The Red Ribbon Movement of 1853 represented a significant series of events in the history of Bendigo. During that year there was much agitation on the Bendigo gold fields, particularly during July and August of 1853, directed against the payment of what the miners called a tax - a licence fee of thirty shillings ($3) a month for the right to search for gold on what was declared Crown land. They had to pay the licence whether they found gold or not. The miners, or diggers as they were called, also resented the means used by the authorities at the time to collect the gold licence - through so-called 'digger hunts'. The miners were expected to carry their licences with them, and the police, who were often untrained, used harsh methods to check these licences. In Bendigo, the miners took to wearing a red ribbon ‘as a symbol of their protest against the licence. Red was a very common colour in items such as shirts, so was readily available. Shopkeepers too tied red ribbons to their premises as a sign of support for the miners. It should be remembered at that time virtually everyone was a miner. The diggers also had their own banner, designed by William Dexter, a china painter from Devon. This flag showed the pick, shovel and cradle representing labour, the scales representing justice, the Roman bundle of sticks meaning unity and the kangaroo and emu of Australia Many thousands of Bendigo miners signed a petition to La Trobe, the Governor of Victoria, protesting against the licence fee. When the Governor rejected the petition, thousands of diggers marched in peaceful protest. Miners from White Hills, Eaglehawk, Golden Square, Kangaroo Flat as well as from Bendigo Flat, converged on what is now Pall Mall and View Point, surrounding the ~government camp on Camp Hill. The camp had been reinforced with soldiers of the 40 Regiment, as the Government feared bloodshed. The miners then gathered on the hill behind View Point to hear from their leaders - among them George Thomson, Captain Harrison, Captain Brown and W.D.C. Denovan. They resolved to pay a token fee often shillings ($1) for the September licence, whenthey met with Commissioners Panton and Wright on Camp Hill. Although Wright and Panton were sympathetic to the miners, the offer was rejected, but no licence fees were collected for September. Thus a possible bloody conflict was averted by the common sense shown by the miners' leaders and the commissioners. It was a truly democratic protest against arbitrary government and preceded the Eureka Stockade Incident by over a year. Bendigo Historical Society Committee on a Tram, two photos, one of five people standing behind a display cabinet, and the second one a Banner stretched across the tram. On the rear of the photo is "L-R Jim Evans, Terry Davidson, Ron Monro." Second from left is Jim Evans (President) and fourth from the left is Terry Davidson, with extreme right, Ron Munro (Vice President). In the cabinet is the 1853 Bendigo Goldfields Petition (Red Ribbon Rebellion) The society holds the petition in digital form. The diggers had their own banner, designed by William Dexter, a china painter from Devon. This flag showed the pick, shovel and cradle representing labour, the scales representing justice, the Roman bundle of sticks meaning unity and the kangaroo and emu of Australia history, bendigo, tram, 1853 bendigo goldfields petition, red ribbon rebellions

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Editorial - - 5 Foreword - Capt.R.J.F. McDonell - 6 Abel Tasman -- The Highway to Tasmania - - 9 Up for Second Mate - E. Moodie-Heddle - 13 The Manifest of the Thistle - - 19 HMAS Shropshire in the Philippines Pt. 2 The Lingayen Landings - F. Hoolahan - 21 Two Shipbuilders - J.B. Thompson - 27 The Diamond Cargo Blues - Captain L. Gibson - 32 Port Victoria Epilogue - W.P. Shemmeld - 33 Letter to the Editor - - 39 Sea Shanties - S. Buckland - 41 Cat Overboard - captain Ron Munro - 45 Voyage in Wongala - Desmond Jackson - 48 Retirement of Tor Lingquist - - 66 The "Lawhill" at Sydney Harbour - - 67 Salvage of the Barque Garthsnaid - Captain L. Gibson - 69 A New Entrance to the Port of Brisbane - - 73 Summer -- North Atlantic - Capt. Fred K. Klebingat - 78 The Days of "Whack" and "Slush" - Sir James Bisset - 89 Olivebank Remembered - Alan Glover - 93 The Hobson's Bay Ferry Boats - Capt. H.R. Watson - 97 The King Island Letter - - 101 As My Memory Serves Me - Gordon Wright - 107 The Yardarmer - R.N. Thiele - 112 Piling Up Memories - F. Wavell Urry - 117 Book Reviews - - 127sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch

