Demolition of the former Shire of Eltham Offices, 895 Main Road, Eltham, 12 August 1996. Originally mounted as a group of 9 photos on 42 x 55 cm display card.Colour photographeltham shire office, shillinglaw trees, demolition

Hardcover book by James Wood on Chiefs of the Australian Army 1901-1914Stamps and markings from previous owner - Defence Library Service - Watsonia ISBN 1-876439-40-8australian army, higher command, biographies, australian army, higher command, biographies

The Tawonga branch of the C.W.A. was formed on the 7th Feb. 1946. They had 45 members by the end of the year. A scrap book (KVHS 0750) exists with a list of names of members for each year up to 1988 and articles from the newspaper. The Tawonga branch often combined activities with the other branches in the Kiewa Valley. The C.W.A. aimed to improve the health, welfare and education for women and children in the country.Women living in Tawonga were mostly on farms and, in 1946, when the branch commenced would have been feeling more remote with WW11 having had an effect on available workers and the well being of the women and children.Small green cardboard covered book with yellow border and logo (in middle) and with black printing. It has 48 pages.Cover: "The Official Annual of the Country Women's Association of Victoria." Also their Motto and "Forty Third Annual Report / and Balance Sheet / for the Year ending 31st December 1970 / Published 1971 Handwritten on cover: "Tawonga 15 cents each" Inside on cover sheet: handwritten: "30 c to pay to Mrs Courtney"country women's association of victoria. c.w.a.. tawonga.

Each journal has eg January 50 pages and February 100 pages with advertisements, articles, etc updating farmers on current issues and the latest inventions.Farmers in the Kiewa Valley subscribed to these journals enabling them to keep up with the changes in farming in Victoria, Australia.Large, thick book box with monthly journals in 1949 enclosed. Each journal is held by string. Spine is black and cover is beige.department of agriculture in victoria, farmers of the kiewa valley, 1949 journals

The original diaries, (1859-1866,1895-1900) of Thomas Young discovered by a Young descendant have been transcribed with the author adding his own research and historical photographs. The diary sheds light on the lives of prospectors who worked the Caledonian goldfields in the 1860s, including St Andrews and Smiths Gully. Thomas Young, migrated from Scotland and moved to the goldfields in 1858. He carted ore by horse and dray from mines around St Andrews to crushers in Panton Hill and Smiths Gully. He later became a baker. He and his wife Bridget had eleven children. He later settled at Christmas Hills establishing the local store and school. See also: "Old Diary Strikes Old" by Natalie Birch, Diamond Valley Leader August 17 2005The diary provides a rare first-hand account of life on the Caledonian goldfields.v. : ill. 69 p 30 cm[written inside front cover] To my very good friend Harry Gilham - Mick Woiwod 25th August 2005thomas young, caledonian gold fields, kangaroo ground, christmas hills, panton hill, smiths gully, st andrews, diary, gold mining

Page [i] : Prepared for the Committee of the Shire of Eltham Brass band by E. Y. Barnes. This may have been an early draft copy as it includes pen notations and corrections. Page 2: "The aim of this presentation is to give a balanced comprehensive story of the Shire of Eltham Brass Band, its origins, aims, history and operations". The Band was formed in 1954 with male members, Includes a list and biographies of bandmasters, uniforms, engagements, names of and roles of "helpers" and names of organisations which the Band has been associated. as well as names of early band members and other associated members. This document is significant in that it not only traces the development of the Shire of Eltham Brass Band (a forerunner of the current Eltham Concert Band) and of music in the area but it also gives an insight into the people and their community in the 1950s and early 1960s.Original typed manuscript with occasional photocopied sketch enclosed in a green folder. Calligraphy on cover plate and title page Title pages includes the signature: E.Y. Barnesbrass band

Eltham Arbor Day, 10 October, 1973. School children of the Shire of Eltham planting trees with Alistair Knox in Eltham Town Park. Knox was a local architect and conservationist and councillor for the Shire of Eltham 1972-1975. The day was previously planned to take place during the visit of the Governor, Sir Rohan Delacombe to the Shire on 19th September, 1973 but cancelled that day due to inclement weather. Eltham Town Park would later be renamed Alistair Knox Park. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book," Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Black and white photograph print 16.5 x 21.5 cmtree planting, arbor day, alistair knox, eltham town park, alistair knox park, sepp, shire of eltham pioneers photograph collection, school children

Paperback; xii, 356 p. : ill. ; 27 cm.[written on flyleaf] With very best wishes, Pam Baragwanath. 17-11-2000mechanics' institute, social customs

"Edited, annotated and introduced by Mick Woiwod for the Andrew Ross Museum, Kangaroo Ground"--Cover. Includes bibliographical references and indexes.Paperback 235, vii, 128 p. : ill., ports. ; 29 cm. Two copies, one with dedication by author "To Eltham District Historical Society Mick Woiwod 2011"ISBN 9780987157409andrew ross, kangaroo ground, pioneers, diaries

Four colour photographs showing construction of the Coles store in Arthur streeteltham, coles store, arthur street, construction, buildings

Hard Cover with dust cover Authors' names, ' John Barratt with Jean Ritchie' on dust coverPublisher: Sidgwick & Jackson Limited London: 1991earl mounbatten. prince and princess michael of kent

Hard Cover with Dust Cover.Illustrated and abridged Author William Shirer Publisher; Bison Books Ltd. London Published 1987 ISBN 0-86124-385-4

Hard Back with dust coverAuthor Derek Wood Publisher Jane’s Publishing Company Ltd London 1980 ISBN 0 7106 0049 6

Six colour photographswalter withers rock, walter withers reserve

[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

Seven colour photographswalter withers rock, walter withers reserve

Digital file only; created from original colour positive slide transparencystreets, main road, duplication, road construction, road widening, bridge street, russell yeoman collection

Brochure produced for the celebration of the 90th anniversary of Heathmont Railway Station.Brochure "May 1st 1926 - May 1st 2016 - Happy 90th Birthday Heathmont Railway Station" for re-enactment ceremony Sunday May 1st 2016.

