Henry Dendy (1800-1881) was an early settler of Eltham where he operated a flour mill. He donated land for the construction of St Margaret's Anglican Church. EDHS Newsletter No. 168 May 2006 Dendy is best known as the founder of Brighton, but it is not so well known that years later he lived at Eltham for far longer than he lived at Brighton. In 1840 while still in England he bought eight square miles of unspecified land in the Port Phillip District. This entitled him to bring a number of other persons to the colony and in 1841 he arrived at Williamstown in the "York" with his family and 139 others. He took up his land entitlement at what is now Brighton and most of the emigrants settled there. He encountered financial problems and lost his interest in the estate in 1844. He left Brighton in 1847. He successively but not always successfully became a brewer at Geelong, a sheep farmer at Christmas Hills and Upper Moira, a flour miller at Eltham; a sheep farmer again at Werribee and finally a copper miner at Walhalla. Dendy came to Eltham in 1856 after having spent a year in England. The total of the two parcels of land that he bought was about 5 acres (2 hectares) and it included the steam flour mill. . He became prominent in local affairs, serving for a time on the Eltham District Road Board, including one year as President. Dendy' s wife Sarah died at Eltham in 1860 and also in that year he was appointed chairman of a committee to establish a Church of England in Eltham. He donated one of his Pitt Street lots for this purpose and St Margaret's was opened in 1861. In 1867 Dendy sold his mill to W. F. Ford and moved to Werribee and then Walhalla where he remained until his death. He is buried in the Walhalla cemetery. No sign of Dendy's house or mill remain on the Community Centre site but some of the old trees running along the former boundary through the centre of the site could well have been planted in Dendy' s time. Much of this information was obtained from the book ''Henry Dendy and his Emigrants" by L.A. Schumer (Sallas Books 1975). The Society has an extensive file of Dendy information, much of it provided by the late Leslie Schumer. Manilla folder of information. Includes Folder 88 from Harry Gilham Collection which includes EDHS tour notes of St Margaret's Anglican Church, Eltham, 2012, copy of newspaper article, Diamond Valley News, December 15, 1981, copy of newspaper article, The Advertiser, September 2, 1932, photocopy of photograph of graves at Walhalla Cemetery and Warringal Cemetery, photocopies, 6 pages from an unsourced book. henry dendy, st margaret's anglican church, catholic section, eltham cemetery, harry gilham collection, sarah dendy, walhalla cemetery

Glass manufacturing has evolved over thousands of years. Glass making has been traced back to 3500 BC in Mesopotamia. The earliest known glass objects were beads, perhaps made by accident while working with metal. In the late Bronze Age, several civilizations discovered how to make vessels and glass bottles by wrapping threads of melted glass around cores of sand or clay. Later, moulds were used to form dishes and table wares. Around the 1st century BC, glassblowing was discovered. This made glass containers less expensive than pottery. Mould-blown glass, the process of blowing a piece of molten glass into a wooden or metal mould, was invented during the 1st century AD. This technique was faster with more consistent results. It paved the way for mass production. It wasn’t until the late 1800s that the production process to become more efficient. In 1887, a company in England created a semi-automatic process that could produce up to 200 bottles an hour. This process has been refined to the point where modern machines can yield more than 600 containers per minute. Blown vs. Manufactured Glass Bottles Nowadays, glass bottles, jars, and cups are usually manufactured on a bigger scale than is found in individual glassblowing studios. If we still depended on hand-blown glass for all of our glass containers, we would see some major differences in the process of creating bottles and jars. First, there's the time. Hand blowing glass takes a significant amount of time, even for one simple container. In contrast, hundreds of jars per minute can be made using modern technology. This leads to the second advantage: price. Because of the automated and streamlined process, the price for manufactured containers is much lower than that of hand-blown glass. Third, manufactured bottles will be much more consistently uniform than bottles blown by hand. Automated glass manufacturing produces nearly identical batches of jars. Glass blowing is awesome for unique, beautiful pieces of art. But for lots of lower priced and uniformly shaped containers, automatic manufacturing is the preferred method to create glass bottles and jars. https://www.containerandpackaging.com/resources/glass-bottles-brief-history The invention and development of glass for domestic items including bottles, has been nothing short of revolutionary. The use of glass bottles, that could be easily washed, led to improved hygiene, and mass manufacturing of drinks of all types, including milk, cordial and alcoholic beverages.Green Glass Bottle Possibly a ginger beer bottle.Concave indentation at the base. Also on base are two raised lumps. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

An article in the Melbourne Age (2 March 1978, p. 25) recorded the retirement of Clare Ralph of Goullet of Melbourne (active 1953-78). "One of Australia's most talented milliners, Clare Ralph, of Goullet, is selling her business because she wants to spend more time in her garden. "I have been in the business for 25 years and last week I turned 60 and so I thought now is the time," Mrs. Ralph said at her Richmond shop yesterday. ... Mrs. Ralph is selling cheaply $10,000 for the label, which also covers sportswear, and tenancy and lease of the premises which have a showroom and workroom. ... Mrs. Ralph is as unpretentious as the relaxed Goullet styling which brought the new concept of millinery to Australia non-hatty hats with none of the "Melbourne Mum" quality so rife at the time. She said she started off making hats rather than dressmaking because she couldn't afford to buy the three yards of material necessary for a dress. "I wanted to get out of the house and so I did millinery night classes at Caulfield Tech." Her first efforts were sun-hats of natural straw which Mrs. Ralph trimmed extravagantly … "gold fishnet and braiding and sparkly jewels all over the crown. "They were ridiculous but a lot of fun," she said. She carted them by train to the city and nervously showed them to a store buyer. After the meeting, she couldn't face taking the samples home again on the train and left them. Before she could collect them, to everyone's amazement particularly Clare Ralph's, they had been sold. "The next thing was people were asking me what I was going to do for winter. I hadn't thought I was in the industry. I just thought I had sold a couple of sun hats and that was marvellous because I needed the money," she said. If the new buyer is interested, Clare Ralph will continue designing hats on a consultancy basis for them, which would be great for all the fans she has collected since those crazy sun-hat days.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Wide brimmed woman’s hat designed by Clare Ralph of Goullet of Melbourne, constructed of white stiffened fabric with a white fabric cord surrounding the crown of the hat.Label: Designed by Goullet of Melbournegoullet of melbourne, clare ralph -- milliner, women's clothing -- hats, headwear