A4 sheet white printer paper with 8 newspaper clippings glued on. Handwritten note reads: Death notices for Peter Ellis - Bendigo Advertiser Wed 20th - Saturday 23rd May 2015. Death Notices. Ellis - Peter OAM. Our college community pays tribute to Peter, a highly respected former staff member and ex-student. He was a highly valued and supportive colleague, mentor and friend. Peter will be remembered for his wealth of scientific knowledge, his love of the natural environment and his contribution to the local and state Lab Technicians Associations. - Principal, staff and Students of Bendigo Senior Secondary College. City of Greater Bendigo. Ellis- Peter. A gentle man with a wonderful passion for Greater Bendigo's natural, built and musical heritage, Peter will be greatly missed by the Greater Bendigo Heritage Advisory Committee. He willingly shared his love and knowledge of the rich and unique heritage around us. Ellis - Peter Nicolaus OAM. You went so quickly. I will miss our trips to Festivals doing crosswords on the way. My sympathy to both families and Brian a great mate to the last. A void impossible to fill. - Mary Smith. Ellis- Peter OAM. A tribute to our intrepid band leader of 34 years who took us on an unforgettable musical journey of preserving and teaching the traditions of dance and music to old and young throughout Australia. You are irreplaceable ' Dirty Pierre' - Past and present members of the celebrated Emu Creek Bush Band. Ellis - Peter OAM. Founder and leader of Emu Creek Bush Band. Australia's largest collector of dancing history. A great friend taken far too young. Au revoir 'Dirty Pierre' - John and Sue Williams. Ellis - Peter OAM. Thanks Pete, you introduced me to a life of extraordinary experiences, amazing friendships, dance and music. We did have some fun. - Marg Hogan. Ellis - Peter. We are so saddened by your passing. Your music and great sense of humour will remain with us. - Wedderburn Old Timers Band. Ellis - Peter. A friend of many years. We will remember your warmth, humour and tireless pursuit to preserve the Natural Environment of Bendigo. Your love and knowledge of the Bendigo Flora was inspirational. - Mary and Patrick Ward. Ellis- Peter. A music and dance man with a warm appreciation and encouragement of diverse talent. - Winzar boys. Death Notices. Ellis - Peter. Greatly respected and loved by his many friends in the traditional music and dance movement across Australia. His achievements were many and he will be missed. - The Traditional Social Dance Association of Victoria. Ellis - Peter. The Bendigo Historical Society is saddened at the passing of fine musician and friend Peter Ellis. - Committee and members, Bendigo Historical Society. Ellis- Peter. A talented musician and long time friend who was always willing to help us. - Members of Euro fest Choir and Inc. Ellis - Peter. Friend and neighbour, nature's gentleman at rest. Sincere sympathy to Robyn, Rick, Ryan and Doug. - Judy Monti. Ellis- Peter OAM Fond memories of 28 years with the band. Sadly Missed. - Stan and Heather Symes. Death Notices. Ellis - Peter OAM Pete, a much loved friend of many years. We fondly remember your knowledge, humour and those great times together, especially in the bush. Deeply missed. - Rob and Glen Moors. Death Notices. Ellis- Peter. Fond memories, so sadly missed. Keep playing your music Peter. Loved cousin Cheryl and families. Ellis -Peter. Loved cousin of Sandra and Phil Jubber and families. Deeply Missed. Ellis - Peter. A long term member of the Bendigo Field Naturalist Club. Deepest sympathy to his friends, he will be sadly missed by all. Ellis - Peter. Leader of the 'Celebrated Emu Creek Bush Band' Memories of lots of great times playing and travelling all over. We learned so much about dancing and music and it just won't be the same. - Don and Julie. Ellis - Peter. Much loved friend, dancer and band leader. - Dianne and Doug Pearse. Death Notices. Ellis - Peter. Peter, you gave so much laughter and happiness to many, many people through your lovely nature and your brilliant music to listen to and dance to. You have left a legacy of music, books and dance as well as unforgettable memories. Rest in peace. - Diana Austin. Death Notices Ellis Peter 27/3/1946 - 18/5/2015 Formerly of Emu Creek Bush Band and the Wedderburn Old Timers). Passed away suddenly at Bendigo Hospice. Loved son of Joan and Allan Nielsen (both Dec). Loving brother of Robyn and Doug. Brother-in-law of Rick and Uncle of Ryan and the extended family. Let the music play on… For Funeral arrangements see later edition. Death Notices. Ellis - Peter Nicolaus O.A.M. Suddenly. An inaugural member of the Bush Dance and Music Club and the Emu Creek Bush Band. A much loved friend, dance instructor and musician. Very generous with his time and knowledge. Passionate collector of dance music and old time dances. Will be sadly missed by all who knew him. - Devastated dance members. Ellis- Peter. OAM 27/3/46 - 18/5/15 Passed away peacefully after a brief illness. Much loved and irreplaceable brother, cousin and uncle to the Lilford, Datson, Burns, Shaw and Kitch families. You enriched our lives. No words can express how much we will miss you. Ellis Pierre (Peter) You were as much a father to me as an uncle. I never told you that or how much I looked up to you. You will be sadly missed - Boswald ( Ryan). Ellis - Peter. We are going to miss our Monday night dinners before rehearsal. A lover of fine wine, good food and great music. Pierre, our Maestro and fearless band leader, we will miss the sound of your squeeze box and your passion for the music. - Paul and Alida Robinson, Emu Creek Bush Band. Ellis - Peter. A close friend colleague, musician, authority on native plants and colonial music researcher. An enormous influence in preserving early Australian dance and dance music. We will all miss you Pete. - Jill and Graeme Balaam. Funeral Notices Ellis. A service of thanksgiving for the life of the late Mr Peter Nicolaus Ellis will be held at the Mulqueen Family Chapel, 15-25 Bridge street, Bendigo on MONDAY (May 25) at 11.00am. A private cremation will follow. Tributes can be left at www.heavenaddress.com Mulqueen Family 15-25 Bridge street, Bendigo Est. 1853 5443 4455.person, individual, peter ellis oam

"Hannah ‘Grannie’ Wattsis one of Melton’s mostcelebrated and cherished pioneers. Born in Ireland in 1831, Hannah immigrated to Australia with her husband George Byrns in 1854. Moving to Melton, they built a wattle and daub hut home where they lived with their four children until George was tragically killed in 1860. Unusually for the time, Hannah purchased land in her own name in the Melton township in 1863. Later that same year she married William Watts and together they moved to Toolern Vale and built a bluestone and mud brick home. It is believed that while travelling to Australia, Hannah assisted the ship surgeon and demonstrated a natural aptitude for the tasks assigned to her. When she was living in Melton she assisted other women in an unofficial capacity as neighbourhood midwife, while also working on her farm and raising her six children. By 1887, however, her reputation as a midwife had grown to such an extent that she was able to establish her own practice. William Watts died in 1874, but Hannah remained in Toolern Vale for the next twenty years. In 1894, she moved into the Melton township and built Lynch Cottage on the corner of Yuille and Sherwin streets, near Toolern Vale Creek. There she assisted in the births of hundreds of Melton residents, as well as the laying out of the deceased. Meticulous in her record keeping, Hannah Watts recorded the details of a total of 442 births between the years 1886 and 1921. Lynch Cottage was officially registered as a private hospital in 1911 and Hannah was listed in the Victorian Register of Midwives in 1917. Hannah Watts died on 21 October 1921, a few months after she assisted with the delivery of her final baby, Thomas Watts Minns. She was 90 years old. Hannah was buried in Melton Cemetery and mourned by the Melton community. Her obituary in the Gisborne Gazette is a testament to how beloved she was by the people she served: ... while in the absence of medical aid residents looked to Grannie as their doctor, philosopher and friend. Hundreds, in fact we might say thousands of people held the deceased in veneration ... A woman of great energy and determination combined with superior intelligence, Grannie conquered difficulties that would have made many falter... Today Grannie Watts is remembered by her descendants and by many locals in the City of Melton. Created in 1985, Hannah Watts Park honours Grannie Watts’ pioneering work for the health and wellbeing of hundreds of Meltonians. Not only is the park a fitting tribute to the memory of an outstanding citizen, it also continues to provide today’s residents and visitors with a space to walk, relax, gather and celebrate in Melton" .Tom Minns holding Debra Wain, first hospital baby to be born In Melton since 1921. Article featured in the Herald. Mother Rhonda Wain is featured in the photo too. local identities, local significant events

