This is a New Testament in Chinese given to Thomas Wong Cheong on the occasion of his baptism in August 1886. Thomas Wong Cheong (also written Thomas Wong Tong) was a Christian Catechist appointed by the Foreign Missions Committee of the General Assembly of the Presbyterian Church in Victoria. He worked in Warrnambool, ministering to the local Chinese Christian community for 31 years. He died in 1923. A Chinese Church, under the auspices of the Presbyterian Church, was erected in Ryot Street, Warrnambool in 1892. By the 1930s the Chinese community in the Warrnambool area had dwindled to a very few in number and the Ryot Street building was demolished in 1979. This is a significant book because of its association with the Chinese community in Warrnambool and the catechist Thomas Wong Cheong. The Chinese Church and the work of Thomas Wong Cheong are of importance in Warrnambool’s history from the end of the 19th century to the early years of the 20th century and this book would have been well-used during this time. This is a hard cover book with a black cover and the words, ‘New Testament’ printed in gold lettering on the back page (probably the front page when being read in Chinese). The text is entirely in the Chinese language with the Chinese characters in columns ruled longways. The signature of Thomas Wong Cheong (Tong) is written four times in blue and red ink. There is an inscription on the back page (front of book) and a page with a yellow background and black printing. Some of the pages have been torn (silverfish damage) and the edges of some pages have been stained. Most of the pages have four or five holes on the inside edges, suggesting that the book has been re-bound from a previous binding. There is a pink sticker of the Castlemaine bookbinder on the inside front cover.‘Presented to Thomas Wong Tong on the occasion of his Baptism, Creswick, Victoria, August 1st 1886, T. Angwin, Wesleyan Minister.’ chinese in warrnambool, warrnambool, history of warrnambool

Bob Snape always included in his kit a few second hand Baedeker's guide books, as well as the 'Belgium and Holland' volume. Bob was a keen observer and commentator and used these guide books as any interested tourist. Bob's letters home often made reference to the history, culture and architecture of the countries he visited in the course of the war. Bob's English born father had lived and worked in France from 1878 to 1880 before his emigration to Australia.Two tone map in orange, grey and black. snape collection

The story of the Australian nurses who were POW of the Japanese for three and a half years.Hard Cover with Dust Cover. Dust Cover illustrates the work of the female POW's.Author JessieElizabeth Simons Publisher William Heinman Ltd. 1954

A response to a perceived 'revisionist' history of Japanese military history released in Japan which includes a Japanese version of treatment of POW's in WW2shows attitudes in Australia and Japan 20 years after WW2 in response to a new Japanese bookSingle page from Sun NewspaperHand written on bottom Right: Currant (sic) Affairs. Am DGjapan. ww2 . revisionist history

P J McGinness is a significant figure in Australian aviation historyPrinted Biography in wooden frame

The personal 'carry-all', a cloth apron like article was utilised by Thomas Hamilton Osborne in his work with the Warrnambool Steamship Navigation Company. He was Company manager in 1883 until its dissolution in 1899. Osborne wrote many articles on early Warrnambool, particularly maritime material under the name of " Sliding Gunter". When he died he was buried at sea off the breakwater.His sister Mrs Annabella Kell is thought to have made this article.This is a significant item as T.H.Osborne was a key figure in 19th Century Warrnambool history, particularly in maritime affairs. Six sided, scalloped edges, four pockets, two metal hooks, purple woven fabric with yellow and gold embroidery, lifebuoy outline with W.S.N.Co and THO initials embroidered and two flags. Machine sewing of pockets and tab to base apron.W.S.N.Co THO initials on top of each other Two metal hookswork apron, warrnambool steamship navigation company, wsnc, thomas hamilton tracey osborne, annabella kell, sliding gunter

