ‘William Horne Barrett, died 4th October 1917, Battle of Broodseinde, Belgium, Visit to the War Memorial, May 23rd to 24th 2012, Part One, Enlistment to England’. world war one, horne family, william horne barrett

This album contains photos done on photographic paper while others are on exposed metal. Some are named, among them a Thomas or Edward Wickham, Fred Giles, Mrs. F Giles, Mary Humphrey Wickham, Jack Giles, Eliza Hornsby. Some of the photographs have been taken by Warrnambool photographers including Daniel Clarke. This album shows two different methods of photography which existed in the mid to late 19th century. With a number of the photos named it would suggest that there is some family connection between them which provokes an interest from a genealogical point of view. Red leather cover with circular pattern with black edging which sits around rectangle on front and back. Brass metal clasp. Pages are edged in gold. First pages has photo of woman leaning on back of couch and last page has cut out coloured picture of three children with garlands of flowers.Stamp inside front cover, Hider, Charles Liebig St, Warrnambool.warrnambool, photo album warrnambool, giles family album, 19th century album, giles, wickham, hornsby, daniel clarke

“Alone in West Africa” is one of a number of works written by Mary Gaunt. Her other works include, A Woman in China, The End of the Earth, Kirkhams Find, The Moving Finger and Deadman’s. Mary was born at Indigo near Chiltern in 1862 and lived for many years in Ballarat where her father W.H. Gaunt was gold commissioner and later a judge. The original Gaunt family home was converted into St Patrick’s College. She married Dr Lindsay Miller and moved to Warrnambool and after his death in 1899 she embarked on her travels which took her to many parts of the world. She died in Cannes, France in January 1942. Mary Gaunt wrote over 25 novels, numerous travel books and many stories and articles. She had a strong link with Warrnambool and details of the district are included among her writings. She also wrote regularly in the early 1900’s for the Times in London on women issues. She was an independent thinker and worker. Apart from the text of “Alone in West Africa,” the work contains 97 black and white photographs which Mary had taken and developed herself. These photos are a significant view of aspects of life in Africa at that timeDark blue cover with gold text. Title, “Alone in West Africa” with sketch of two children in the centre, with Mary Gaunt underneath. The back cover has an embossed letter “L”. Inside the front cover is a rough sketch of the author’s route of the French Ivory Coast. It contains a number of black and white plates and index. 399 pages.T Werner Laurie on bottom of spine. Black and white photograph of author with autograph underneath. T Werner Laurie Clifford’s Inn London. Acknowledgements included in the dedication , Sir Charles Lucas, Sir George Denton, Elder Dempster and Co. Messrs. Swanzy and Co.,gaunt, mary gaunt, alone in west africa, french ivory coast 1912

The book contains a series of exercises which would have been used by artists and art teachers at the beginning of the 20th century. Mary Norman, the original owner of this book was both artist and teacher. Mary Norman worked in Warrnambool, and has left a significant amount of work of scenes from around the district. The Warrnambool and District Historical Society has five in its collection, Gaul’s Cave, Mermaid Cave, Seascape, Wreck of “La Bella”, Clifton Banks, Hopkins River.Fawn card cover with maroon cloth binding. Title in black. Back cover has black text with Dr Beach’s Entertaining readers and a list of testimonials from teachers.Stamped inside front cover, Mary L Norman the Studio Araratwarrnambool, mary norman, perspective projection, e.g.baker