Set of twenty MMTB paper tickets. All have black numbers with City Section over printed in black ink where relevant. See image i1 for tickets and i2 for the rear advertisements. .1 - 4d -printed in green ink on white paper - Aa 374101 .2 - 6d - red ink on off white paper - Hg829068 .3 - 6d - City Section - red ink on pink paper - Ef779926 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting. .4 - 6d - City Section - blue ink on off white paper - Bg964676 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting, different layout to .3. .5 - 7d - black ink on a light red paper Vd906440. .6 - 7d - City Section - blue ink on off white paper - Am776471 - has an advert - "Build in Thomastown" by the promote Thomastown Committee. .7 - 10d - black ink on red paper - Bv288105. .8 - 1/- black ink on brown paper - Ae857753 .9 - 1/2 - black ink on organe paper - Qb929953 .10 - 1/5 - black ink on yellow paper - Aa610607 .11 - 1/6 - black ink on yellow paper - Yo642195 - with an Royal Victoria Institute for the blind - remember the blind children. .12 - 1/9 - black ink on blue paper - Az134009 .13 - 1/10 - black ink on green paper - Ag867676 .14 - 2/- black ink on pink paper - Ab025997 .15 - 2/2 - black in on grey paper - Aa198789 .16 - 2/6 - red ink on orange paper - Aa359687 .17 - Multiple or dual currency ticket - 7d/6c - black ink on orange paper - An576277 .18 - Multiple or dual currency ticket - 7d/6c - blue ink on white paper - An686025 .19 - Multiple or dual currency ticket - 1/- /10c - black ink on brown paper - Bb472537 .20 - Multiple or dual currency ticket - 2/- /20c - green ink on pink paper - A020313.13 - has in blue ink written on the back of the ticket "Mr G Franzke, Cosmo Rd, Trentham.trams, tramways, tickets, mmtb, decimal conversion

Holmes Family WW1 memorabiliaA number of people stand in a street surrounded by double storey architecture.Verso: "Dear Willie, I promised to drop you a line, so he goes. Well at present I am in france having -a-go-at the Germans, and so far out Battery is getting on alright. But I must say the Germans greet us know and again with a few shells, and I can assure you they are no friends of mine. I have just been out watching the German anti-aircraft Guns shelling our Aeroplanes. it is a very lucky shot that brings one down. i have seen a little bit of the World since I left australia, And I must say I like france better than egypt. The country at present is looking very nice, it being Spring time, The grass is about 6 foot high, and nothing on it to eat it as most of the people have cleared out from around here. I have not seen anything of Harry over this way as yet. Perhaps he is still in Egypt. Well Willie now about taking another cow to Clunes. Ay What. The name on the front of this card should be familiar to you in the War news. Well Willie Au revoir for present. remember me to all. Your fond cousin, Ron W." chatham-holmes family collection, armentieres, world war one, postcard, clunes, france

2 photographs (1 black and white, 1 sepia)Image shows building on Maroondah Highway with two horse driven carts at front, and another gentleman holding a horse. Louis Herry had a bakery and general store in Lilydale and opened another in Mount Dandenong Road, opposite the Club Hotel. His wife, Kate, mostly ran the Ringwood store. The store was previously owned by the Blood Bros, after they moved premises closer to the railway station. From the Place of Many Eagles book, "Louis was born in Purdu, France, in 1855, and came to Ringwood from Walhalla in 1887 and erected a weatherboard house and shop opposite the Club Hotel, using a Miner's Right to secure the land. When he arrived, Louis was a married man with three children, Leopold (1882), Marie (1884), John (1886). He had married Kate Handforth at Walhalla in 1879. In later years Elizabeth, Minellia, Louis and Denise were born. Kate's father was known as the midwife of the Gippsiand township because he had once been a fourth year medical student in England, but earnt a living as a goldbuyer in Victoria. Marie Herry would grow up remembering her grandfather calling sometimes at Ringwood; he would bring the children jubilee Mixture to eat and he carried a revolver in his pocket. Often he would play the violin while Marie would stepdance on the kitchen table." Leo served in WWI, whose name appears on the Ringwood Clocktower.

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Foreword - Sir John Holland - 5 Editorial - - 8 The "Lock Ard" J. M. MacKenzie - 13 "Moana" Interlude - Captain J. Gaby - 21 From Deckboy to Lord Chief Justice - R. Osmond - 32 Week-end at La Bera - I. L. Barton - 39 The Anchor on Mangalum Island - Commander H. E. Turner R.N. (Ret) - 41 "Dennis" - Commander G. McKee R.D. R.N.R. - 44 The Hey-day of Passenger Services between the U.K. and Australia - N. E. Shannon - 46 The Drift of the Schooner "Tyulen" - Y. A. Shemanskij - 49 "Pamir" is well remembered - J. Hopton - 59 Plymouth's Heritage of Houses - E. Harper - 62 The Sinking of the "Ballarat" - A. F. Reid, O.B.E. - 64 The Boarding House - R. N. Thiele - 68 The "Aurora" - K. Broberg - 75 First Voyage - L. Adams - 82 The Salvage of the "Tango Maru" 1928 - Captain W. J. Cowling - 92 Dismasted - Captain J. Aage. Wilson - 96 Pranks in the "Lauriston" - R. W. Rudd - 105 The Wreck of the "Hydrabad" Then and Now - D. McLennan - 107 Shipwrecks - C. E. Bonwick - 110 Oh, those English - Dr. Stanislaw Bernatt - 111 Diary of a Matelot, Part 3 - P. Watson - 112 Book Reviews - 121sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Joyce Lambert Memorial - - 4 Editorial - Tol. E. Goldfinch- 5 Foreword - Capt. Peter Richardson - 7 The Challenge of Change - Late Joyce M.B. Lambert - 8 Tall Ships Australia. 1988. - - 21 Why Do We Love Ships? - Pamela Eriksson - 23 Iron Pacific -- Australia's Flagship - - 26 Square Rigger -- Chip Barge - W.P. Shemmeld - 33 Diary of a Ship's Surgeon Part 1 -- Outward Bound - H.M. Lightroller M.R.C.S. -37 My Coal Burning Warship - Rev. H.W. Coffey, MBE. MA. - 49 Sage of H.M.A.V. Bounty -- New Zealand to Tahiti 1984 - Tony Crowder - 55 The Heldia Song - K. Shewan-58 The Everchanging Inside Passage -- British Columbia - B.D. Weston - 61 Longitude -- Zero - S.J.Buckland - 66 The Lost Anchor - - 73 Origin of the Sea Shanty - P.R. Swensen - 78 Port of London Recollections - - 80 Redoubtable Capt. Schutt - Late Captain F. Klebingat - 82 Capt. Frederick Klebingat Remembered - - 84 Grounding of M.V. Kanimbla - F.B. Finch - 86 "Through the Hawsepipe" - Late Capt. H.R. Watson - 91 Caribbean Capsize - Lloyd Barber - 95 Dogwatch Miscellany - - 102 Shipping Advertisements - - 105 Future Beacons - K. Shewan - 107 Williamstown -- The Destination of Many Early Arrivals - 109 Book Reviews - - 113sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch, p.r.swensen, sea shanty