This certificate is one of a number held by the Warrnambool and District Historical society which relate to the occasion of Federation of Australia , January 01/1901. Some are for social functions at the time others like this are for more formal occasions. There was a strong local vote for Federation at the referendum in 1898 with district figures 957 voting for and 146 against . By 1899 the vote had increased to 1411 yes and 39 against.. The official federation celebrations were held in Sydney and Warrnambool like towns all over Australia held celebrations. The Mayor and five of Warrnambool's councillors travelled to Sydney for the celebrations. The first federal Member of Parliament for the Warrnambool district was John Chester Manifold of "Talindert," Camperdown. Some local well known people of the time who were contributed in various fields to the Federation spirit, include John Archibald, Willian Astley, Louis Bayer, Richard Kennedy, Walter Murdoch, and Con O'Mahony. This certificate has an added link to Warrnambool in that the son of Councillor W. Henry, Victor Henry, an art student had designed and illuminated the municipal Addresses presented to the Governor general and the Duke of York. This item has historical, artistic social and interpretive significance. It links the most important event of the Federation of Australia to our city. That the art work was completed by Victor Henry, a local person is a significant claim to fame for our city. It presents an opportunity for present generations to consider local aspects of the process of the Federation of our country.Framed Certificate. Inauguration of the Commonwealth of Australia, Municipal Association of Victoria 1901. Signed by councillorsWilliam Ferguson Mayor, Giffens Russell, John Ward, John Marfell, Chas Macknight, W J Hickford, W Simpson, G S Mackay, M Saltau, H C Lawson, E J Murray William Kucks Jnr, W Henry. Small card inserted in bottom right reads With compliments of W Ferguson, Mayor.warrnambool, warrnambool history, warrnambool at federation, federation of australia, victor henry

This is a hard cover book with a sepia photograph on the cover and a cream-coloured dust cover with a colour image of the City of Warrnambool logo. Endpapers have a black and white 1840s sketch of a Plan of Township and Warrnambool Bay. There are 21 chapters and 16 pages of black and white photographs. There is a Foreword by Harold Stephenson, an introduction by the author, a Table of Contents, an Index, Appendices and lists of Warrnambool Councillors. non-fictionHistory of Warrnambool to 1969history of warrnambool book, ‘by these we flourish’, c e sayers, warrnambool

The Hopkins River One Mile Swim started in 1960 as part of an Aquatic Day to raise funds for the Warrnambool Olympic Pool. Since 1961 a measured One Mile Course (1600 metres) was used, the course being up river for approx. 286 metres, then to the bridge and back to the jetty to the finishing line. It was a handicap race. The race was abandoned after 46 years (2005). The booklet is of some importance as it gives the details of the Hopkins River One Mile Race, an event that was a prominent one in Warrnambool for 46 years. The booklet records the achievements of the competitors and the work of the committees involved and will be useful for researchers. This is a booklet containing a souvenir program for the 40th Annual One Mile Swim in the Hopkins River in 1999 and a Full Race History from 1960 to 1999. It has been produced in-house by the Warrnambool Surf Lifesaving Club and has a blue cardboard front cover and a grey back cover. The photocopied and typed pages have been bound with black plastic. The contents include newspaper cuttings, photocopies of photographs, lists of winners and a list of the race’s sponsors. There are three loose sheets.Front Cover: Warrnambool Surf Lifesaving Club, 40th Annual One Mile Swim in the Hopkins River, Sunday 14th March 1999, 2 p.m., Souvenir Program and Full Race History 1960-1999warrnambool surf lifesaving club, hopkins river mile swim, hopkins river

This booklet tells the story of the establishment of the Allansford Presbyterian church. First services were held in a Mr. Irvine’s barn at Wangoom by Rev Andrew Begg. The first church was built shortly afterwards towards the end of 1861. The first minister was Rev Robert Sutherland (1862-1876). The booklet gives a brief outline of history of the ministers who followed. Foreign missionaries are mentioned as are the men of the Kirk session. It also gives a brief history of the congregations at Wangoom, Mepunga and Nirranda.A worthwhile record of the people associated with the Presbyterian Church in the areas of Allansford, Wangoom, Mepunga and Nirranda.Khaki covered soft card cover with dark blue text. 48 pages approximately with collated black and white photographs of ministers and members of the congregation at the time. Red circular logo inside front cover.The foreward is written by W M Chapman.allansford presbyterian church, the kirk at work, wangoom, mepunga, rev andrew begg, rev robert sutherland 1862-1876