An article in the Melbourne Age (2 March 1978, p. 25) recorded the retirement of Clare Ralph of Goullet of Melbourne (active 1953-78). "One of Australia's most talented milliners, Clare Ralph, of Goullet, is selling her business because she wants to spend more time in her garden. "I have been in the business for 25 years and last week I turned 60 and so I thought now is the time," Mrs. Ralph said at her Richmond shop yesterday. ... Mrs. Ralph is selling cheaply $10,000 for the label, which also covers sportswear, and tenancy and lease of the premises which have a showroom and workroom. ... Mrs. Ralph is as unpretentious as the relaxed Goullet styling which brought the new concept of millinery to Australia non-hatty hats with none of the "Melbourne Mum" quality so rife at the time. She said she started off making hats rather than dressmaking because she couldn't afford to buy the three yards of material necessary for a dress. "I wanted to get out of the house and so I did millinery night classes at Caulfield Tech." Her first efforts were sun-hats of natural straw which Mrs. Ralph trimmed extravagantly … "gold fishnet and braiding and sparkly jewels all over the crown. "They were ridiculous but a lot of fun," she said. She carted them by train to the city and nervously showed them to a store buyer. After the meeting, she couldn't face taking the samples home again on the train and left them. Before she could collect them, to everyone's amazement particularly Clare Ralph's, they had been sold. "The next thing was people were asking me what I was going to do for winter. I hadn't thought I was in the industry. I just thought I had sold a couple of sun hats and that was marvellous because I needed the money," she said. If the new buyer is interested, Clare Ralph will continue designing hats on a consultancy basis for them, which would be great for all the fans she has collected since those crazy sun-hat days.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Finely woven straw woman’s hat designed by Clare Ralph for her millinery label Goullet [Melbourne]. The hat features a cream ribbon around the base of the crown. Label: Goulletclare ralph -- goullet -- melbourne (vic.), milliners -- clare ralph, headwear, women's clothing -- hats

Bennie Simcox first came to the Monbulk area about 1860, following the first important gold discovery at the end of 1858. As the gold rush was short lived Simcox returned to Collingwood but later came back to Monbulk, built himself a hut to live in and become its first known permanent resident. The hut was burnt in the 1913 fires. Monbulk was thrown open to selection in 1894, and that's when the first farmers including Bennie Simcox went into Monbulk. It was a big, timbered country in those days. Once Ben had cleared some of his land he started to grow raspberries on it. He would be up before daylight ready to start picking. Ben also picked for a local family, the Camms to help make ends meet. When Ben Simcox was virtually at the retired stage, he wanted to develop his bit of the gully as a tourist attraction, As his nephew Fred Gay who owned the 10 acres below Ben wanted to farm, he was happy to swap his treed block with Ben. At a time when most settlers were clearing their properties, Ben Simcox, by contrast, cultivated the native plants and planted most of the large trees seen on the property today. And so Nathania Springs was developed as a tourist resort, and a mini-botanical garden. He diverted the natural water supply to form ornamental garden pools stocked with trout and tame native black fish. There were many visitors came to the Dandenongs, Some arriving in motor cars others in converted furniture vans lined with seats or charabancs with the long extended chassis and the open canvas roofs. Identities such as Billy Hughes, Madame Melba would often come to look through Nathania Springs. Bennie sold Nathania Springs to Councillor Ferdinand Thomas Le Juge, a boarding house proprietor and later the town baker in 1909 then in about 1921 Ben’s nephew Fred and his wife and family continued to open Nathania Springs to the public. It was not unusual in around 1924-25 for up to a thousand people a day to arrive at Nathania Springs to go through the gardens. At sixpence a time, that was a lot of money in those days. This photo is part of a collection of historic and social significance of the early settlement of Monbulk. Copies of photographs can be purchased from the Monbulk Historical Society.simcox, nathania springs, monbulk, 1860, berries

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

As quoted from Wikipedia, ‘An anvil is a block with a hard surface on which another object is, struck. The block is as massive as it is practical, because the higher the inertia of the anvil, the more efficiently it causes the energy of the striking tool to be transferred to the work piece’. The lightstation’s anvil is a red-painted iron block with a conical beak or horn at one end that was used for hammering curved pieces of metal. It would have stood on a heavy free-standing pedestal, such as a large tree stump, to allow complete access to the item being hammered. Some anvils display the manufacturer’s name in the metal on the side, but this is not the case here, and its age, although unknown appears to be quite old, perhaps c.1900. It appears to have had a lot of use, and although no record of this survives, it is presumed that a forge operated on site for hammering, cutting, shaping and repairing tools such as bolts, nails, hooks, chain segments, pulley blocks, hinges, crow bars, picks, chisels, horseshoes and harness hardware. A hames hook (which forms part of the collar worn by a draught horse) survives at the lightstation as do many other heavy metal tools and pieces of equipment. The anvil is an example of the necessary resourcefulness and self sufficiency practiced by lightkeepers working and living in a remotely located workplace and home, and many of the iron items in the collection may have been repaired or even made on its working surface. As a lightstation manager Chris Richter used the anvil to manufacture pulley blocks for sash windows, repair brass door hinges & sharpen cold chisels, crowbars and picks and other lightkeepers have used this anvil for many fabricating jobs such as manufacturing ducting for the generator room ventilation system."The lightship only came in every three months with supplies and there would have been repairs to do between visits from a blacksmith - who would have had to travel on the ship. Also, the ship was only anchored in the bay long enough to unload supplies and collect and deliver lightkeeping staff – probably not enough time to get much smithy work done – especially if the weather packed it in and the ship had to depart. Lightkeepers in our time had to be self sufficient, resourceful and innovative and I imagine that would have been the case in the past." It has second level contributory significance.Red painted blacksmith's anvil.