The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, peter blizzard, prisoner of war, ballarat north gardens

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, prisoner of war, ballarat north gardens, peter blizzard

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

Born in 1911, Cecil Alan Sonsee lived at Springmount near Creswick, and taught natural history at the Ballarat Teachers' College for 30 years. His teaching career stretched over a 48 year period. He spent six years as a student teacher before reaching the position of first class teacher. He had the distinction of never attending a teachers' college, but spending half his teaching career training students to become teachers. At the time of his retirement Mr Sonsee said during his years at the college, "the training had changed from a one year course to a two year course, followed by a three year course, and now a four year course was offered." He recalled "in the early days all country schools had eight grades and a child finished with a merit certificate. Today [1976], children went to high schools from sixth grade and most of the country schools had disappeared.' Alan Sonsee spent 10 years on a television program on BTV6 answering questions sent by viewers regarding aspects of plant and animal live. Mr Sonsee was a life member of both Creswick and Ballarat Field naturalists Clubs. Alan Sonsee died in 1985.1) Foolscap Department of Victoria Ballarat newsletter titled Education 'Regional Views'. The newsletter depicts an image of Alan Sonsee and outlines his career at the time of his retirement on 20 July 1976. The author of the newsletter is unknown. .2) newspaper article on the retirement of Alan Sonsee dated 25 August 1976 (probably from the Ballarat Courier).1) Mr "Nature Man" Retires After a quiet celebration, Mr C.A. Sonsee, a well-known staff member at Ballarat State College, retired from the Victorian Education Department on 20th July, 1976. Alan was the longest serving primary teacher seconded to the State College (Formerly the Ballarat teachers' College), probably the best known and certainly one of the most highly respected educationalists in this region. Leaving Ballarat high School in 1927, he spent the following years teaching at Smeaton, Willowvale, Lawrence (originally called Jerusalem) and Kooroocheang primary schools. However, during the last twenty-nine years, his fame and his influence spread further and further afield. From 1947 to 1976, under a number of principals, Alan endeared himself to thousands of students undergoing their tertiary preparation for teaching. And thousands is the word! Hundreds and hundreds of practising teachers of all ages came to this great teacher again and again for assistance in understanding natural phenomena, a broad field in which he is an acknowledged expert. What undoubtedly made him so accessible to the young and the no-so-young alike was his ready willingness to share with them is rich experience. The warmth of his nature, his kindliness, his dry humour enriched and enlivened the gifts he lavished liberally on all who needed help. Nor did he spare himself in the process. During his ling period of service to teachers, students and some two generations or so of school children, Field Naturalists also, within and well beyond Ballarat, profited from his participation and guidance. A car trip from Ballarat to Lancefield was made unforgettable by Alan's running and lively commentary; the time spent with him viewing and fossicking in an aboriginal flint area is still vivid, thouhg many moons have waxed and waned since then. And who can ever forget his palcid, home;y handling of "Mr nature Man" programmes on BTV 6 for over ten years? his name became a hose-hold word over an existence viewing area in Western Victoria - as his mail bag showed. Mr T. Turner was closely associated with C.A.S. for some twenty-three years as colleague and college principal. Recently tome said, "Alan was highly esteemed by staff and students, When I saw him lecturing I would be struck by the depth and breadth of his knowledge, and by the smooth, almost deceptively simple way he shared what he knew with others. I remember, too, his consideration for the views and the feelings of others; for the tolerance and range of his understanding of human nature. But, above all else, I remember him as a friend." All who know him in any way at all will want to say, "Thanks you, Alan, for everything you did for us. Thank you, Alan for what you are."alan sonsee, ballarat teachers' college, ballarat state college, education, teaching, ballarat field naturalists, creswick field naturalists, aborigines, lancefield flint, smeaton primary school, willowvale primary school, lawrence primary school, jerusalum primary school, kooroocheang primary school, nature studies, mr nature man