Henry Watts (1828_1889) Died at Melbourne, 16th December, 1889. He was a good microscopist. His botanical studies were chiefly devoted to algae, both fresh-water and marine, and while living for many years at Warrnambool he was a contributor of algae to Harvey, who figured Wrangelia wattsii, Harv., and Crouania wattsii, Harv., in his “Phycologia Australica " He was the author of "On the Fresh-water Algae of Victoria " (Trans. Roy. Soc. Vict., 1861-4, 67) ; .also a paper "On Fossil Polyzoa" (ib.. 82); "A Trip to Mt. Macedon in Search of Fresh-water Algae" (Wing's S. S. Record, iii., 252); "On a Species of fresh-water Algae from Victoria" (Vict. Nat., i., 21); "Some Recent Additions to our Knowledge of Microscopic Natural History" (ib., iii., I33) (includes lists of fresh-water algae and Desmidieae ), First librarian (1881-2), also a vice-president of the Field Naturalists' Club of Victoria. He is further commemorated by Acacia wattsiana. F. v. M. www.anbg.gov.au/biography/watts-henry.html . Henry Watts worked as a bootmaker in Timor and Liebig streets Warrnambool in the 1860’s but it was as an amateur scientist that Watts gained public notice.For an exhibiton in Melbourne in 1861 Henry Watts prepared a collection of over 100 different species of seaweed from the Warrnambool district. It is recorded in the Examiner in 1863 that he had been elected as an honorary member of the Bristol Microscopical Society of England He was a member of the Warrnambool Horticultural society and in 1865 he opted to become a flower distiller.At the 1866 MelbourneExhibition, Henry Watts exhibited 44 bottles of his perfumes. He had a keen interest in microscopes and microscopic organisms.He spent many hours combing the caves and examining the guano of local bats. This letter is written to Professor Quekett advising him that he has sent a collection of packets of samples of diatomaceae asking him to examine and name the same.. Professor Quekett was a famous microscopist of the Victorian era with the Quekett microscopist club one of the oldest in the world dedicated to the use of the microscope and its discoveries. Henry Watts was one of Warrnambool’s first botanists and marine scientists. He also established a flower distilling and perfume manufacturing business in Warrnambool. In 1861 he sent a collection of over 100 species of seaweed to the Melbourne Exhibition.Framed, handwritten letter, ink on blue paper. Transcript of letter is typed black on white paper. Five small numbered pieces of paper containing specimens of diatomaceae collected from marine and fresh water areas around Warrnambool.Names Henry Watts, Professor Quekett. Handwritten along the bottom of the frame, “The above was bought at a London Auction for $12-10-00 by Miss Eddey a Melbourne Book shop Proprietress and recently presented to the W.F.N. Club.: warrnambool, henry watts, watts henry, botanist,microscope, microscopic, quekett, john thomas quekett

Henry Longfellow (1807-1882) was an American poet, the most popular one of his day. With poems such as ‘Paul Revere’s Ride’ he helped shape the American character. He was also popular in the British Empire countries and many people in places such as Warrnambool would have had a copy of his published works. The recipient of this volume, Albert Henry Lawson, was the son of Thomas and Susan Lawson, shopkeepers in Warrnambool in the 1870s and 80s. Albert Lawson became a pupil teacher in Cobden in 1903 and from 1904 to 1907 it appears that he was an assistant teacher at his brother’s school, Warrnambool College. This was a private school established by Richard Lawson and William Oakley in 1900. Albert Lawson was given the copy of Longfellow’s poems when he left Warrnambool College in 1907. He then embarked on a teaching career with the Victorian Education Department, married Susan Oakley, the daughter of William Oakley, and died in Melbourne in 1972.This beautiful book of Longfellow poems is worth keeping as an example of an antiquarian book. But it is most significant because of its inscription, telling us of its association with both the Lawson and Oakley Warrnambool College and Albert Lawson, a member of the Lawson family which had many members important in Warrnambool’s history. The inscription tells us that Albert Lawson worked as a teacher for some years at his brother’s school, a fact that was not fully documented until the acquisition of this book. This is a leather bound book of 698 pages. The cover is mottled brown in a raised pattern and the pages are edged with a red-gold tinge. The insides of the cover are edged with a red and gold border and have a blue, brown and cream mottled pattern. There is a sketch of Longfellow in the front with a tissue page covering the sketch. The pages of the book are of fine paper typical of a late Victorian publication. The book has a thin blue ribbon page marker which has become detached from the book. The book is edited by William Michael Rossetti.Front Cover: ‘Longfellow’ Spine: ‘Longfellow’ Inside on a blank page: ‘To Mr A.H. Lawson from his pupils at the W’bool College, with best wishes for his future welfare, April 15th 1907’. warrnambool college (lawson & oakley), albert lawson

