[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographactivities, bridge street, eltham, heritage excursion, main road

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographactivities, heritage excursion, main road, burgoyne store, milk bar, shops

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographactivities, heritage excursion, main road, eltham, john street, cba bank

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographactivities, heritage excursion, main road, eltham, john street, uniting church

L-R: Phyllis McDonald, Dolly Smith, Russell Yeoman, Joyce McMahon, Opal Smith, Brian Smith, Lu Robertson, Jack Shallard [from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, main road, eltham, 150th anniversary monument, 20th anniversary, activities, eltham community centre, pitt street, plaques, time capsule

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, eltham community centre

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, main road, eltham hotel

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, main road, police residence

L-R: Doug Orford, Russell Yeoman [from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, doug orford, russell yeoman, eltham courthouse

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, eltham courthouse, opal smith, sue law

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, eltham, jarrold cottage, main road

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographheritage excursion, activities, montsalvat

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographeltham rsl sub-branch, main road

[from EDHS Newsletter No. 65, March, 1989:] ELTHAM HERITAGE WALK The Society's contribution to Heritage Week this year will be a guided walk around Eltham featuring a number of buildings and locations of historical and environmental interest. Three dates are listed as official Heritage Week events, Sundays 16th and 23rd April and Saturday 22nd. In addition, there will be a walk on Saturday 15th for Society Members. All walks will start at 1:00 p.m. in Panther Place near Shillinglaw Cottage. Each will take about four hours and the distance is about 5km. Old photos of locations visited will be available for viewing.Colour photographjohn street, main road, uniting church

[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

The Andrew Ross Museum organised Kangaroo Ground’s 1851 – 1996 Furphy week-end which was held Friday May 17th to Sunday 19th May 1996. In commemoration of the district's links with the Furphy family, a plaque was unveiled at the front entry of the Andrew Ross Museum by Roger Furphy of the Furphy Foundary, Shepparton. The event was preceded by an address by author, Dr John Barnes of La Trobe University, the country’s leading authority on the novelist, Joseph Furphy. The date was seen as significant since it marked the 145th anniversary of the death of Judith, the young sister of John and Joseph Furphy, who died soon after commencing school in Kangaroo Ground 1851. Andrew Ross chronicled the event in his reminiscences. The most distinctive product to carry the Furphy brand would certainly be the water cart. The presence of the cart in military camps in Australia and overseas during the First World War led to the name of Furphy becoming an indelible part of our language and idiom. It was used extensively in Europe and the Middle East to carry water to the troops and the drivers of the carts were notorious sources of information and gossip for the men as they moved from camp to camp. As could be expected, not all their news was reliable and so it was that the word Furphy rapidly became a synonym for suspect information or rumour. Source: Kangaroo Ground Chronicle, Vol 1 No 2 Autumn 1996 Note the Shire of Eltham Historical Society Community Banner on display.Five colour photographsandrew ross museum, furphy festival, kangaroo ground

The Andrew Ross Museum organised Kangaroo Ground’s 1851 – 1996 Furphy week-end which wass held Friday May 17th to Sunday 19th May 1996. In commemoration of the district's links with the Furphy family, a plaque was unveiled at the front entry of the Andrew Ross Museum by Roger Furphy of the Furphy Foundary, Shepparton.Colour photographandrew ross museum, furphy festival, kangaroo ground

This was the first house on Pryor Street which was located at the corner of what is now Commercial Place on the eastern side. Originally there was another house adjacent but it had been moved by the time of the 1951 aerial survey. The house was also the first home of Russell Yeoman who had been newly appointed to the Shire of Eltham and this house belonging to the council was vacant and made available to him for four weeks before it was relocated to Susan Street just south of the bowls club and was used a child care centre associated with the Living and Learning Centre (Russell believes). Russell then moved into another council owned house at the corner of Susan and Bridge Streets.Digital file only; created from original colour positive slide transparencyeltham, streets, houses, pryor street, susan street, fe holden sedan, russell yeoman collection

This was the first house on Pryor Street which was located at the corner of what is now Commercial Place on the eastern side. Originally there was another house adjacent but it had been moved by the time of the 1951 aerial survey. The house was also the first home of Russell Yeoman who had been newly appointed to the Shire of Eltham and this house belonging to the council was vacant and made available to him for four weeks before it was relocated to Susan Street just south of the bowls club and was used a child care centre associated with the Living and Learning Centre (Russell believes). Russell then moved into another council owned house at the corner of Susan and Bridge Streets.Digital file only; created from original colour positive slide transparencyeltham, streets, houses, pryor street, susan street, russell yeoman collection, fc holden sedan

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, garnet burges, mary ryan, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

The Andrew Ross Museum was offically opened on 27th March 1993 as part of heritage week. A book launch of "Reminscences of Andrew Ross" was also launched. A set of photographs taken illustrate the displays in place at the time.Colour photographactivities, andrew ross museum, heritage week

Chris Pittard is a painter who has been working with clay for over 15 years. Pittard studied Fine Arts at RMIT and VCA and has exhibited paintings for a number of years. Pittard divides his time between teaching, drawing and painting and working in the ceramics studio where he creates distinctive pieces. Chris Pittard's ceramic pieces translate the narrative to the vessel. His vessels speak to us about our place and even his personal stories become more universal expressions.In early 2005 there was a flood which raged through the creeks cutting through the Shire of Nillumbik (Eltham). Not usually affected by catastrophe, these surging waters destroyed bridges and threatened roads. When the water subsided along the banks of the creek, trees had fallen, flotsam and jetsam piled up and even weeks later the long grass flattened by the flood continued to map the raging waters flow. The combination of slightly threatening and destructive forces and eerie beauty interested me. This at a time when world events of a far more horrific and tragic nature where presented to us by strangely beautiful coloured photos in our daily papers. These connections may not be obvious but it was certainly something I was thinking about while making this ceramic piece.flood, chris pittard, eltham, nillumbik