The Mahogany Ship is today regarded as a legend and refers to an ancient wreck that is purported to lie beneath the sand beside Armstrong Bay, several kilometres west of Warrnambool, Its location is currently unknown. For well over a century the mystery of this ship has fascinated Australians because the existence of such a vessel could throw a different light on the earliest phases of exploration of eastern Australia by Europeans. The story is that in January 1836 a party of whalers from Port Fairy travelled to the mouth of the Hopkins River in search of seals. Their boat overturned and one man was drowned. The three survivors were walking the 30 kilometres back to Port Fairy along the coast when, about halfway along, they discovered the wrecked ship in the dunes. It is said that Captain John Mills, who was in charge of the whaling station at Port Fairy promptly visited the wreck with several of his men, including Hugh Donnelly. Donnelly who was the originator of that version of events is now regarded as unreliable. Local history researcher Joan Fawcett believes Donnelly could not have visited the wreck in 1836 because he did not arrive in Victoria until 1841. The "mahogany" description can be traced to a letter from Port Fairy builder, architect and surveyor John Mason and published in the Melbourne Argus in 1876. He said he had seen the hull in 1846 and it "had the appearance of either cedar or mahogany." In 1884 Argus journalist `The Vagabond' wrote that the hull was built of "Spanish mahogany" and six years later Mason wrote another letter saying it might not have been mahogany but red gum or ironbark from New South Wales. He was too late with this new description as the wrecks mahogany tag was here to stay all through the hull was not visible as it had disappeared beneath the shifting sands by 1880. A more reliable account was later presented by the former editor of the Warrnambool Examiner, historian Richard Osburne, who wrote about the wreck in his book History of Warrnambool (published 1887). In it the author remembers to have noticed a wreck in the hummocks between Belfast and Warrnambool, in 1847 or 1848; he stated it was much nearer Warrnambool than Belfast, now known as Port Fairy, going on to state “in fact, it was only two or three miles from the former place, to the west of the big hummock which was supposed to fill Warrnambool Bay with drift sand washed by the Merri River before the cutting was made.” Osburne followed up with a letter to the Port Fairy Gazette on June 25, 1876, during a period of heightened interest in the wreck, although he was unsure of the provenance of the ship he went on to state in his letter. “The old wreck was, in fact, miles away from the Port Fairy beach, and only about four miles from Warrnambool. In the years 1847 and 1848. I have often seen the wreck and I regret to say I do not believe she was a foreign ship at all.”The ship model is significant for its association with the Warrnambool story of what is now referred to as the Mahogany Ship, an ancient shipwreck. The model is significant as it is an interpretation of a Portuguese caravel and possibly associated with the early history and exploration of Southern Australia. The model is a fine example of a hand crafted ship made from plans, not from a kit. Some of the materials used for the model are significant to the Gembrook community in that the timber used is a portion from a 30-meter pine tree that fell onto and destroyed the 120-year-old Gembrook church building. The model is also a dedication to Edward Kermond, who grew up in Warrnambool and claimed to have seen the shipwreck in the dunes when he was a lad in the late 19th century. (See note section of this document for further information on the creator and donation of the subject item).Ship model, an interpretation of a mahogany Portuguese carvel vessel in a glass display case with wood frame and a description plaque. Model is made from dark stained wood. The three masted vessel is fully rigged, with a Portuguese-like flag on mast. Plaque is rectangular, free standing on a pedestal. The model was handmade by Joe Hilder (Senior) in 1999 from flooring obtained from the Gembrook Uniting Church in Victoria. Inscriptions, hand written, under base of case and on plaque.Under base, black felt tip pen “Ship & Case made From / Flooring from Gembrook uniting Church, Flattened in 1999 / By Large Pine Tree.” On plaque, white paint "This interpretation of the Fabled Mahogany Ship was made by Joe Hilder, Gembrook Vic. is displayed in the memory of the late Edward Kermond (Ted) 1887-1973, a Warrnambool son who claimed to have seen the original ship as a child." flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ship model, mahogany ship, mahogany ship story, portuguese caravel, joe hilder, edward kermond, ted kermond, gembrook uniting church, gembrook storm 1999, port fairy whalers, belfast whalers

On the 4 August 1934, to mark the 20th anniversary of the Great Britain declaration of war on Germany, 106 trees were planted, during a ceremony, on the lawns of the newly created garden of the Shrine of Remembrance. The Shrine of Remembrance was built to provide a place to grieve and remember Victorians killed in the First World War (1914-18). Prince Henry, the Duke of Gloucester and son of King George V, officially opened the Shrine before a crowd of 300,000 people in November 1934. Captain Robert Sunter, commander of the coastal liner Manunda, Adelaide Steamship Company, was chosen to plant a Queensland kauri (tree - number 100) on the main avenue from Domain Rd leading to the Shrine of Remembrance. The photograph was published in the Herald (4 August 1934, p. 40). In the Argus (Melbourne, Vic. : 1848 - 1957), Friday 3 August 1934, page 8 In Memory of the Merchant Service- Captain Sunter to Plant Tree at the Shrine Tomorrow will be the 20th anniversary of Great Britain's declaration of war on Germany, and at 10 and. Captain R. Sunter, the commander of the coastal liner Manunda, will plant a tree in the Shrine! of Remembrance reserve In memory of the officers and men of the Australian merchant service who gave their lives during the war. The tree, , which will be No.100 in the reserve, will bear the following inscription based on the wording of the ' British Mercantile Marine memorial at Tower Hill. London: "1914-1918. In remembrance of the officers and men of the Australian Mercantile Marine who died for King and Country and have no grave but the sea. Planted August 4, 1934." During the war 12 ships of the Australian merchant service were sunk and 95 officers and men lost their lives.The Shrine of Remembrance committee recently asked the director of navigation (Captain J. K. Davis) to nominate a member of the mercantile marine to plant a tree in the reserve. Captain Davis passed on the request to the secretary of the Merchant Service Guild of Australia (Captain T. D. Snape) and, after having conferred with various sections of the sea-going service, Captain Snape announced yesterday that Captain Sunter had been chosen unanimously. Captain Sunter has a distinguished war record as commander of the hospital ship Wandilla. Born at South Shields, in England, in 1878, he is a son of the late Canon Sunter, of Adelaide. He served an apprenticeship in sailing ships, and soon after obtaining his master a certificate entered the service of the Adelaide Steamship Company, where he has remained. In the Wandilla during the war Captain Sunter became known to thousands of wounded soldiers and troops." Padre Frank Oliver of MtS can be seen assisting with dedication at far left. Captain Robert Sunter who also served in WW1, a friend of the seamen and the mission, died a month later in Cairns. A window funded by crew of the Manunda and friends was dedicated to his memory in St Peter's Chapel, MtSV in February 1936 by Padre Oliver. (see item 0038).Depicts one of the few memorials specifically commissioned for Merchant seamen of WW1 and in later years also a focus for those who died in WW2 and other conflicts. Mounted black and white photograph of a group of people at a tree planting, minister of religion at far left, on dark grey mount with typed caption label on the lower edge of mountTyped caption in upper case: CAPTAIN R. SUNTER OF THE M.S. “MANUNDA”, AT THE INVITATION OF THE TRUSTEES OF THE WAR MEMORIAL IN MELBOURNE , PLANTS A TREE IN THE AVENUE OF REMEMBRANCE TO COMMEMORATE THE OFFICERS AND MEN OF THE AUSTRALIAN MERCANTILE MARINE WHO BETWEEN 1914 AND 1918 DIED AS A RESULT OF ENEMY ACTION AND WHO HAVE NO GRAVE BUT THE SEA. AUGUST 4TH 1934padre oliver, captain robert sunter, m.s. manunda, war memorial, mercantile marine memorial tree, melbourne, shrine of remembrance, wandilla, hospital ship, adelaide steamship company, memorial trees, queensland kauri

