During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart

This product was introduced in an era where the "silky smooth" look was in vogue. From the 1920s on, American and British film stars set the tone of how clean cut (hero type) masculine look attracts the opposite sex faster and in greater quantities than the "unkempt" or natural maintained look. This look was bold and "polished" and had the intended projection that the hair matched the character of "I look after myself and have a high opinion of physical appearances". As fashion goes this slick and well maintained look has circled many times, in and out of history and in Australia in the 1950s this was a prime example. The liberation of the stereo type of both sexes occurred in the 1960s when the freedom loving "hippie culture" had a marked affect upon the city inhabitants but not so strong among rural males. Sexism was still rife in that time frame.This jar of Brylcreem was a part of the (masculine) rural scene for a longer period than that found in the larger towns and cities. The long held "men are men" and "women are women" distinction between the sexes lingered on more in rural areas because of the perceived physical differences, mainly "strength" and perceived tasks such as "men only" activities (heavy farm/mining/construction). The jar of Brylcreem maintained the respectable male look for those special occasions when males "dressed" up and looked clean physically and well behaved (to show respect to the women folk)This glass jar with a glued on,red background, label detailing the product Brylcreem (a men's) hairdressing ointment is empty of its original product. It has been contoured on each side to allow for a man's fingers to comfortably and firmly grip the jar. This form would allow even "greased up" hands to maintain control. The glass thickness is far greater than needed and also added the extra stability to the standing jar. The shape of the jar is a latent attempt to emulate the physique of a fit young man (small waist, expanded and muscled mid rift and large shoulders). The jar does not distract from viewing its contents (clear glass). It has a black gloss screw (on/off) lid made from mild grade steel. The jar holds approximately 200 grams of a thick molasses textured product. On the front red Label; in large white letters "BRYLCREEM" underneath this is in smaller silver print "THE PERFECT HAIRDRESSING" underneath this is a banner type motif with a crown at the top and a black letter "B"in the centre. Below this and in much smaller print are printed in black script "BEECHAM (AUSTRALIA) PTY. LTD. MELBOURNE VICTORIA M A Imen's deportment, toiletries, men's hair styles, physical appearances

[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

Believed to be Mrs Jane Bailey (nee Matthews) (d. 1904) and her grand-daughter Ruby Jane Bertha Smart (1890-1903) in front of the Smart family cottage in Bridge Street, Eltham, c.1903 Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Ruby Jane Bertha Smart born abt 1890 died in 1903 in Eltham. Her brother Alfred Francis Smart was born abt 1887 and died 1966 in Mont Albert, Vic. (Accessed via Ancestry.com) Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Original print 10.5 x 16.5 cmFor postcard print: Inscribed on envelope: "Return to Mrs H. Butherway, 22 Bridge St, Eltham." Also "Photo Mrs Clark Hampton (nee Smart), original Smart's house - Bridge Street, 95 years ago." Also "Right - Mrs Clark's grandmother Mrs J Smart Left - Her daughter Ruby dies soon after photo taken. Brother Alf Smart died about 6 years ago." Inscribed on back of photo "247 Vincent St, Leederville" It is believed that this inscription may be somewhat mixed up.sepp, shire of eltham pioneers photograph collection, eltham, bridge street, alexander wilson smart, bigamy, bush cottage, early settlers, houses, jane bailey (nee matthews), mary jane smart (nee bailey), murder, ruby jane bertha smart, smart family home, smart home

Geographically situated on the coast Warrnambool has large tracts of sedimentary rock, some of which is sandstone. It therefore was a readily available material and as a relatively soft stone it was easily quarried and cut. By the 1880’s Warrnambool had been established for around forty years and was proving to be a settlement of some wealth. Hence the trend to build bigger and grander homes. There are numerous other commercial buildings which are built in sandstone and many of the original quarries are still visible around the Warrnambool area. Most of the properties are situated in the central part of Warrnambool. This collection of photographs is a good cross-section of some of the significant homes and buildings of Warrnambool. It also shows how they look 100 years after being built.A collection of 18 black and white photographs of sandstone houses, mounted on card and tied loosely with string. The addresses of each house are hand-written in black pen beside each photo. Title is written in black pen on cover page.Graeme Blake 1973 in bottom RH corner, Via * Fraser & Chris How in blue pencil.warrnambool, sandstone, sandstone houses, 1880 warrnambool