Mary nee Barrie Robinson (1907 –1999) writes c1980 about her father Charles Ernest Barrie of Darlingsford Melton (1871 – 1931) Extract copied from her handwritten story - My father was born in Ballarat in 1871. … commenced his working life with a team of bullocks and a chaffcutter in the St Arnaud district, a work the he became most success at and would continue in to the end of his life. He eventually became the owner of a chaff mill at Melton station with an access line to the railway. [1900] The Schutt & Barrie partnership Dad later became involved in a Chaff mill at West Footscray run by John Ralph Schutt who when he met Dad was a very sick man and had begged Dad to come into the business and help him. That began a very happy association, the business was put on its feet. An empty quarry across Geelong Road opposite the mill was purchased, the chaffcutters were set up in the quarry and that was the start of a very busy and prosperous period. A branch line was run into the mill. Dad spent some afternoons at the mill going by train, and spending some hours there at night, at the same time running the farm with full time help. Two full 8 horse teams were used to work the land, which meant early rising for the horses to be fed and harnessed ready for the men to commence the days work. Charlie Lowe and Murdock Davey were two of the men who worked for Dad in those years. The firm purchased a mill at Parwan and Dad spent a lot of time and energy getting it running to their satisfaction. Monday was the day he spent time there also round the district of Parwan and Balliang. He came to know many of the their names were well known in our household for many years. [1920] Later a flour mill was built beside the Chaff mill at West Footscray but it never thrived like the mill. The chaff mill had many loyal and good men employed there and there was never any trouble between men and management. Willie Walters and Miss Renyolds were some I remember, other names me, Joyce would be able to name them. [Sister of Mary born 1920] Schutt and Barrie Pty Ltd Chaff Cutting Mills Melton South sitelocal architecture, local identities, agriculture

This journal provides the reader with glimpses of the adventures and hardships of a seaman's life. Many of the stories are of sailing ships.Contributes to our knowledge of the importance of shipping and places on record those stories of the sea which would otherwise be lost.Contents Editorial - - 4 Australia -- 200 years - J. Myers - 7 A Very Short Passage - Lloyd Holmes - 14 Trinity House -- And its Working Yesterday, Today and Perhaps Tomorrow - G.M. Naug - 23 Scratching Won't Help - Ron Thiele - 29 The Voyage of Stracathro from Plymouth to Brisbane, 1882 - (Courtesy of Peter Browne) - 36 Visit of H.M.A. Neptune to Kiel - - 51 Lloyd's Register of Shipping - E.J. Fletcher B.Sc.MIE Aust. 53 Maritime Memories 1937 - Late Lartley R. Watson - 59 "Buckos" Were a Sorry Lot - W.P. Shemmeld - 61 The Sage of the Patria - Captain F. Serafini - 65 The Voyage of the Cornish Lugger Mystery - Mr. J. Mills - 68 We Came in a Freighter - Late Mrs. C.E. Bonwick - 73 I Wrote to you from the Titanic - G. Hogben - 75 Strathdon Apprenticeship - Late Captain C.D. Matheson R.D.RNR - 79 The Marine Society London - Lt. Cdr. R.M. Frampton, RN MNI FRSA - 85 Cruise of the Valkyrie - F. Wavell Urry - 93 Rotomahana - George Hogben - 103 Disturbing the Low Forms of Life - K. Shewan - 108 Book Reviews - - 110sailing ships, steamships, shipping, seafaring life, shiplovers' society of victoria, dog watch

Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people., Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people.Movie film - 8mm, approx. 4.15mins, with green leader strip on a plastic reel, within a Kodachrome II colour movie cardboard box and addressed to B.J. Parle, Chatswood. Titled "Ballarat 1962" Has been transferred to DVD - see Reg item 4100 as Segment No. 3. Filmed and made by Ben Parle. Also transferred to DVD by Rod Cook Oct. 2015, via Roger Greenwood for use in his DVD, "The City of Ballarat Trams, Gardens & Gold" of 2016. See Reg Item 6883. Synopsis: based on time - Colour film Title "Ballarat 1962" 0:00 21 in Sturt St arriving City Centre tram stop from the west. 0:12 41 and another bogie car at City Centre tram stop, North side of Sturt St loading passengers 0:21 39 crosses Sturt St from Lydiard St Nth and pulls up at the tram stop in Sturt St. 0:55 39 leaves City centre and travels west along Sturt St – two sequences. 1:11 View from front of a single trucker, leaving Carlton St loop after crossing a bogie car and travelling along Wendouree Parade towards Gardens Loop 2:09 No. 20 in Gardens Loop and pan across to the Gardens Statuary pavilion with lots of flowers. 2:41 No. 20 leaving Gardens loop and heading north in Wendouree Parade. 2:54 Bogie tram in Wendouree Parade between depot and Gardens loop, southbound. 3:12 No. 32 leaving Victoria St terminus, with orphanage in the background, in bound, has a Trotting tonight sign on front of tram, and crossing the Eureka line rail bridge. 3:23 No. 20 in Bridge St, out bound, near Stones Corner 3:42 38 in bound from Mt Pleasant at Stones Corner, stops, lets of passengers and then proceeds along Bridge St into the City 4:15 endWritten labels giving title information on outside of box.trams, tramways, ballarat, wendouree parade, sturt st, victoria st, bridge st, tram 21, tram 41, tram 39, tram 20, tram 32, tram 38