Nelson’s New Drawing Course was in use around the early part of the 20th century. The owner of this particular copy Mary Norman, was born in Ararat in July 1883. She produced her first public work in 1900 and came to Warrnambool in 1901 and worked with S. Pearce Fuller. She taught at Warrnambool Ladies’ High School at Upton in Canterbury Road and also took art classes at Fullers Art School. She left Warrnambool in 1906, going first to Echuca before returning to Ararat where she set up her studio and held her first public exhibition in 1908. She married Jesse Bail in 1922 and had one child Jessica in 1923. She died in 1962 in Ararat, aged 79. Mary Norman worked in Warrnambool, and has left a significant amount of work of scenes from around the district. The Warrnambool and District Historical Society has five in its collection, Gaul’s Cave, Mermaid Cave, Seascape, Wreck of “La Bella”, Clifton Banks, Hopkins River.Dark olive green hardcover book with black scrolling and coat of arms at bottom of cover. Text in black. It covers such subjects as freehand and freearm drawing, mechanical drawing clay modelling colour work and paper cutting. It contains diagrams as well as instructions. Handwritten in black ink inside front cover, “Mary Norman, Ch of Eng DHS Echuca May 1908. Black ink stamp, 1909 Mary Norman Studio Ingor St Ararat. Thomas Nelson and Sons London Edinburgh and New York 1905.warrnambool, nelson's drawing course, teacher's handbook, mary norman, warrnambool artists

The recipient of this card, Jessie Bonnett was born in Allansford in 1897. She spent her life on the family farm at Mepunga with her brothers Jack and George. She died in 1990 and her scrapbook came into the collection of the Warrnambool and District Historical Society through her relative, Mary O’Callaghan. Nothing is known of Ada Lawlor.This card has social significance and interest showing the communication between people in an earlier age. Postcards were commonly used to convey a short message between friends. This is a postcard with an image of the ship ‘Georgia’ on the front and a letter from Nullawarre on the back. There is a stamp from the Gray’s Colosseum Stationers and a symbol, ‘F & J’ on the back. Nullawarre, 13.10.10 Miss Jessie Bonnett, Mepunga, Dear Jessie, Just a P.C. in answer to your pretty card and for being so kind in always helping me with my sums. Please excuse this P.C. as I have no other. I remain, your affect. playmate, Ada Lawlor. Dear Jess I was not at school yesterday as I was sick with a cold.jessie bonnett, ada lawlor, the georgia

Stephenson departed Melbourne on 3 September 1941 onboard the Queen Mary. Diary runs from departure date until September 1 1942, covering Stephenson's Middle East service and his wounding in action at Alamein. One year later, Stephenson was wounded in action at Buiem River in New Guinea, and a few days later died from the wounds received.WW 2 diary of William Stephenson (VX 51713 2/23 Battalion).william john stephenson, ww11, 2/23 battalion, diaries

George Frederick Boxall (1051 8th Battalion H Company), a miner from Bendigo, embarked from Melbourne on board Transport A24 Benalla on 19 October 1914. He returned to Australia on 8 May 1916, having suffered "shell shock" from a bomb blast on Gallipoli in September 1915.Hustlers Mine photograph inscribed on rear : "at the mouth of the shaft after the accident at Great Extended Hustlers"ww1, george frederick boxall, mary jane boxall, mary jane johnson, william henry johnson, 8th battalion, linton percy clarence rudd, allan tathorn moffat, robert carter, photographs, letters, great extended hustlers mine, shell shock

The photo is of John Neville and Ethel (Polly) Burgoyne’s store with eldest children and a 1927/28 model Chevrolet 1 ton truck. The store was located on Main Road just south of Bridge Street (present day No. 820 Main Road). L-R (unconfirmed): Francis (Frank) Neville Burgoyne (1916-2002), unidentified, Mary Frances Burgoyne (1914-1991) and John (Jack) William Burgoyne (1913-2005) which would date the picture as circa 1929/1930. Henry Charles Burgoyne (1920-1994) and Royston (Roy) Edward Burgoyne (1922-2004) not in picture. The unidentified male is believed to be an early boyfriend of Mary Frances at the time, not Reginald John Squire (1916-1981) whom she married in 1938 who was two years her junior. The new store was built in late 1925. At the same time Mr C. Nicholls’s new store was constructed. Both were considered modern shops, and an improvement on most, business establishments of the time. Mr. Nicholls’s store included alongside it a modern, weatherboard villa residence. Mr. Burgoyne’s store incorporated the post and telegraph office, which was operated by John Neville Burgoyne’s half-aunt, Miss Anne Hunniford. The unsealed footpath in front is reasonably extensive as not visible is a concrete kerb and channel which was laid from the Post Office to John Street during Nov-Dec 1926. Footpath construction in front of Burgoyne’s store commenced August 1942. An extension to the store was erected in 1939 for a new telephone exchange adjacent to the store and post office. A continuous telephone service operated by Mr Burgoyne and his family commenced operation 18 November 1939. Approximately 70 extensions were routed through the new exchange, 40 of which were transferred from the Greensborough Exchange. Reproduced on p92 of 'Pioneers & Painters' Cross Ref: 0702 shows extension on right of shopThis 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 Negshire of eltham pioneers photograph collection, 1927 chevrolet series aa truck, burgoyne's shop, eltham, francis (frank) neville burgoyne (1916-2002), frank burgoyne, henry charles burgoyne (1920-1994), jack burgoyne, john (jack) william burgoyne (1913-2005), john neville burgoyne, main road, mary frances burgoyne squire (1914-1991), pioneers and painters, post office, shops

