James Turpenny stabbed his wife Rose through the heart in June 1919. The couple lived in a squalid hovel in Spring St, often quarelled and both drank heavily. He was found guilty of manslaughterPrison record for James Turpenny, prisoner registered number 35082, giving details of the prisoner, his crimes and the dates and places of his trials.english speaking prisoner, james turpenny, manslaughter

This Dolphin Motor Club, or DMC, overlay belonged to Jasper Laybutt, a highly active member of the Sydney LGBT community of the 1980s and 1990s, co-founding organisations like Wicked Women, Girls and Guys of Disgrace (G.O.D.), and Boys Will Be Boys. Sleeveless blue denim jacket with light and dark blue ribbon trim on the sleeve holes, with cotton patches and metal and enamel badges on the front, and a large club patch on the back.motorcycle club, transgender, gay

Silver plated inkstand with two handles and four decorative legs, candle holder supported in middle by two swan figures presented to Joseph Bosisto but found in a houjse in Richmond next door to engineering shop owned by Melville Lobers (buried in Macclesfield) who is a relative of Mirren Alenson. Joseph Bosisto was a pharmaceutical chemist from Yorkshire, who set up eucalyptus distilleries at Emerald, Menzies Creek and Macclesfield in 1882. Joseph Bosisto was a Commissioner of the Melbourne International Exhibition 1880-1881 Presented to Joseph Bosisto Esq. M.L.A. by the employees of the Public Parks and Gardens 1882

View at Eltham, Vic. Looking from Main Road near Henry Street towards Montmorency showing the railway trestle bridge. Henry Street road reserve on west side of Main road in foreground. c.1920 Copy of Rose Series Postcard P. 4348. (The Rose Stereograph Company) George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry. 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 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 Negbridge street, eltham, eltham railway trestle bridge, postcard, rose stereograph company, shire of eltham pioneers photograph collection, trestle bridge

L-R: Russell Yeoman (Society Secretary and founding member), Richard Pinn, Wal Delaney, Peter Pidgeon (Society Vice President), Alison Delaney Born digital image (3)activities, eltham district historical society, local history centre

L-R: Mrs Charis Pelling, Founding President of the Shire of Eltham Historical Society, Mrs Marjorie Smith MotschallColour photograph1987, activities, senior citizens' centre

[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

A slab hut situated in Research, Victoria. An elderly man and woman stand in front of their small bark slab home with bark chimney. It has a tin roof and tin water tank to the side. A small garden is situated at the front. Reproduced on pp 38-39 of 'Pioneers & Painters: One Hundred years of Eltham and it's Shire" (1971) Article in "Australian Family Tree Connections" February 2000 by B. J. Parkinson claims that the people in this photo are "Jonas and Christina Jane (Gregg) PRIOR in front of their home at Ferny Hill, near Eltham, Victoria, 1877". Photocopy of photo also attached to 14 online family trees for the Prior family on Ancestry.com without the words "A Bush Home". References found to Prior in historical newspapers and the property "Ferny Hill". Jonas was a convict from Kent, England. He arrived in Hobart in 1821 aged 19 years. He married Christina Gregg in Hobart about 1834 and had 11 children. They came to Victoria about 1846. He died at Ferny Hill, near Research, Eltham in 1878 aged 74 years and was buried at Melbourne General Cemetery. His occupation was gardener.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Print 20 x 25 cmshire of eltham pioneers photograph collection, research (vic.), ferny hill, jonas prior, christina prior, hut, prior, convict, pioneers and painters

Eltham District Historical Society's 50th Anniversary dinner held at St Margaret's Hall, Pitt Street, Eltham, 27 October, 2017Born Digital50th anniversary, eltham district historical society, st margarets anglican church

Eltham District Historical Society's 50th Anniversary dinner held at St Margaret's Hall, Pitt Street, Eltham, 27 October, 2017Born Digital50th anniversary, eltham district historical society, st margarets anglican church

Eltham District Historical Society's 50th Anniversary dinner held at St Margaret's Hall, Pitt Street, Eltham, 27 October, 2017Born Digital50th anniversary, eltham district historical society, st margarets anglican church

Eltham District Historical Society's 50th Anniversary dinner held at St Margaret's Hall, Pitt Street, Eltham, 27 October, 2017 Diana was also associated with the Pny Club and Eltham Rural GroupBorn Digital50th anniversary, eltham district historical society, st margarets anglican church, eltham rural group, horse and pony club

Eltham District Historical Society's 50th Anniversary dinner held at St Margaret's Hall, Pitt Street, Eltham, 27 October, 2017 Gwen Orford was Treasuer at the time the LHC was established and she oibtained the furnitureBorn Digital50th anniversary, eltham district historical society, st margarets anglican church