During the recent refurbishment of our Local History Centre we came across a roll of 35mm colour negatives which at some stage had been exposed to water or similar resulting in the individual strips sticking to each other and the old paper film processing envelope. The situation looked hopeless but one of our members had an idea on how to salvage them; after all, we had nothing to lose. In the end we were able to separate the film strips and remove most of the paper residue except some of the adhesive. The film was scanned and even though suffering from various light issues; fading, possible exposure problems and a yellow shadow cast by the adhesive residue, the detail and historical information they contain has been rescued. These images are all centred around the intersection of Beard Street and Main Road Eltham. The Sun headline is "Poison Dumped in Murray" which has been dated to 20 Jan 1986 1986 'Poison in Murray cuts town water', The Canberra Times (ACT : 1926 - 1995), 20 January, p. 1. , viewed 30 Aug 2017, http://nla.gov.au/nla.news-article122421767A favourite milk bar of the time for local youth as evidenced from comments on the ThrowbackThursday Facebook Page post. Frame 01791-1 shows the auction sign for the land on the southeast corner of Main Road and Beard Street which was developed into a small group of shopsRoll of 35mm colour negative film, 4 stripsKodak CL 200 5093eltham, main road, beard street, eltham east service centre, bp service station

The picture on the front of this book depicts the female as the weaker sex unable to understand or work out numbers.This book may have been used in a Kiewa Valley business or farm.Thin soft covered red, black, fawn, brown book with picture of a female sitting down looking at this book while the male points to the ledger as if to show her how (the book) can be used. The book has a list of numbers - a Discount Table - giving how much a number of items cost at a given price. eg. 10 books at 3/- each = 30/-business, money, accounting

Importance of religion in the Yendon community is evidenced by the two churches. This is the weatherboard building of the catholic church and there was also a brick Anglican Church. Both these buildings were eventually removed when congregations declined as the community declined in the twentieth century.The catholic church was looking a bit delapidated in this photo taken just before it was demolished. Locals recall how the priest had to contend with all the birds nesting in the roof as the church slowly deteriorated.This is the only known photo ( as of 2010) of the Catholic Church in Yendon before it was removed.Enlarged printed copy of scanned Sepia photo of the Catholic Church, a wooden structure with a pitched tin roof, at Yendon just before it was removed.The grass is high and the barbed wire is not strained. The arched church windows have several broken panes of glass.It is a rectangular building with two additional spaces - an entry and a vestry. religion, tin roof, church, yendon, catholic, arched windows, vestry, broken panes of glass, weatherboard churches, pitched roofs, barbed wire

Index, ill, p.224.non-fictionIn this text, Deighton and Hastings look at how the few defended Britain in the Battle of Britain. They depict the reality of the battle and how it was enacted by those who took part, whether in the air, on the ground, in the planning rooms or at home in towns and villages.world war 1939-1945 - battle of britain 1940, world war 1914-1918 - aerial operations - britain

Bibliography, notes, ill, maps, p.245.non-fictionRetrace Australia's role in the First World War from the trenches of Somme Mud to the wider war on the Western Front. Imagine this. You are a country boy and just eighteen. The war has been raging for two years and because of your age, you have not been eligible for enlistment. Your mates, older by a few months are joining up and disappearing to the great adventure across the world in Europe. And there is forever talk of the need for reinforcements, for men like you to join up and support the Empire, Australia and your mates in the line. Such was the case for Edward Francis Lynch, a typical country boy from Perthville, near Bathurst. When war was declared in early August 1914, he was just sixteen and still at school, but like a generation of young males in Australia, there was something to prove and a need to be there. Will Davies, editor of the bestselling Somme Mud, meticulously tracked Lynch and his battalion's travels; their long route marches to flea ridden billets, into the frontline at such places as Messines, Dernancourt, Stormy Trench and Villers Bretonneux, to rest areas behind the lines and finally, on the great push to the final victory after August 1918. In words and pictures Davies fills in the gaps in Private Lynch's story and through the movements of the other battalions of the AIF provides impact and context to their plight and achievements. Looking at these battlefields today, the pilgrims who visit and those who attend to the land we come to understand how the spirit of Australia developed and of our enduring role in world politics.world war 1914-1918 - personal narratives - australia, western front 1914-1918 - australian participation