Albert Steane was born at Sandhurst (now known as Bendigo) in 1877. He attended the Gravel Hill State School until the fourth class, then transferred to the Central School 1876 where he gained the Merit Certificate. The monitor system of teacher training had been introduced and he passed fourth, third, second and first class pupil teacher. At about 16 years of age he was appointed a teacher monitor at 12 pounds per annum. Albert Steane was awarded the Teachers' Certificate of Competency in 1897. The teaching of woodwork in Victoria began in 1901 and Steane was chosen, among 18 others for the inaugural training course at Queensberry State School in Melbourne. Steane was known for the teaching of Sloyd or woodwork, which was an important point in his career. He opened the Sloyd (woodwork) Centre in 1902 at the Ballarat East Art School (later known as the Ballarat East Free Library) at the School of Mines and Industries Ballarat (SMB). In 1913 Albert Steane, the young head of the East Ballarat Sloyd Centre, was appointed to establish a junior technical school in Ballarat becoming the first headmaster of the Ballarat Junior Technical School. Steane's lifelong interest in gymnastics brought him as much fame as his reputation as a headmaster. He organised the Education Department's gymnastics display at Bendigo's Golden Jubilee Exhibition in 1902. He played a major role in the establishment of the Ballarat Y.M.C.A. and from 1906 responsible for evening classes in physical culture. In 1968, aged 91, he was made a Life Member of the Association. Steane was in complete command of his school, his staff and students. It must be remembered that schooling was not as permissive, tolerant and informal as today. A.W. Steane retired in 1942 after 29 years as Headmaster of Ballarat Junior Technical School. Many visible memorials are evident of his time and influence on the growth of the Junior Tech. A good school also lives on in the memories and affections of its old boys. Many remained in touch to talk about "the old days". A simple lesson he taught was "Win Through". No matter what path was chosen by the students, many were true to his teaching. On his retirement, Mr Jeffery was appointed the new Headmaster. On 19 March 1942, a farewell meeting was held presided over by Mr Jeffery. Those present included A.F. Heseltine, G. Netherway (representing the Old Boys' Association), N. McHuthchinson (District Schools' Inspector), G.A. Simcock (High School), E. Youlden (Pleasant Street State School), and J.A. Ewins (Citizens' Representative). The following presentations were made: G Netherway - nickel-plated smokers' stand with the Old Boys' badge A. Robinson - an illuminated scroll (B&W photograph above) C. Jeffery - lounge room clock with inscribed silver plate Steane died, aged 93 years, on 13 July 1970, at Sydney, leaving his widow Grace Elliott Steane and children Eric and Violet. Black and white image of an illumination for the retirement of Albert W. Steane. Written in calligraphy and signed by the President and Secretary of the Old Boys' Association. Dated March 19th 1942 .1) Framed colour illumination with ribbons in School coloursSignatures of H. Daykin, President and Alan Robinson, Secretary of the Ballarat Junior Technical School Old Boys' Association. Dated March 19th 1942.albert steane, sandhurst, bendigo, gravel hill state school, teacher monitor system, teaching certificate, sloyd, ballarat sloyd centre, gymnastics, y.m.c.a., ballarat junior technical school, n. mchutchison, a heseltine, george netherway, c jeffery, old boys' association, illuminated scroll, h. daykin

Henry William Frisch was born at Warrnambool to H.W. and Sarah Frisch. He iniitally served with the 8th Battallion, was transferred to the 59th Battalion on 26 February 1916, then to the 58th Battalion on 15 May 1916 served with the 59th Battalion during World War One. He had the regimental number 3054. At the time of his enlistment on 8 June 1915 he had worked as a butter box maker at MvcGennan's of Warrmabool. On 26 February 1916 he was at Tel-el-Kebir, Egypt. On 17 June 1916 he embarked on the H.T. Translyvania from Alexandria and disembarked at Marseilles on 23 June 1916. On 14 September 1917 he was furloughed to England, rejoining his battalion on 05 October 1917. On 16 October 1917 Henry Frisch was wounded in the field with shrapnel wounds to the back and neck and multiple shrapnel wounds penetrating the abdomen. He died of wounds received on 17 October 1917 aged 23 yeard. He was buried at Lyssenthoek Military Cemetery (Plot 21. Row H. Grave 19A). The ceetery is south west Poperinghe, Begium. "IN MEMORIAM. ON ACTIVE SERVICE. FRISCH —In loving memory of our dear, son, Private H. W. Frisch, who died of wounds on 17th Oct., 1917, at the 17th Casualty Clearing, Station, France. No one knows how much we miss him, Friends may think the wound is healed; But they cannot see the sorrow, Deep within our hearts concealed. Just when life was brightest, Just when his hopes were best; His country called—he answered, Nows in God's home he rests. (Inserted by his loving parents, West Reserve, Warrnambool, his sisters and Stanley). FRISCH—In loving memory of my dear brother, Pte. H. W. Frisch, who died of wounds on 17th Oct., 1917, at the 17th Casualty Clear-ng Station, France. My hero brother. Sadly a sister is thinking, Of her soldier brother, so brave; Who fought for the cause of freedom, Who lies in a hero's grave. I seem, to see your face, dear Henry, Through a mist of anxious tears; And a sister's heart is broken, For many and many a year. One of Australia's dearest and best. Sadly missed by all. (Inserted by his loving sister, Ethel, East Melbourne). FRISCH—In loving memory of our dear brother, Henry William, who died of wounds in France, on 17th October, 1917. Not for the love of battle, Did he leave his dear homeland; He heard the call of duty, And responded like a man. —(Inserted by his loving sister and brother-in-law, France and Steve Ferrier) . FRISCH—In fond and loving memory of Private Henry Frisch, who died of wounds on active service 17th Oct., 1917. —(Fondly remembered by Mrs. Henry and family). (Warrnambool Standard, Thursday 17 October 1918.)Cut down photographic post card of Henry Wiliam Frisch. The photographer was located at 175 Collins St, Melbourne. Verso "Keith's uncle Henry Frisch killed WW1"world war one, henry frisch, belgium, warrnambool