Loris McKeeman McLeod, married to Alex McLeod, was a local farmer at ‘Glendale’, Grasmere and later lived in Warrnambool. She was interested in local and family history and published material in the 1980s on the Oakley, McKeeman and McLeod families. She also wrote poetry and this is an example of her work.This poem is worth keeping as an example of the personal writing of a local person, Loris McKeeman McLeod. This is white card with a poem’ My Australian Pioneer’ printed on it in black type. There is a decorative border around the printed material. The poet was Loris McLeod.loris mcleod, warrnambool, glendale

This is a paper back book with a plasticized cover. It has 76 pages and an index. The cover is olive-green in colour with images of a life boat and a lifeboat service certificate. The book contains printed material, diagrams, maps, photographs and other illustrations.non-fictionHistory of lifeboats and their crews in Victoria from 1856 to 1879lifeboats, shipwrecks, port fairy lifeboats, warrnambool lifeboats, history of warrnambool

Nursery owned by Alfred George Nightingale, who originally work for Nobelius Nurseries. Nightingale Nursery sold fruit and ornamental trees.Part of the horticultural history of Emerald and surrounding districtCopy of photograph pasted on cream cardBack: Mr. C. Worell working Nightingale's Nursery, Avonsleighnightingale nursery, nightingale, thompson

Situated near the top of what was known as 'Policeman's Hill' according to Miss Ivy Reynolds, neice of the photographer, Tom Prior. From the left, Eltham Court House, Police Residence and Police station on Main Road and corner of Brougham Street. These buildings formed part of Little Eltham and still stand (without the front fence) today though the Police Station was demolished in 1986 due to termite damage. A replica was built circa 1989. The institutions of law and order in Colonial Victoria included the police, courts and prisons. The 1852 report of the Snodgrass Select Committee appointed to "identify the policing needs of the colony” noted there existed seven independent police forces that did not co-operate or regularly communicate. Following the committee's report all these police entities were merged into the Victoria Police, founded on 8 January 1853, to implement law and order responsibilities throughout the Colony of Victoria. The Eltham Courthouse (1860) and adjacent Police Residence (1859) formed a justice precinct established in the immediate aftermath of the 1852 police inquiry and the effects of the gold rush. The physical presence of these buildings, in the centre of the early Eltham township, defined centralised control over law and order. In the early days the Police Constable in charge would conduct his duties travelling around the district by horse; a stable was located at the rear of the residence. At times the horse would be grazed on the paddocks across the road. Horseshoes were forged by the blacksmith beside the Courthouse on the high side of “Policeman’s Hill”. Along with the stable, there was a two-cell bluestone lockup where prisoners were held awaiting trial in the adjacent Courthouse. Their meals were usually provided by the policeman’s wife or from the hotel just up the road. With the arrival of the railway in 1902 the town centre gradually shifted towards the railway station. The Police Station and operations were moved into the town centre in 1961 to a renovated house in Pryor Street, which was later replaced by the current Police Station. From 1961-1981 the residence was occupied by the Vermin and Noxious Weeds Destruction Section of the Department of Crown Lands and Survey. Prior to August 1967 the former Police Station was dragged to the rear of Police Residence to make way for the construction of a driveway and access from Main Road. The building was placed on the site of a former Scullery and modified for Lands Department use. In 1981 the Shire of Eltham took over management of the former Police Residence in Eltham. It remained unoccupied for a period whilst its future was discussed in Council. It was then used for a community job creation scheme until 1985. In 1985 the Shire of Eltham Parks and Environment occupied the residence. Council improved the driveway but later added a second rear access from Brougham Street due to the dangerous nature of the Main Road entrance. Additionally, a rear toilet facility between the Police Residence and the relocated former Police Station, which was doubling up as a lunchroom. Council also commenced discussions to re-establish a replica Police Station. Around November 1986 the former Police Station was demolished; believed to have been suffering termite damage. About 1989, after some years of discussion, a replica Police Station was built, based on photographs, to act as a lunchroom and meeting room for the Parks and Environment staff and volunteers doing community service. In 1996 Eltham District Historical Society held discussions with Nillumbik Shire Council commissioners throughout the year regarding a home for the Society. A proposal was put forward by the Society in October to occupy the former Police Residence. In March 1997 Eltham District Historical Society gained access to former Police Residence and on July 12, 1998, moved into its Local History Centre. In July 2018, Eltham District Historical Society gained access to the replica Police Station (which had been used as a music library and storage for the Eltham Concert Band) for use as part of regular heritage tours for schools and community-based groups.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. The Reynolds family were early settlers in Research. The Reynolds/ Prior collection of photographs were taken by Tom Prior, the maternal uncle of Ivy Reynolds, around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy lived in the family home for many years at 106 Thompson Cres Research. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage.Digital imagechildren, court house, courthouse, eltham, eltham district historical society, eltham justice precinct, little eltham, local history centre, main road, police residence, police station, reynolds prior collection, sepp, shadow, shire of eltham pioneers photograph collection