Various family scenes taken from outside the family home on the southeast corner of the intersection of Nyora Road and Pitt Street with Eucalyptus Road. Also, scenes of the Stokes Orchard and equipment used, construction of water reservoir at the end of Nyora Road near Reynolds Road and Diosma Road as well as early stages of the Stokes Orchard housing development. Frank Stokes worked as a qualified accountant at Kennons leather factory in Burnley, while living at 1 Thomas Street, Mitcham. He suffered from migraines and wanted to go back to the land (he had previously worked on farms and orchards since coming to Australia in 1926 both in WA and Vic.). He first travelled to the district by train in July 1942 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, 158 acres- Taylor Estate- £900, part of Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. He applied through the Riverina Agency to purchase the land who in turn had to get permission from Canberra to sell as there was a new government regulation banning land sales except for immediate production. He obtained a loan on his Mitcham house of £600 @ 5% and paid £450 deposit with quarterly payments of £15 over 5 years. The title to the property was issued May 15, 1946. He was helped and advised by Arthur Bird who farmed the neighbouring orchard. Early 1943 he took possession and would catch the train out to Eltham on Fridays after work and began building a hut for shelter and to lock up tools. He was able to pay a neighbour (Hawkins) to help with clearing and fencing 25 acres and with a horse and single furrowed plow, planted approximately 2,500 fruit trees - cherries, peaches, plums, almonds, pears, apricots and lemons as well as a few apples and oranges; a massive job. A huge problem was hares and rabbits eating all the new buds off the tiny trees. As well as laying poison he painted the trees with a mixture of cow manure and lime. Often working by moonlight. It was extremely difficult to get wire and wire netting because of the war but after much effort he obtained a permit from the Agricultural Department for supplies in March 1944. In February 1945 he applied for a permit to build a “packing shed” as no house building allowed. It was to be 33 feet x 21 feet and cost £312. Constructed mostly from second-hand materials, which was hard to obtain, especially iron for roofing. Frank finished work at Kennons October 31, 1945, and in March 1946 he sold the Mitcham house for £1230 plus £170 for furniture. The family of five then moved into a very unfinished at Eltham, which was a struggle to weatherproof. Eventually rooms were divided off and lined with hessian bags and whitewashed. Their income was firewood (cut and sold), selling rockery stones and cut sweet bursaria. (It was discovered during the 1940s that Bursaria contained the sunscreen compound Aesculin. The RAAF utilised this compound from Bursaria during WW2 for pilots and gunners.) The orchard’s first fruit sale was a 1/2 case of Le Vanq peaches in December 1947 - 8 shillings. In 1956 plans for house were drawn and Glen Iris bricks purchased (1956 Olympic Rings variant). The building of the house commenced in 1957 - 12 feet of original packing shed removed – and was completed in 1959. Water was connected from newly built pressure storage on the property at the end of 1959 and the electricity connection for the first time at 3pm on April 29, 1960. In the mid-1970s the Shire of Eltham divided the orchard up into numerous rate-able parcel lots, which became unaffordable for Frank. Consequently, Stokes Orchard was turned into a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate in two stages; Stage 1 encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads c.1976 and Stage 2 encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads c.1979. The development of Orchard Way, The Crest and The Lookout did not proceed as planned due to the lack of the sewer along Diosma Road and so many of the proposed lots were incorporated into five-acre parcels instead. With the arrival of the sewer along Diosma Road many years later, most of these five-acre parcels have since been subdivided many times.Representative of the orchard growing areas of ElthamMP4 00:24:39; 426MB Digital file only - Digitised by EDHS from a DVD copy on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes. 24 min duration compilation of home movie Super 8mm film shot by Frank Stokes brother-in-law.beryl bradbury (nee stokes) collection, frank stokes, nyora road, stokes orchard, stokes orchard estate, stokes place, video recording

The White Winged Triller is a small member of the Campephagidae family. They can be found all over the Australian mainland, but there have also been sightings in Tasmania, Papua New Guinea and Indonesia. Their breeding season is from September to December, when they migrate to southern Australia for the warmer months. The males can be very noisy during this time, when they 'trill' all day, granting them their name. Throughout the winter they can be found in northern Australia. This species can be found in open areas with shrub and lots of ground cover, in woodlands, forests, scrub and waterways. The males and females are noticeably different, particularly when breeding. Breeding males are the most conspicuous, with black on their heads, bodies and wing coverts, with a white body, lower face and lower wings. Females are brown, with a light body, a faint brow and a dark line through their eyes. When not in the breeding season, males are similar to females, though they have a greyer rump. These birds have a netted pattern on their wings. When in flight they undulate, and when they land they often shuffle and re-fold their wings. This species predominantly forage for insects on the ground or tree foliage, but also 'hawks' insects from higher perches. They build nests on horizontal branches or forks, and can be found sometimes using empty nests of other birds. Many of these birds can be found nesting in the same tree as a colony, and both parents incubate and brood their two to three nestlings. This specimen is a male White Winger Triller, which is apparent from his black and white colouring. While missing some plumage, the distinction between black wings, tail, cap and wing covert are still clear against his white body and under-wings. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male White Winged Triller has a black cap on its head. It has black wings with black wing coverts, and a black tail. It has a white lower face and body, a white shoulder bar and white under-wings. This specimen stands upon a wooden post, attached to a wooden post and has an identification tag tied around its leg. Swing-tag: 22a / White shouldered Campephagidae/ See catalogue, page 11. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, triller, white winged triller, campephagidae, australian birds

EDENDALE FARM Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living.edendale community farm, eltham, gastons homestead, gastons road, shire of nillumbik, video recording

This AC generator operated for the State Electricity Commission in the Ballarat North Power Station prior to World War Two. James Oddie of Ballarat has an association with Thomas Parker of Elswell-Parker. In early 1887 Oddie arrived in England seeking information on electrical knowledge and its developments. At this time Henry Sutton was teaching Electricity and Magnetism at the Ballarat School of Mines. Oddie stayed in the United Kingdom for around three years and during that time became a close friend of Thomas Parker and his family. The two first met at the first official running of the Blackpool tram, and Oddie was invited to visit Parker at Wolverhampton. Over the years Thomas Parker kept newspaper cuttings (mainly Australian) relating to James Oddie and his work. The following article is a description of the Wolverhampton works by James Oddie, and was collected by Thomas Parker. After the dinner at Blackpool, Mr. Parker visited me, and cordially invited me to see his extensive works at Wolverhampton, an invitation I was not slow to avail myself of. This was the keynote of the best friendship I made in England. I went shortly afterwards and stayed several days, visiting the works daily, as Mr. Parker gave me the run of the whole works. There I ordered the installation of a 60 light dynamo, with a 28 cell storage battery and paraphernalia, now doing duty at the Observatory. I subsequently visited the works frequently, sometimes for a week at a time, and I regard it as the brightest spot in my English constellation. Mr. Parker started his works in 1880, with one man beside himself. He never had a single day’s instruction in electricity in his life; now he daily instructs between 300 and 400 employees, who worship him as a father. He is said to be now the most practical electrical engineer and mechanist in Europe. During one of my visits I took with me an artist, who is painting for me a portrait, 6 feet by 5 feet, of Mr. Parker, surrounded by dynamos, secondary batteries, measuring instruments etc. Electric tram cars are going to be a big thing in England. Parker’s Company Limited, is now, with three other companies, in the hands of the Electric Construction Company, with Mr. Parker as manager of the lot. The whole of the works will be taken to Wolverhampton. Before I left, a tender for £50,000 was accepted for the construction of new works.AC Generator painted read and black on a stand. This AC generator operated for the State Electricity Commission in the Ballarat North Power Station prior to World War Twogenerator, ac generator, elwell-parker ltd, state electricity commission, sec, ballarat north power station, james oddie, wolverhampton