Speech by the Governor of Victoria Sir Dallas Brooks on 19 March 1960 on the declaration of Ringwood as a City; Full text from page: The Mayor, Councillors and Citizens of the City of Ringwood 19th March 1960, pages off white, bound by blue ribbon.

History of the Memorial Clock Tower of Ringwood November 2001

This book is the 1835 second edition of John Harrison Curtis' 1833 'A Treatise on the Physiology and Diseases of the Eye, containing a new mode of curing cataract without an operation, experiments and observations on vision, also on the inflection, reflection and colours of light together with remarks on the preservation of sight, and on spectacles, reading glasses etc'. The title page describes J H Curtis (1778-1860) as an oculist and also as an expert on the ear. His knowledge of eye pathology and surgery was poor but this was typical of the medical profession until the middle of the 19th century. He was 'aurist in ordinary' to His Majesty and other members of the royal family and his hospital and teaching appointments had more to do with the ear rather than the eye. The last pages of the book list his other publications most of which concern the ear and the deaf. He was the first person, in 1803, to apply speaking tubes to assist the deaf. He established the Royal Ear Hospital in Soho, UK in 1816.This book is of historic significance as it shows contemporary understanding of ocular pathology in the early nineteenth century. It is quite rare as no other copies of the second edition are known in Australia.'A Treatise on the Physiology and the Diseases of the Eye' by J H Curtis is book of 1835 bound in its original boards, in very good condition, 230 x 140 mm, 242 pages, second edition. There is a coloured plate facing the title page with three figures featuring an ingenious lift up section of a woman's face to show the blood vessels and nerves underneath. There is a philosophical introduction, a chapter on ocular anatomy, two chapters on diseases and their treatment, one on the nature of light and one on the preservation of vision. Cataract is treated by withdrawal of blood from behind the ear and the application of an ointment to an induced blister on the neck, with potash applied to the cornea daily.optics, ocular anatomy, ocular disease, physiology, cataract

Mount Evelyn RSL Sub BranchPictures on the front page in black and white with title. Back page tan coloured with printing and picture of two flags Australian and British. 88 pages of text and pictures.

16 plastic pockets containing the history of "Cherry Hill". Titles and subdivision plans of the 35 acres in the triangle bounded by Oban, Wonga and Warranyte Roads, Ringwood North. Multi pocket burgundy coloured spiral binder containing 34 pages of the property history, subdivisions, land titles and photographs of the house, compiled by Richard Carter pre-auction 9 September 2006. Includes architectural descriptions of "Cherry Hill" from original allotment in 1872 to 2006. Also history of well known residents who lived in it.

In 1891, Premier James Munro said he would introduce a bill into parliament for women's suffrage if it were demonstrated that ordinary women wanted this right. The Victorian Woman's Temperance Union and the Victorian Women's Suffrage Society took up the challenge, joining forces to organise a petition. Embarking on a door knocking campaign across Victoria they collected about 30,000 signatures in six weeks. The 'Monster Petition' is housed at the Public Records Office Victoria where a purpose-built perspex case protects the 260 metres of signed pages glued to sewn swathes of calico. (ref. Creative Victoria). In 2008 the petition was a centrepiece of the centenary celebrations of women's suffrage. This document was prepared for that centenary celebration.The Women's Suffrage Petition (1891) reflects the dedicated work of those women, who went from door to door across Victoria to collect the signatures. Its tremendous length earned it the name of the ‘Monster Petition'. This document is a useful research item.A stapled 9 pp document containing names, photographs, signatures of the Orbost women who signed the petition for Women's Suffrage in 1891.women's-suffrage-orbost

Catalogue card reads, "Railway Estate 1925. Daveys Hill East Ringwood. Daveys Hill is now Maroondah Hospital ground."

Typed below one photograph, "Bedford Rd. looking towards Ringwood from Dublin Rd., 1923". Another copy is dated 1924. Typed on back of small photographs, "Dublin Rd. estate, corner Bedford Road. 77 lots no deposit and one pound per month." Printed below the small photograph, "A picturesque View of the Bedford Road right at the Estate."Printed on photograph, "Dublin Road Station Estate." Typed below enlargement, "Bedford Road looking uphill from near corner of Illoura Ave. 1923. Homes still there." Written on backing paper, "Soldiers Homes, Bedford Road". Typed on 3rd photo: "Bedford Road in Ringwood's Early Day. On reverse: "About 1924 - Area vicinity Wilana & Greenwood Ave". Reproduced on or from Dublin Road Station Estate Sales Poster 23 November 1923 (Formerly the Blood's Orchard)