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Known as ‘Yielima’ 1888-1922 and ‘St. Aubins’ 1922-1956, this ‘modernized’ mansion was built about 1887 for Edward Kellett. He was born in Chorley, Lancashire, England. Edward Kellett married Selina Wells in 1852 at St Peters, Eastern Hill. She was born in c1827 in Aston Clinton, Buckinghamshire, daughter of William Wells and Elizabeth Allan. The family arrived from Aylesbury, Buckinghamshire on the 'Osprey' on 22 March 1849. The couple had 8 children - 5 girls and 3 boys; 3 died in infancy. All were born in Collingwood before the family came to Surrey Hills. Edward's funeral notice in The Argus of 11 July 1893 states that he was a corn merchant of Exhibition Street. His property was sworn at 1512 pounds, 1232 in realty and 280 pounds personally. He was buried in Melbourne General Cemetery (CofE Compartment K, No 306). Selina is listed in Erasmus Street in the 1903, 1905 and 1908 electoral rolls as a boarding house keeper. She died at Surrey Hills on 22/10/1911. In her will she left realty valued at 900 pounds and personally at 220 pounds. She was buried with her husband. 'Yielima' was sold on 19 Febraury 1919 with a sale of contents on 18 March 1919. From 1922-1947 Thomas Daniel O’Callaghan (c1871-1962), a police magistrate, made his home here. He is remembered as being of ‘soldierly demeanour, with a flowing mane of hair’. He always carried a walking stick and wore a flower in his buttonhole. His wife was Florence (nee Harling, c1873-1933) pre-deceased him. They had previously lived in Essendon, Moonee Ponds and Stawell before coming to Erasmus Street. After moving out of Erasmus Street he is listed in the 1949 and 1954 electoral rolls at 90 Durham Road, Surrey Hills. In 1952 the property was purchased by Father Timothy Fitzpatrick, Parish Priest of Our Holy Redeemer Parish, Surrey Hills. It consisted of a large two storey house, a coach house and stable, and an acre and a half of land. In 1954 the coach house and stable were converted into the Church of Our Lady of Perpetual Succour and the following year Father John Kelly was appointed parish priest. and resided in the house. At this time the house was not in good repair. "The gentleman who had lived there alone since his wife died many years before, lived in the servants quarters and the rest of the house had been badly neglected. (REF: https://ourholyredeemer.cam.org.au/history) At the beginning of 1957 the Missionary Sisters of the Sacred Heart opened a school next door. As they travelled from Balwyn on a daily basis, the property at 301 Elgar Road was purchased as a presbytery and 'Yielima' became a convent. The stables continued to be used as a church until 1964 when a new church was completed and opened by His Grace Archbishop Simmonds on the 20th of March. There were never large numbers of double-storey Victorian mansions in Surrey Hills. 'Yielma' is significant as one of the few remaining ones. It is also significant for its association with the Catholic Church.A black and white photograph of an Italianate style home with a weatherboard building with a cross on it in front of the main building and to the left of the photograph. There are some well established trees in the garden, a car parked in the parking area and a picket fence along the front.yielima, st aubins, house names, erasmus street, surrey hills, 1887, (mr) edward kellett, (mr) thomas daniel o'callaghan, corn merchant, police, italianate style, wattle park roman catholic church, (mrs) florence o'callaghan, mrs selina kellett, miss selina wells, convent, presbytery, our lady of perpetual succour

" Designed by architect Norman Day, the school was built in an innovative postmodern style. Day’s vision was for the school’s students to feel as comfortable and familiar at school as in their own homes. He based the design on the local suburban typology. The buildings consisted of individual self-contained classrooms, each with a front door, back door and garden. Each class retained the same homeroom for the duration of their schooling. Norman Day won the inaugural Lustig & Moar Architectural Prize in 1988 for his Mowbray College design, and the Australian Library Promotion Council/RAIA Library Design Award for the school’s library building. The school officially opened on 7 February 1983 with an enrolment of 93 students from Prep to Year 7. Mark Fergus was a Prep student in the school’s inaugural year. He later remembered: It was good then because everyone knew each other. Our first few weeks at school we had classes in the Guide Hall because the Mill wasn’t finished. The rest of the school where the Labs and Coppin Court are now was only a big paddock. Another Prep student, Brooke Harrison, recalled: The only recreation we had was the rough playground which consisted of monkey bars, old tractor tyres and a sandpit and high bars. Accidents were a frequent occurrence in those days! It was a friendly atmosphere, you know everyone and their business ... During some classes we used to do horticultural work and planted trees out the front of the school. In 2003, Mowbray College celebrated two decades of educating students in Melton. By that stage, the school had expanded to two campuses with over 1,450 students and 120 staff. It was estimated that over the twenty years since its establishment, 13,000 students passed through the gates. By the mid-2000s, the school offered an International Baccalaureate program and operated across three campuses: the original campus, named Patterson after the first principal, and the Brookside and Town Centre campuses, both located in Caroline Springs. Unfortunately, in 2012 Mowbray College found itself in an unmanageable situation. The community had lost faith in the school’s financial security and as a result some parents withheld their school fees, fearing the school would collapse. It had been in financial difficulty since the mid-2000s and by 2012 was $28 million in debt. 84 In June 2012, all three campuses closed and within four months, each of the campuses of the former Mowbray College had been purchased by other education institutes. Heathdale Christian College bought the original Mowbray campus and established its own campus there and Grace Children’s Services bought the Brookside campus. The Town Centre campus was purchased by Intaj Khan from the Western Institute of Technology but remained vacant after some failed attempts at re-establishing a school. In 2017 the Australian International Academy established an Islamic school on the site".The Express article about a grant for Mowbray Collegeeducation