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

SUMMARY - Schutt & Barrie Chaff Mills Partnership West Footscray, Parwan and Diggers Rest. Mary nee Barrie Robinson (1907 –1999) writes c1980 about her father Charles Ernest Barrie of Darlingsford Melton (1871 – 1931) Extract copied from her handwritten story - My father was born in Ballarat in 1871. … commenced his working life with a team of bullocks and a chaffcutter in the St Arnaud district, a work the he became most success at and would continue in to the end of his life. He eventually became the owner of a chaff mill at Melton station with an access line to the railway. [1900] The Schutt & Barrie partnership ….Dad later became involved in a Chaff mill at West Footscray run by John Ralph Schutt who when he met Dad was a very sick man and had begged Dad to come into the business and help him. That began a very happy association, the business was put on its feet. An empty quarry across Geelong Road opposite the mill was purchased, the chaffcutters were set up in the quarry and that was the start of a very busy and prosperous period. A branch line was run into the mill. Dad spent some afternoons at the mill going by train, and spending some hours there at night, at the same time running the farm with full time help. Two full 8 horse teams were used to work the land, which meant early rising for the horses to be fed and harnessed ready for the men to commence the days work. Charlie Lowe and Murdock Davey were two of the men who worked for Dad in those years. The firm purchased a mill at Parwan and Dad spent a lot of time and energy getting it running to their satisfaction. Monday was the day he spent time there also round the district of Parwan and Balliang. He came to know many of the their names were well known in our household for many years. [1920] Later a flour mill was built beside the Chaff mill at West Footscray but it never thrived like the mill. The chaff mill had many loyal and good men employed there and there was never any trouble between men and management. Willie Walters and Miss Renyolds were some I remember, other names me, Joyce would be able to name them. [Sister of Mary born 1920] Sample envelope from the businesslocal identities

Alice Laidlaw Victorian Harness Racing Hall of Fame 2019 Alice McCulloch was born in 1894 at Deniliquin, NSW, and grew up on a huge 56,000 acre property at Navarre, “North Woodlands”, where she learnt to ride at a young age. She soon learnt to jump and would jump the farm fences and only went through gates if she was shifting stock. In 1915 Alice travelled to Egypt as a Red Cross volunteer to nurse soldiers injured in the Gallipoli campaign. The young Alice met and married Adam Alexander (Sandy) Laidlaw of Hamilton and lived at “The Hill: in Ararat. Their son Colin, a successful Ararat trainer /driver, was born on 31st March 1923. One of Australia’s most respected and accomplished female riders, Alice excelled at educating, training, riding, driving, hunting and jumping. Alice rode in the Melbourne, Sydney, Brisbane, Adelaide and Tasmania Royal Shows as well as almost every country show in between. She would win the Champion Hack with a horse and then turn around and win the High Jump with the very same horse. Her horse Look Out held the Australian record for a high jump of 7 ft 10 ¼ in at Tenterfield, NSW. She also rode in England. Alice also trained and rode/drove trotters, ridden or in a sulky. She competed and won against the men. In 1929 she won several races with Bazil Bells at country tracks, but authorities refused to grant women licences to drive at the metropolitan track at Richmond so she had to engage men drivers. She won rces against the men at Stawell and Ballarat tracks. Among harness horses that she owned, trained and rode or drove were Mountain Derby, Dane Grey, Wonga Grattan, Plain Grattan, Miss Keewong, and Wong Derby the dam of the Ararat and Mildura Cup winner and later sire, Efficiency. She also trained gallopers, and rode them in races against the men, with a lot of success. Her father owned the 1917 Caulfield Cup winner Lieutenant Bill. Alice Laidlaw died of a heart attack in Ararat in 1947 several weeks after an accident with one of her horses at the Korumburra Show. Her 54 horses were then sold. After she died, the Alice Laidlaw Memorial Trophy for lady riders over 18 at the Royal Melbourne Show was commenced in her honour. This continues.Black and yellow vertical stripes, red sleeves

Seven-page brochure advertising Mortgagees' Realising Sale by Public Auction on Wednesday, 28th November, 1934 for properties at Box Hill, Ringwood, Wonga Park, and Clarinda (via Oakleigh), including photographs, property descriptions, and terms of sale.Auction Commencing at 2.15 p.m. in the Orient Line Auction Rooms, 352 Collins Street, Melbourne. Solicitors: Messrs. Madden, Butler, Elder & Graham, 406 Collins Street, Melbourne. (Agents) H.P. Knight & Co. Property Salesmen and Subidivisional Experts, 315 Collins Street, Melbourne, 'Phones: Central 10615, 10616. Attractive Residential, Orchard, and Market Garden Properties, and Public Hall and School Rooms. 1. Wonga Park via Ringwood - "Holme Bush" off Warrandyte Road, Part of Lots 14 and 15, Ringwood Orchard Estate, approximatgely three miles (north) of Ringwood Railway Station - 64 Acres. 2. 17 Bishop Street, Box Hill - timber residence. 3. Greenwood Avenue, Ringwood - On East Side, 150 feet 3 inches South of Bedford Road - timber attic residence. 4. Ringwood - Wantirna Road, South-east corner of Canterbury Road - Orchard Property of approx. 11-1/2 Acres. 5. Box Hill - Whitehorse Road, South-east corner of Linsley Street - Timber building utilised as a Public Hall and Private School. 6. Clarinda vic Oakleigh, Talbot Crescent, off Centre Road - Home on 10 acres of land.

View of the settlement of Harmony Vale taken in 1913 with the guest house Kia Ora, built by George Barber in 1909, in the foreground. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke.The settlement of Harmony Vale 1913. The large home in foreground is the Guest House “Kia Ora” owned by George Barber on Lot 25 of the Village Settlement. The house above it to the left was Richardson’s house. The home of Jeanie who had left it when the picture was taken.The buildings furthest to the right of “Kia Ora” were the homestead of Isaac Jeeves of 1863 – 1871 the building furthest right with the black opening in it was the house with the tree fern floor. The flat ground above and left of Isaac’s pointed roof barn is where the creek changed its course in the 1934 flood and destroyed £4000 worth of the Rowse family’s tulip bulbs. Above the flat is Francis Matthew Child’s homestead, in the creek to the right of which can be seen the horizontal structure of the swing bridge to the sawmill of the Childs Bros which cannot be seen but in the forest to the right of the mill (bridge) can be seen a number of logs in the mill yard. The two cleared strips immediately behind Childs home were the Richardson’s original holdings and the house in the gully at the far side of the great clearing is that of the guest house “Glenrivers” belonging to W Lucas and his wife Catherine nee Child. The Richardson homestead “Harmony Vale” is behind the forest trees in the right centre. The picture gives a full view of how the settlement was cut into the centre of the great forest. george barber, kia ora, harmony vale, barber, jeanie richardson, richardson, child, matthew child, kia-ora guest house, guest house, glenrivers