[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

Jarrahmond School first opened on March 19th 1886. The head teacher, Campbell Mackay, worked on a part-time basis with Orbost State School. (info. John Phillips)This item is associated with the history of education in the Orbost district.A black / white photograph on thick card. It is of a teacher and students standing in the garden of Jarrahmond State School.on back - hand-written - J. Lynn - "Jarrahmond School, 85 years ago'orbost-education-jarrahmond-state-school

Sketch of the four pottery kilns at East Ringwood, corner of Velma Grove and Mount Dandenong Road (Oxford Road). The kilns shut down in 1926. Judging by the handwriting, the artist and author appears to be John Rodaughan, East Ringwood historian, whose other works include history on Burnt Bridge Hotel and other parts of East Ringwood. The back of the sketch includes a rough hand-drawn map, that appears to be of the insulator works area, between Mt Dandenong Road and Evon Avenue. The timeline includes generic milestones in blue ink and those associated with Ringwood in red writing.Kilns; D.M.

This riding crop is a short type of whip without a lash, used in horse riding, It would have been used by a rural family in early Orbost.Horses played a vital role in the agricultural history of Orbost. This item is connected to that role.Two whips. .1 is a small leather riding whip with metal casings and small metal horse head at one end. This is a lady's riding crop. .2 is a very long buggy whip with metal casings. Both are hand-made.equestrian whip leather-work

These photographs were taken at the official opening of the Orbost - Bairnsdale Railway Line. In 3150.3 which is of a group of children and two adults those identified in the photograph are ; L - R front row Mary Gilbert; Warren; Betty Gilbert; Marion Gilbert; Mrs Shaw and son; ? Gay; and Pen Gilbert. In 3150.4 L-R front " Mary Gilbert; Bet Gilbert (sitting with glasses); Pen Gilbert(Richardson); Marion Gilbert ( middle front little girl) About 1912 work began at Newmerella on clearing the track for the railway line from Bairnsdale to Orbost. A canvas town sprang up on the higher land adjacent to the river flats. Local farmers supplied meat, milk and fresh produce to the camp, as well as gaining employment carting and labouring. The line opened in 1916, the Orbost railway station being built on the Newmerella side of the river.This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. It is a pictorial record of a significant event in Orbost's history. On April 10 1916, the first scheduled train service left Orbost for Bairnsdale. The Bairnsdale-Orbost railway was opened to serve the agricultural and timber ndustry. Because of the decline in traffic and heavy operating costs, the line was finally closed in August, 1987. Four black / white postcards of people at the opening of The Orbost - Bairnsdale Railway. 3150.1 - on front - "The Ministerial Party" 3150.2 - on front - hand-written - " The Hon James Cameron" with arrow pointing to a man standing in the back row. at bottom - "The Ministerial Party X Florie Cameron" on back- "Opening the Orbost Railway" 3150.3 and 3150.4 - on back - hand-written "First train to Orbost with a list of names.orbost-bairnsdale-railway celebration-opening-of-railway east-gippsland-railway