Ferdinand von Mueller was born at Rostock, Germany, on 30 June 1825 , died at Melbourne, Australia, on 10 October 1896. He studied pharmacy and took his Doctor of Philosophy at the University of Kiel in 1847. He came to Australia in 1848 for health reasons and became a great botanical collector and writer. He was Victorian Government Botanist from 1853, and for a time Director of the Botanic Gardens. He travelled widely in Victoria and was on the A.C.Gregory expedition to northern Australia in 1855-57. He also founded the National Herbarium of Victoria. He named many Australian plants.Mueller was one of the first people to take a scientific interest in Victorian forests, and argued against indiscriminate clearing of land. This item is a useful research tool.A 244 pp book, cover missing, botany victoria-botany baron-ferdinand-von-mueller

Manchester Unity Independent Order of Oddfellows (MUIOOF) had its origins in Manchester, England. It was established in Melbourne on 7 December 1840 when Augustus Greeves, a member of the MUIOOF in England, migrated to Australia and formed the first friendly society. In 1840 Manchester Unity IOOF was founded in Victoria.Friendly Societies were founded in the Australian Colonies in the mid-19th Century by immigrants from England who had been members in Societies which dated back to the 18th Century. Like all working people these immigrants experienced sickness, accidents, unemployment, death and burial. They needed help of like fellows to tide their families over these times. So they formed a branch of one of the Friendly Societies back in the mother country. The idea was to make fixed contributions to a fund and when they were off work they would receive a payment. When they died funeral benefits would be paid and the widow and children would be cared for. It was a form of local insurance for hard times. This was a time of 'look after yourself' as the Colonial Governments did not provide pensions or benefits. This item reflects those times. A small hard cover blue book holding certificates of M.O.O.O.F. members.m.u.i.o.o.f. friendly-society

Peter Le Get found three framed photos of Heathmont view in a Heathmont Opportunity Shop. Previous owners unknown.Framed photograph of buildings in Canterbury Road Heathmont, February 1960.Heathmont, February 1960, Canterbury Road

Peter Le Get found three framed photos of Heathmont view in a Heathmont Opportunity Shop. Previous owners unknown.Framed photograph of Mullers Orchard, Heathmont, Taken from the corner of Canterbury Road and Dickasons Road - - looking east, 1926.Mullers Orchard, Heathmont.

Peter Le Get found three framed photos of Heathmont view in a Heathmont Opportunity Shop. Previous owners unknown.Framed photograph with inscription - Building Heathmont Railway Station Platform by Wieland Brothers 1926.Building Heathmont Railway Station Platform by Wieland Brothers 1926.

Gwen Horman was a prominent figure in Ringwood History. Her husband , Robert, was the Mayor of the Ringwood Borough in 1954 and again in 1961 and played a large part in the move for Ringwood to become a city. Gwen was a foundation member and President of the Ringwood East Infant Welfare Centre, helped fund raise for the Maroondah Hospital and was a founding member of the Ringwood East CWA in 1949. She traveled extensively and there are many diary notes of these trips included in the history.Transparent front cover and buff coloured back cover, black spiral binding contains 38 pages of printed notes and photos, some hand written amendments. Printed 25-Sep-1998. +Additional Keywords: Horman, GwenLife and times of Gwen Horman

PacketPacket includes: . Rules of the Ringwood and District Philatelic Society founded- 1952. . Page of stamps. Includes advice of meetings held first Thursday each month at Holeproof Canteen, Seymour Street, Ringwood, 8 PM. . Miscellaneous correspondence to Members. . Newspaper clippings back to 1940's. . Syllabus for several years. . Invitation for Mr R Pullin to Official Opening of "Ringpex 1972".

History of Ringwood Bowls Club, Bamford Park, Miles Avenue, founded as Ringwood Bowling Club. There are four variations of the history, all kept in white binders with inserts containing various aspects of historical material. All four have been converted into searchable, digital format. 4598a Kept at RDHS Archives (01-02-01). Compiled in 1996 by A. Holliday and M. Pottenger, including earlier compilation in 1961 by Jack Knox and Wilfred Bamford. Contains a lot of historical documents. 4598b Kept at Ringwood Bowls Club premises. Mostly officebearers, awards and championships. 4598c Kept at Ringwood Bowls Club and RDHS archives premises. Mostly Ladies Section from 1959 to 2004. 4598d Kept at Ringwood Bowls Club and RDHS archives premises. From 1996 to 2004, mixed Ladies and Men's Sections.

Written on clipping, "Ringwood High School's top scholars for 1955. L. to R.: Judith Nott, 3rd: Victor Greenham, Dux of School: Colin Grant, 2nd. Victor also found time to be the club swimming champ." "Mail 12/1/56".

Details of amphibians found in Maroondah

Details of mammals found in Maroondah

Details of birds found in Maroondah