Greeting cards sent during WW1 - 1917, 1918. Owned and sent by R.T. Mitchell to his daughter Anne.Three silk embroidered postcards, sent from France during World War 1, from R.J. Mitchell to his daughter Anne. There are also two black and white postcards.1. Handwritten in grey pencil on the back of the Forget-Me-not card: 31/5/1917 'Dear Anne I got a letter from you a few days ago and am glad to know you are well and got plenty of work to do. How is school getting on, do you still want to be a teacher well if you do mind you are a good one. Your loving fatherr. 2. X-mas wishes: France 5th 1918. Dear Annie Received your birthday thank you very much How are you getting on with your scholarship. Hope you have a very happy christmas Lots of love your affe father R.J.Mitchell 3. handwritten in grey pencil on the back of the Happy Christmas card 'Somewhere in Belgium Oct 15th, 1917 Dear Anne Received your letter of July 3rd. Am sorry pearl has ben so bad, hope she is alright again now. Well I am keeping quite well we are having plenty of rain although it is fine today. Hope you have a veery merry Christmas Loads of love Your affec father R J Mitchell'. 4. Carte Postale - Postcard 5/1918postcards, greeting cards

Located on the corner of Main Road and John Street, the church first served the community as the Eltham Wesleyan Church since 1881. It became the Eltham Methodist Church in 1902, the year it united with the Primitive Methodists. Eltham Wesleyans first worshipped together in the home of William and Mary Crozier, on 24 acres bounded by Mount Pleasant Road and Pitt Street. From there they moved to a slab and bark hut in 1855 (this later served as the first school run by David Clark prior to the building of a new school in Dalton Street) and the members then built a chapel in 1858 on Lot 20, Henry Street (later to become the Rechabite Hall and Eltham Public Hall). The present church on John Street was designed by architects Crouch and Wilson in the Early English Gothic style with biochrome brick window frames, buttress heads and pinnacle. Church member George Stebbing built the church, the foundations were constructed with stone from the walls of the first Eltham State Primary School (No. 209) building which collapsed in 1874 and were purchased by Robert David Taylor. Stebbing was also responsible for building St Margaret’s Church and Shillinglaw Cottage. The Roll of Honour, which presently hangs in the church hall (which also doubles as the Opportunity Shop) lists 27 members of the congregation who served in the First World War, 11 of whom never returned. The red-brick Church Hall was opened in 1931 and in 1971 further additions linked the hall and church, including a foyer, vestry, meeting room and toilets reflecting the Eltham style of that time with its simplicity, extensive clear glass, reused baked clay-bricks from the 1881 church, heavy ceiling beams and compressed straw ceiling. On June 26, 1977, the church became part of the new Uniting Church in Australia consisting of the former Methodist and Congregational and most of the Presbyterian Churches. Following of declining numbers of worshippers, the church merged with the Montmorency Uniting Church on June 23, 1996. In 2023 the Uniting church approved a plan to renovate the church. It is understood that the historic church and the hall will be retained, and the building added in 1971 is to be demolished, to make way for a new purpose-built Opportunity shop. The proposed areas to be demolished include the current foyer, toilets, crèche, etc, including the area between the hall and the former RSL. Works are expected to commence mid to late July 2023. The Society was invited by a church member to take photographs of these areas to document them prior to demolition works commencing. Ref: “Nillumbik Now and Then” by Marguerite Marshall (2008)jim connor collection, 2023-07-10, eltham-montmorency uniting church, john street, methodist church, opportunity shop, uniting church, uniting church hall

Robert David Taylor was a farmer who lived in Eltham all his life and died in 1934 at the age of 76. Mr and Mrs Bowman lived in York Street; Taylor was their neighbour. In 1933 he subdivided his land, the plan showing a proposed Grey Street flanked by residential blocks for sale. Mrs Bowman bought one: her family would be able to walk through it and along Grey Street to Henry Street, thus providing quicker access to the railway station. But Taylor retained ownership of Grey Street itself. He fenced it off at each end and charged the Bowmans with trespass when they used it. The matter went to Court. The ruling was that Mrs Bowman could use Grey Street, as she owned land in it, but her husband could not. (Taylor also accused the Bowmans of having broken the fences, but could not prove it.) Taylor had wanted to subdivide his land in 1914. Plans were submitted to Council and were approved, but the subdivision did not proceed. In 1919, Taylor doctored the plans to make it appear that a totally different subdivisional arrangement had been approved. The Titles Office immediately detected fraud, and the Crown charged Taylor with forgery and counterfeiting. But charges were later dropped (reason not recorded). He was an Eltham Shire Councillor between 1911 and 1920. In 1920, Council charged him with illegally felling 91 eucalyptus trees in Eltham Park (60% of them in a healthy condition), presumably to be sold as firewood. He was imprisoned pending trial. Taylor claimed that he had acquired from another man the right to remove timber and sued the Council for wrongful prosecution. The case eventually went to the State Full Court, with judgement given in favour of Council, on the grounds that any right acquired by Taylor covered only the removal of logs and refuse, not sound green timber. And his position as Councillor precluded him from acquiring the right anyway. Robert David Taylor was also a Trustee of the Wesleyan Church owned land at Lot 20 Henry Street, originally purchased in January 1855 for a chapel and from which David and Catherine Clark first ran their private school, the forerunner of the Eltham Primary School. The land was sold in November 1901 to the Hope of Eltham Tent No. 195 Victoria District Independent Order of Rechabites, for which his brother William John Taylor was a Trustee and became the home of the Eltham Rechabite Hall. In December 1921 it was again sold, this time to the community for use as the Eltham Public Hall, Robert David Taylor being a member of the Committee.Born Digitaleltham cemetery, gravestones, charlotte amelia taylor, eltham district historical society, heritage excursion, lillian jane taylor, richard pinn, robert david taylor