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Foreword - Captain Sir John P. Williams, C.M.G., O.B.E.- 5 Editorial - C. A. Halls - 8 The Cape Horners - S. A. E. Strom - 13 Cape Horners (Verse) - C. E. Bonwick - 21 "All the World Lovers . . ." - Dr. Stanislaw Bernatt - 24 "Beatrice" Memories - Captain H. P. Nicholson - 25 Maritime Bottle Post - E. Harper - 30 The Saltpetre Cross - Captain Leif Asklund - 32 The "Caledon" - R. N. Thiele - 34 The Last Voyage of the "Olivebank" - Captain Evert Blomqvist - 39 The Figurehead on Macquarie Island - E. A. Mitchener - 44 The Ups and Downs of Dougherty Island - Captain W. B. Eastoe - 51 "Pom" Apprentice - Captain Frank Kirk - 57 A Fortunate Encounter - D. R. Rickard and A. Stallard - 61 Times Remembered; - Captain Bruce Bell - 65 Service in the 10th Cruiser Squadron, 1916 - From the papers of the late Captain W. J. Cowling - 71 Cape Horn - Captain G. Molyneux - 79 Immigrant to the Antipodes - H. Vaughan Evans - 82 The "Lauriston" -- Start of Bad Weather - R. W. Rudd - 85 Songs of the Finnish Sailormen - Captain Eino Koivistoinen - 89 Farewell Windjammer - Chris. A. Smith - 92 The Voyage of the "Storm King" - N. S. Smith - 100 Editors' Comment - - 105 An Australian Shell Back - Captain G. Heyen - 107 First Voyage in the S.S. "Port Campbell" - I. L. Barton - 111 A Few More Ships - - 120 Book Reviews - 121sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch, cape horn

Image of a Tom Roberts painting on front of soft covered book titled The Artists' Camp at Box Hill - Eleanor Finlay, Marjorie MorganFOREWORD by William Dargie Kt., C.B.E., FRSA (London) FRAS (NSW) As one born between two worlds I find it difficult to identify wholly with either Australian art of the late 19th and early 20th centuries or the infinitely varied styles of today. At the beginning of the 1930s, when I first began to take any sort of interest in art, I had the natural feeling of youth that anything that had happened thirty to forty years ago was already far down the dark and backward abysm of time. As for today, all that one of my generation can do is to enjoy what is enjoyable and avert one's eyes and close one's ears against the rest. This is the time of life one realizes that distaste, as well as taste can be cultivated. Well, youth repeats itself in each generation and among the young there will always be .some determined and dedicated to the making of new images of the physical world. All artists throughout history have shared this common experience. All have remembered the suddenly-formed friendships, the sketching expeditions and camps, the first exhibitions, the formation of groups, the 'manifestos' - these last to return in later life all too often as embarrassments - but above all, the enthusiasm. 'Bliss was it in that dawn to be alive but to be young was very heaven'. Thus we can be time-travellers back one hundred and six years to that first plein-air camp set up by Roberts, McCubbin and Abrahams on part of David Houston's property at Box Hill. This was indeed the prelude to all that followed: Mentone and the meeting with the young Streeton painting on the rocks, and Heidelberg later.

The Dunstan Memorial is a minimal form of rough-cut bluestone and sheet granite in memory of Ballarat born soldier, William Dunstan, who served with honour in Gallipoli, WWI. His unit successfully defended a post despite being seriously wounded. He and one mate were the only survivors of the 10 men defending the trench and all were awarded the Victoria Cross. Following the war Dunstan worked as manager and director of the Herald and Weekly Times.The memorial is of historical significance to the people BallaratThis is a minimal form of rough-cut bluestone and sheet granite in memory of Ballarat born soldier who served with honor in Gallipoli. His unit successfully defended a post despite being seriously wounded. He and one mate were the only survivors of the 10 men defending the trench and all were awarded the Victoria Cross. In honour of William Dunstan, VC 1895-1957. William Dunstan was born in Ballarat East and educated at Golden Point State School. Shortly after the outbreak of the First World War, 19 year old Dunstan enlisted in the 7th Battalion, 2nd Brigade, 1st Division of the Australian Imperial Forces. Within 3 weeks he was posted to Gallipoli and was immediately embroiled in the Battle of Lone Pine. Early on the morning of 9th August, 1915, Dunstan and 10 other men were defending a trench captured from the Turks. The enemy launched repeated counter attacks and suffered heavy casualties. Only 3 surviving Australians remained and were rebuilding the blown-up barricade of sandbags when the Turks launched a final vicious assault to regain the trench. Struggling to defend their position, the three Australians resorted to catching the Turkish hand bombs and throwing them back at the enemy or smothering those that landed with Turkish great-coats. Hand bombs killed a 10th defender and wounded both Dunstan and his only remaining companion. Again the Turks were driven back and this time the two wounded Australians were left alone until later relieved and hospitalised. As a result of the intensity of the fighting and the tenacity of the 3 defenders, each was awarded Victoria Crosses for their most conspicuous bravery. Following the war, Dunstan enjoyed a successful career to become the Managing Director of the Herald and Weekly Times. He died in Melbourne aged 62 and is remembered with respect by the citizens of Ballarat.first world war, wwi, william dunstan, conflict, war

[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

Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. 18-Pounder Artillery Shells: The Great War Recycled and Re-Circulated Categories :Material Culture Machine Subscribe Share on facebook Share on twitter The intention of war is to kill, to maim and to destroy using, for example, the agency of 18-pounder artillery shells (so-called because they weighed 18 pounds). The shells were loaded in to the 18-pounder field guns used by the Royal Artillery and targeted to destroy German batteries and trenches as well as to shoot down aeroplanes. Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA In Under Fire, Henri Barbusse recounts how the incessant and diabolical din of war constantly bombarded the soldier body with the unendurable noise of bursting shells that caused pain to the ears (Barbusse 2010 [1933]: 207). The noise was so ‘monstrously resounding’ that one felt ‘annihilated by the mere sound of the downpour of thunder’ (Barbusse 2010 [1933]: 206). Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. People’s experience of the First World War did not end with the armistice. Whilst the noise of the artillery had ceased, the noise of war was remembered. Harry Patch on arriving home injured recalled being ‘jumpy for a while’ with the least noise prompting him to dive for cover (2009: 114). Something else materialised. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. The head-stamp of these particular shells displays the British broad arrow and the initials ‘EOC’ indicates that they were made at the Elswick Ordnance Company, England; the initials ‘CF’ signal that the charge was loaded with cordite, a standard propellant. Spent shells were illicitly scavenged from massive mounds by both soldiers and civilians alike to become personal souvenirs or to swap or sell. Spent artillery shells were crafted, often using a hammer and a bent nail. The crafting of trench art reflects the construction of an identity that offers momentary relief from the hell experienced in the trenches. The lid of an 18Pounder shell which has been adapted for use as an ash tray.Lot 27 1927, 18Pr, III, EOC, C/F, Defence broad arrow,