Index, ill, p.222.non-fictionIn this text, Deighton and Hastings look at how the few defended Britain in the Battle of Britain. They depict the reality of the battle and how it was enacted by those who took part, whether in the air, on the ground, in the planning rooms or at home in towns and villages. world war 1939-1945 - aerial operations, battle of britain - 1940

p.303.non-fictionIn this intensely personal account, Barry Heard draws on his own experiences as a young conscript, along with those of his comrades to look back at life before, during, and after the Vietnam War. The result is a sympathetic vision of a group of young men who were sent off to war completely unprepared for the emotional and psychological impact it would have on them. It is also a vivid and searingly honest portrayal of the author's post-war, slow-motion breakdown, and how he dealt with it.vietnam war 1961-1975 – personal recollections – australia, vietnam war 1961-1975 – australian involvement

Index, bib, ill, p.359.non-fictionAn intriguing look behind the congenial faȧde of Franklin D. Roosevelt and Winston Churchill, this work reveals how each leader jealously guarded knowledge from the other in pursuit of separate national interests. David Stafford's masterly study shows that at the heart of their complicated relationship - which was always dynamic - was an extraordinary fascination with clandestine operations. On this foundation Roosevelt and Churchill constructed a fighting alliance unlike any other in history. world war 1939-1945 - diplomatic history, great britain - diplomatic history, united states - diplomatic history

The Royal Commission into Institutional Responses to Child Sexual Abuse is investigating how institutions like schools, churches, sports clubs and government organisations have responded to allegations and instances of child sexual abuse. It is the job of the Royal Commission to uncover where systems have failed to protect children so it can make recommendations on how to improve laws, policies and practices. The Royal Commission is about creating a safer future for children. It can look at any private, public or non-government organisation that is, or was in the past, involved with children. This includes where an organisation caring for a child is responsible for the abuse or for not responding appropriately, regardless of where or when the abuse took place.(http://www.childabuseroyalcommission.gov.au/about-us, accessed 30/05/2015)A number of colour photographs that show chalk grafitti drawn onto the steps and paving outside the Ballarat Law Courts during the May 2015 sitting of the Royal Commission into Institutional Responses to Child Sexual Abuse.ballarat, ballarat law courts, royal commission into institutional responses to child sexual abuse, graffiti

This 1870 print displays the original design of The Alfred Hospital by Charles Webb. This design was designed in 'accordance with the principles laid down by Florence Nightingale to maximise ventilation and so minimise infection' (Victorian Heritage Database). The Alfred Hospital was founded in 1869 as a result of the work of various Melbourne doctors who fought a long and internecine battle for an additional general hospital. The Alfred Hospital treated their first patient in 1871. Prahran Council donated a parcel of low-lying land for the provision of a hospital. In 1870, the Melbourne architect, Charles Webb, won the competition to design The Alfred Hospital with his revolutionary design. Webb incorporated the "Nightingale" design - principles by designing large light filled pavilions as wards connected by covered corridors or walkways." (Alfred Health)This print includes small colour print mounted on a wood block. The print depicts a series of five red brick buildings at centre, with a dirt road snaking up from the left foreground to the front of the central building. A man is driving a two-horse buggy along the dirt road towards the buildings. The landscape on either side of the road consists of grassland and low vegetation, as well as four shallow circular pits (two on either side) which contain vegetation. There are two figures in the right foreground cutting grass with scythes. A flock of birds is visible in the sky in the central background, above the main hospital building. There is text printed below the image which reads 'THE ORIGINAL DESIGN OF THE ALFRED HOSPITAL/By C.Webb, Arckitect (sic)'. The back of the wooden block to which the print is affixes is painted black, and a circular hook has been attached to the centre back of the block for hanging of the artwork. The hook is gold coloured and attached using two gold-coloured pins and a small strap. There is handwriting at bottom right of the back of the object reads 'ANN TAVELL'.There is text printed below the image which reads 'THE ORIGINAL DESIGN OF THE ALFRED HOSPITAL/By C.Webb, Arckitect (sic)'. There is handwriting at bottom right of the back of the object reads 'ANN TAVELL'.