A razor strop such as this one was used to sharpen and polish straight-edged razors. This particular design has a swivel hook with a locking clip that allows for movement as the strop is being used. This strop is branded "Sherlite". On May 5th, 1922 the Commonwealth officially accepted and advertised the Trade Mark Application of Thomas Sherry of Victoria, for the Trade Mark of "Sherlite" to be used under the heading of "Leather, Skins unwrought and Wrought”. Thomas Sherry’s application was to use the word “Sherlite” for detachable soles made of rubberised leather. Straight razors and cut-throat razors were the major tools for shaving before the safety razor was invented in the 1880s and even today specialist shaving shops still sell straight razors. Along with the razor, the process of shaving would commonly involve lathering up shaving soap with a shaving brush that had boar bristles. Men could own several razors and rotate them through the week and some shops sold the razors in a set, a razor for each day of the week. Straight razors could require stropping more than once during the shaving of a heavy beard, and stropping would also be performed at the end of each shave. Honing would only be performed two or three times a year, preserving the blade's edge. A lot of skill was needed to hone and strop the blades of these early razors and the methods to do so were a large part of the curriculum in Barber colleges. The razor would be sharpened on a grinding wheel then honed on sharpening stone and finally finished using a strop. Straight edge razors would usually be sold unfinished and that process would be completed by the customer. A razor strop, usually made from leather, thick canvas, or light timber, would be used to straighten and polish the straight razor for shaving. Strops could also be used to polish other blades such as knives, small metal tools, and chisels. Sometimes an abrasive polishing compound is also used to give a mirror finish. Some strops, such as this one in our Collection, are designed to be used while hanging from a nail or peg, while others are handheld. The person using the strop would draw the spine of the blade down along the strop with the blade following, without putting any pressure on the blade. At the end of the stroke, rotate the blade over its spine then draw the spine along the strop again so that the edge moves away from the top. The finer grade of leather strap is used to give the final finish.Razor strop, leather, and metal. Sherlite brand, double straps: two straps of different grade leather joined at ends with metal fittings. Stropping faces; sharpening surface is stained red and finishing surface is stained black. One end has a padded, bulbous-shaped leather grip handle, the other end has a metal, swivel hook hanger. Inscriptions painted in gold on leather at the hook end.Razor strop, leather and metal. Sherlite brand, double straps: two straps of different grade leather joined at ends with metal fittings. Stropping faces; sharpening surface is stained red and finishing surface is stained black. One end has padded, bulbous shaped leather grip handle, the other end has metal, swivel hook hanger. Inscriptions printed in gold on leather at hook end.Printed gold lettering stamped “Sherlite”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shaving leather, shaving accessory, barber’s equipment, barber shop razor strop, razor strop, straight razor, razor and knife sharpener, sherlite razor strop, personal effects, toiletries, thomas sherry

"In April 1969, the first major residential development in Melton began with the release of 148 homes for purchase. This was the first stage of a staggered release of a planned 30,000 homes for 100,000 people by 1990. The development, called Westmelton Satellite City, was described as ‘a preview of tomorrow’.101 It was the first estate built in a ‘modern’ style, with curved streets, and dozens of culs de sac. Westmelton was also the first major development in Victoria to build all the supply lines to the houses – including electricity and telephone lines – underground. The six different home designs in Westmelton were ‘specially designed for the future’, and with allotments ten feet wider than regulations required, there was plenty of ‘space for gracious living’ and for a family swimming pool. The developers of this new estate were active in promoting Westmelton as a new community within the Shire of Melton. By 1971, the Westmelton City News reported that Ian McIntosh, General Manager of Westmelton, had given away $100,000 on behalf of the company ‘to aid community projects’. This included a $72,000 donation towards building a community centre in Westmelton, and $25,000 for the shire’s Olympic-sized swimming pool. Ian McIntosh and his family moved to Melton and Ian said he was ‘very much aware of the needs of [the] Westmelton community’. By the end of 1971, Westmelton was home to 100 new families. The modern residences were obviously an appealing drawcard, but so was the country feel that characterised Melton. Mrs C. Allen, described as a ‘housewife’, said she and her husband chose to move to Westmelton because of ‘the quality homes ... and we both love the clean, fresh, natural environment that surrounds us’. Similarly, Mr W. Coxhead, insurance consultant, moved to Westmelton because of the ‘clean, fresh country air’. Accountant Mr B. Swanton echoed their sentiments, describing Westmelton as ‘far enough away from the industrial pollution carried over Melbourne suburbs by prevailing westerly winds’. The new development attracted an increasing number of young, professional couples and families, representing the beginning of a significant shift from the predominantly rural and farming community of the district’s past. The Westmelton development had four different ‘neighbourhoods’ designed to cater to a variety of different lifestyle needs. Westmelton was the first to be established, followed by Brookfield, which offered ‘superb land in a rustic setting’. Brookfield Acres offered ‘wide open spaces with lots of room for a pool and even a tennis court’ on huge one-acre blocks, while Westlake was an innovative development with ‘different sized homesites’ and ‘lakeside living’.Westmelton was the first of many residential developments that would come to play a huge role in shaping the shire in the decades to follow".A marketing brochure for the Westmelton Satellite City developmentlocal significant events, council

The new Central Park was opened on Monday, 21 April 1930 by Mr. W.H. Everard, M.L.A. followed by a sports carnival. The Advertiser reported on Friday, April 25, 1930 that – “Perfect weather prevailed on Monday for the sports gathering in aid of the recently-acquired park near the railway station, and from every point of view the day was a success. The Central Park contains 9½ acres, and has the Diamond Creek on one side and the railway line on the other. It cost £760, of which the council contributed £500, and the citizens, are finding the balance. Already about £80 has been spent in levelling, and a pavilion has been erected by the footballers, who will use the ground for training until it is sufficiently, improved for matches. There is ample shade along the banks of the creek, where there were numerous picnic parties. The committee has already done some planting on the railway side of the park, and where the trees grow on the higher side, overlooking the arena, the natural stand will have shade, command a view of the events, and have the trees on the banks of the creek in the distance. There were between 600 and 700 people present, many in motor cars having a little difficulty in, finding their way under the aqueduct to the ground, but the council is at present effecting improvements to the road. A merry-go round was a source of pleasure to the children, and the Northcote Soldiers and Citizens Band under Bandmaster Gore, de-lighted everyone with their varied selections of good music.” “Cr. E. J. Andrew, president of the Park Committee, said it was the first function held in the park, and although the citizens have guaranteed £420 towards it, there is still some-thing owing. Mr. W. H. Everard, M.L.A., who can always be relied upon to attend any gathering which draws the people together, said that he and Mrs. Everard had great pleasure in being present to declare the park open. He congratulated the Eltham people upon their public spirit, and the new park would be more appreciated in years to come. The other park is a splendid one, but it is far away, and one is required close to the station, so that young people can have a day's enjoyment, without having to go far from the station. The trouble in Victoria is not having enough parks. The early settlers did a lot in getting park lands, but the present generation is not doing enough. Eltham people are entitled to the highest commendation for their action, and Cr. Andrew and the council are to be thanked for what they have done. What is wanted is ingress and egress so that people can get in comfortably. When he was motoring in his wife said, "Surely you are not going down that precipice," and he replied that he would go anywhere where the people were. In the future it will be the big centre of Eltham.” Reproduced on page 96 of 'Pioneers & Painters'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 9 x12.5 cm printsepp, shire of eltham pioneers photograph collection, eltham, eltham central park, automobile, central park, cricket match, pioneers and painters