St Mary's Catholic Church, cnr Main Road and Henry Street, Eltham was opened/blessed October 13, 1912. The wooden church was built to replace an earlier brick church also known as St Mary's (1865-1912), which had been situated on the main road near present day Wingrove Park. The church and land cost £1,400 (Evelyn Observer). The wooden church was destroyed by fire in 1961. Record includes a photo print copy of image as illustrated in the 'Diamond Valley News', 4 Feb 1998, p 31.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 Negsepp, shire of eltham pioneers photograph collection, eltham, church, catholic church, henry street, main road, st marys catholic church

[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

Postcard inscribed on reverse "Eltham 26.12.12" In the distance on the hill to the left of centre is the new St Mary's Catholic Church, corner of Main Road and Henry Street, Eltham (blessed 13 October 1912, later destroyed by fire in 1961). Just below the church, Shillinglaw Cottage is visible with two of the Shillinglaw trees partially obscuring the church. Photograph believed to have been taken just west of the present-day Catholic Ladies College carpark in the Inez Avenue Park region with Diamond Street running up hill behind the fence in middle of picture.Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 13 Feb 2018michael aitken collection, postcards, eltham, picnic, catholic church, exhibition yprl 2019-12, shillinglaw cottage, shillinglaw trees, summer

Mary Lynch was the daughter of Matthew and Mary (nee Loorham) Lynch. She became Mrs Ivell. she was a noted horse-woman having ridden the Nixon Bros hack, "Gold Dust" at the Melbourne Show coming first in the 10 stone hack and first in the Eagley Hunting Contest. (info. Mary Gilbert)A pink card exercise book cover, "Victoria" brand. The front is ornate with a profile of Queen Victoria at the top, an Australian coat-of-arms with "Advance Australia beneath it, the owner's name handwritten in black ink, all inside a frame of flowers and ferns. On the back are arithmetical and multiplication tables.handwritten on front - Mary Lynchexercise-book lynch-mary

Daughter of George Temple and Mary McAuslane of Castlemaine, Hilda married James Kerr in 1893 and lived at Lincluden, Raymond Street, Orbost. Her husband, Dr James Kerr, was a Scot who had come to Australia as a ship's doctor and practised in NSW before visiting Orbost on a government vaccination programme. He liked Orbost and returned there, its first doctor, until his death in 1928. Hilda was sometimes referred to as 'Mrs Dr Kerr.' She and her sisters Mabel Stewart Temple and Margaret Ferrie Temple were all talented writers and musicians. This poem is an example of the talent of Hilda Temple Kerr. Hilda Temple Kerr (1874-1956) grew up in Orbost. She was very talented and published several books. It is reflective of the style of poetry in the early 19th century.A rectangular piece of paper with a typed poem titled, "We Come" by Hilda C. Temple-Kerr.poetry literature kerr-hilda-temple

A very thinpaper hand-painted card of religion. It has a picture of Mary inside a free form frame with floral decorations. In a separate frame is "S Elizabeta" hand-written in black ink.religious-card handcraft