Peter Cameron, came to Orbost in 1885, at the age of 69, having sold his farm at Geelong. Peter bought the property ―Glen Avon from a Mr Street. The home was situated at the bottom of the paddock, near the corner of Morley and Livingstone streets. The farm stretched from Tennyson Street to the end of Snaggers Lane and along the river frontage to “Carinya” Cameron Home. In the Gippsland Times on Wednesday. 2 Jul 1890 on Page 3 is an article titled "THE SNOWY RIVER CALAMITY" which describes an ".unexpectedly sudden rush of water down the flats..... the terrified people commenced to remove their stock from the land and the work of saving property was continued all day ............ many head of cattle were washed away.......The river road, for its entire length, is obliterated, and the approaches to the bridge at Watt's Gulch are gone, with the enormous volume of flood water," These photographs are pictorial records of a significant event in the history of Orbost. There are few personal records of the very early floods.Three black / white photographs of wooden buildings with flood water in foreground. There are post and rail fences. 3193.2 has been taken from a distance.on back -" "Glenavon east of Lagoon 1897 Feb"floods-orbost-1890s glenavon-orbost

The chemist made an entry for each prescription for medicine that was given to a customer, and the date presribed. This entry was a handy reference for repeat prescriptions. Chemists who worked in Orbost included Henry Cottman; James Alfred Dubois Williams; Harry Arthur Murray; Miss P.E .Mason (Phyllis Estelle?); Miss Sybil Monica Buzza; Thomas James Frayer; Australia Shaw; James David Torley; John William Zimmer; Dalkeith William Steele; William Thomas Hollingsworth; E.E. Cohen; R.S. Anderson; Frances John Perry Faith Everard Pardew and Charles Anthony Wurf.These books have a clear association with Orbost. They provide a record of the ailments treated by the chemists over its long history, and the types of remedies used to treat them. They show the evolution of therapeutics and the development of diverse treatments The books are interesting in giving the names of the people who came to the shop and for the prevalence of diseases that were being treated. Sixteen ledgers to record prescriptions. Information details of patients' names, medications and prescriptions are hand-written. Details of individual ledgers are in catalogue folder.orbost-pharmacies medicine drugs prescription -records

Carrol Preston has used newspaper references from 1877 through to 1917, to document the history of the Orbost - Bairnsdael railway line.. It starts with the lobbying and jockeying, and moves through to the opening in 1916. The title is a reference to plans to further extend the railway beyond Orbost - but "The Iron Horse stopped at Orbost Railway Station". Most articles are from the Snowy River Mail and Bairnsdale Advertiser. All newspaper articles are dated and sourced. About 1912 work began at Newmerella on clearing the track for the railway line from Bairnsdale to Orbost. A canvas town sprang up on the higher land adjacent to the river flats. Local farmers supplied meat, milk and fresh produce to the camp, as well as gaining employment carting and labouring. The line opened in 1916, the Orbost railway station being built on the Newmerella side of the river.This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. On April 10 1916, the first scheduled train service left Orbost for Bairnsdale. The Bairnsdale-Orbost railway was opened to serve the agricultural and timber industries. This book has been compiled by a local historian. A spiral bound book titled, "The Iron Horse Stopped at Orbost Railway Station". The cover is blue / green with the title in black and red print. Underneath is a railway track leading to the bottom of the page. The book is 110 pages, A4 size and contains maps and photos. in black print on cover - "The Iron Horse Stopped at Orbost Railway Station ; The newspaper story of the eventual construction of the ORBOST RAILWAY LINE (in red print); Compiled and produced by CARROL PRESTON (in white print)railway-transport orbost-bairnsdale-railway east-gippsland-railway

After the damage from the February 1971 floods at Orbost when the abutment to the Snowy River road bridge was washed away a Bailey bridge, portable, pre-fabricated, truss bridge, was put into place to ensure town access, the C.R.B. rebuilt the approach to the bridge driving new piles and constructing the Bailey bridge. They worked late into the night under flood lights to ensure the link from the Orbost township to the Princes Freeway would be open to traffic as soon as possible.These photographs are pictorial records of a significant event in the history of Orbost.Three black / white photographs of a Bailey bridge being erected across a river. 3245.1 and 3245.2 are the same. bailey-bridge orbost-snowy-river-bridge bridge-orbost