"The United Pyrites Company's Works are situated about three quarters of a mile from Spargo Brothers, and are on the northern side of the Marong road, in Pinch-gut Gully. Two processes are followed at these works, viz., the amalgamating process and the treatment by means of chlorine gas. The latter is called the Newbery-Vautin system, and the mode pursued is that laid down by Mr. Cosmo Newbery and Mr Vautin, whose names have been given to the process. Mr. Edwards manages these works. Three reverbatory furnaces are used to roast the pyrites, which is weighed in the truck before being put into the furnaces. At this weighbridge a sample of each lot is kept, and if the yield is not equal to expectation, the works are carefully gone over to see where the fault occurs. Care is taken at the furnace to regulate the heat, otherwise the pyrites might slag instead of roasting evenly right through. An immense revolving furnace (made of boiler iron) was used at these works. It was found to be suitable for treating blanket sand, but was not a success for roasting coarse pyrites. The process of amalgamating by means of Chilian mills is the same in these works as at the Western Works, but the United Works are on a larger scale, and eleven mills are utilised. It is the chlorine gas process which is most interesting here. The gas is made from sulphuric acid, black oxide of manganese, and common salt, and the gas is introduced into huge vats, where it works its way through a filter of pieces of quartz and then through the bed of roasted pyrites lying above. The action of the gas transforms the gold into chloride of gold. This is easily dissolved in water, and in that form is drawn off into huge delf jars, where the use of sulphate of iron precipitates the gold to the bottom. A small battery—eight head of stamps in two boxes—is in use here to crush small consignments of stone sent for trial. Test crushings come from all the Australasian colonies, and even from India. The jars used are manufactured at Epsom, and some of the salt used is also of home manufacture, from the Salt Lakes on the Northern plains. Mr. Edwards took us over a new building in course of erection, and in which the chlorine gas is to be generated in the midst of the pyrites— a still further advancement in the new process. There is some very good machinery in this new building, and the tailings from the ordinary pyrites works will also be treated by this chlorine gas system, which has been found to work well at Mount Morgan, in Queensland. The purest of gold is obtained by this process, the gold passing in solution into a charcoal filter, from which it emerges in the shape of metallic gold. We saw some nice cakes of retorted gold at the works. One of 26oz. was from some New Zealand pyrites (2½ tons), and assayed over 23 carats. There were also cakes of Avoca gold, of silver, and of the tremulous amalgam." (The Argus, 4 February 1887)Two handwritten letters to the Ballarat School of Mines on Bendigo United Pyrites Company Letterhead.bendigo united pyrites company, pyrites, ballarat school of mines, j.j. deeble, joel deeble, joel james deeble, a.m. dean, fred j. martell, martell, s.h. cowan, letterhead

O.F.M. was the ORDNANCE FACTORY MARIBYRNONG. Up to the end of June 1943 and at a time when the wages were about £5 ($10) to £6 ($12) per week Australia had spent £1,106,000,000 (£156 per head) on the war effort. A lot of the money was spent at home in making war necessities such as armaments, munitions, boots, clothing, and in providing special training. Significant increases in numbers occurred in the personnel employed in the fighting services, and also in the work force involved in the war effort. During the financial year 1942-1943 the war cost Australia £561,743,000 (over a billion dollars), while the Income Tax raised from individuals totalled only 16.5% of this amount. To finance the war the Australian government had previously borrowed money from the public, and from institutions such as the savings banks, friendly societies, and life assurance societies, by running three successfully subscribed Liberty Loans. The institutions had contributed considerably more money to these Liberty Loans than the public, however it can be argued that the public members of these institutions had also contributed some money indirectly. The 4th Liberty Loan which opened on 5 October 1943 and closed on 9 November 1943 was intended to raise £125,000,000, with the government aiming for 750,000 subscribers. Bonds costing £10 each could be bought on a time payment scheme. A total of £126,408,000 was raised at two different interest rates and maturity dates, however the number of subscribers had only reached 567,533. Some newspaper reports of the time indicate that the low number of subscribers was a partial failure of the loan, because spare money in the community could lead to inflation at a time when goods were in short supply. The government set target quotas on how much money should ideally be raised in a particular district, and how many subscribers should ideally take part. Often these quotas proved to be excessive. The Special Red Pennant Award as given to the No 1 FORGE O.F.M. was normally for achieving the highest per capita contribution within each particular group. What is unknown at this stage is what other entities were in the same group, or how large the group was. There were other variations of the awards such as those given to country districts, where a star was placed on the left hand corner of the pennant if the money quota was reached, while two or three stars indicated that the quota was doubled or tripled. A bar was also included on the pennant if the quota of subscribers was achieved, while two bars indicated double the quota of subscribers. The above information was sourced from Trove newspaper articles at: (1) http://nla.gov.au.nla.news-article70439716, (2) http://nla.gov.au/nla.news-article141292541, (3) http://nla.gov.au/nla.news-article11797265, (4) http://nla.gov.au/nla.news-article11788072, and from (5) http://static.awm.gov.au/images/collection/pdf/RCDIG1070158--1-.PDF (see page 580).This framed award has significance in that it serves as a historic reminder that the No 1 Forge O.F.M. and the Ordnance Factory Maribyrnong once existed within the Shire of Braybrook, and later the City of Sunshine, and that it was involved in the manufacture of ordnance for World War 2. It also serves as a historic reminder that it costs a huge amount of money for a country to be involved in a major war, and that a big contribution is required from the public to raise money and to produce goods for the war effort.Permanently sealed brown stained wood frame with a glass face. Enclosed behind the glossy glass is a triangular shaped pennant made of red felt material. The red colour appears to be somewhat faded. The inscriptions and markings on the pennant are in blue, gold, and white coloured inks.The AUSTRALIAN COAT OF ARMS diagram plus the following writing: SPECIAL AWARD / 4th LIBERTY LOAN / Oct.-Nov. 1943 / No 1 FORGE O.F.M.4th liberty loan, special award, ordnance factory maribyrnong, no 1 forge o.f.m., oct - nov 1943, red pennant

[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