This miner's right certificate was issued in Orbost to Donald Munro of Orbost. It was valid from 24.10.1904 until 23.10.1905 and cost two shillings and sixpence. Donald Munro, with his brother, Archie carried on a boot-making business in one of the rooms of a three-storeyed barn at Lochiel. The Munros were musically inclined and through them a band was formed in 1889. Donald Munro was involved in many of the town's activities. (More in Mary Gilbert's Personalities and Stories of the Early Orbost District). The Miner's Right was introduced in 1855 in the colony of Victoria, replacing the Miner's Licence. Protests in 1853 at Bendigo with the formation of the Anti-Gold Licence Association and the rebellion of Eureka Stockade in December 1854 at Ballarat led to reform giving the right to mine gold, the right to vote, and the right to own land. This new system proved economical and sustainable, operating substantially unchanged up until 1975. This item is of historical significance as it is associated with positive outcomes for gold miners brought about by the Eureka Stockade rebellion and its subsequent democrat changes. It is also associated with the Munro family who were early settlers in Orbost.A white paper miner's right certificate. It has black print with hand-written details. It is an elaborate document with the Victorian coat-of-arms at the top.on back- date, hand-written notescertificate-miner's-right munro-donald

This is a certificate for Mary Stratford indicating that she has attended school to a sufficient standard. It has been signed by the inspector A. Jackson.A small white paper certificate with black print and hand-written details. It is a "certificate of a child being sufficiently educated" issued by the Victorian Education Department for Mary Stratford of Banyena. In the top left corner is the seal of the Victorian Education Department.education-1889 stratford-mary

This is thefirst edition of "Personalities and Stories of Early Orbost which was collected and compiled by Mary Isabelle Gilbert. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community. This book is a collection of stories as told and writtenabout Orbost in early times. This is a useful research and reference tool on the early history of the Orbost district.A 130 pp light grey covered book, titled "Personalities and Stories of the Early Orbost District." The title is in black print inside a black rectangular frame.gilbert-mary orbost-history recollections-orbost

This book belonged to Mary Gilbert and was probably used by her whilst at Melbourne University as a student. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community.Mary Gilbert was the first curator of the Orbost Museum, and a local teacher. She was a highly respected Orbost citizen.A black paged botany book with a leatherette cover. Inside are hand -drawn botanical specimens. On the front, in gold, is the Melbourne University insignia with its motto -"Postera crescam laude" ( "May I grow in the esteem of future generations").MARY I. GILBERT BOTANY 1 1926 No. 437gilbert-mary

Collected by Mary Gilbert. This folder belonged to Mary Gilbert and was probably used by her whilst teaching at Orbost High School and as a member of the Orbost Historical Society. Mary Isabelle Gilbert was born in 1905 in Orbost, Australia. She was born to John Gilbert and Annie Cameron Gilbert, and had seven sisters and one brother. Four siblings died at a young age. .She was a teacher historian loved and respected by her family and the wider community. This item is a useful research tool.A manila folder containing b/w newspaper cuttings relating to the progress of Orbost power, mail and water supply. The articles are from various newspapers.. 732.2 is a report by Mr A. Sambell. C.E. on the Orbost Water Supply. 732.3 is from the Weekly Times, July 17 1968 and is titled "Snowy River Mail Follows Our Ancient Track". 732.4 is from the Snowy River Mail, May 16 1962 and is titled " Power To Orbost in Keeping with State's Progress. 732.5 is from the Snowy River Mail, May 16 1962 and is titled " The Vital Power of Electricity".orbost-power-water-supply

These articles were compiled by Mary Gilbert who was the first curator of the Orbost Museum and a prominent historian / teacher in Orbost. The 1971 floods at Orbost were the worst on record. At Jarrahmond the river rose to a height of 11 metres and on the flats spread to one and a half kilometres wide. Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au)These articles are contemporary records of a significant historical event in Orbost.A manila folder containing black / white newspaper clippings from various publishers. They all relate to the 1971 floods in Orbost. (Details of contents in catalogue 735-900)floods-orbost-1971