Paperback, 84 p.family history, ireland

ill, maps, p.145. non-fictionHow to trace your ancestors and relatives in Ireland.ireland - geneology, family history - ireland

Comprehensive Baker Family History / John,Ann of 48 pages.John Weaver Baker arrived in Williamstown aboard the "Marion" on 25th January 1848.He was transported from Parkhurst Prison on the Isle of Wight as an "Exile",having been convicted of having in his possesion a silk handkerchief and sentenced to 10 years.On arrival he "left ship at own request",finding his own way to Melbourne and a new life.Proof of birth has at this time not been located,it is possible he may have been an orphan.He met Ann Neligan,an Irish orphan,who along with her sister,Eliza,made the journey from the poor house in Mallow on board ship.They were Married in Melbourne 9th July 1850. They had three daughters Caroline Ann 2nd May 1851,Elizabeth Conchetta 1st April 1853,died 20th August 1853,and Elizabeth born 1854.History of Journey of the Baker family from England and Ireland to Australia, then Melbourne/Ercildoune/Addington and finally to Donald.Family History Book, England / Ireland to Australia. Melbourne to Ercildoune / Addington and Addington to Donald. Author Jean Tillet/ Great Grandaughter.18/06/2010.Baker, John and Ann, Family History.ercildoune, addington, baker family

Mr Jack Tully was born in 1927 in Box Hill Doncaster to Irish decedents. The youngest of three children, one brother and two sisters, Jack and his family took after the family orchard after his father died. After years of running the business side of the orchard Jack moved to Beechworth in 1957 purchasing an orchard and becoming a grower. Jack grew mainly apples in his orchard creating job opportunities for locals and elevating his worth in town. He speaks highly of Beechworth; he is a valued and respected member of society. He enjoyed a round of tennis with his wife. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke. Mr Jack Tully's account of his life in Beechworth and the local area during the 20th century is historically and socially significant to the region's cultural heritage. He provides a unique perspective as an orchard owner within Beechworth but also as an outsider who moved and was welcomed into the town with open arms. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a more mundane insight into day-to-day life of ordinary residents during the 20th century. This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mr Jack Tully / beechworth, jennifer williams, jack tully, oral history, burke museum, listen to what they say, recording

This is a book of 78 pages with a stiffened cardboard cover. The cover is greyish-white with a colour photograph of the hospital and background blurred images of St John of God nuns on the front cover. The book contains printed material, maps, tables, black and white and colour photographs and illustrations.non-fictionHistory of St John of God Hospital, Warrnambool 1939-2014st john of god warrnambool hospital, glenrye, healthcare, warrnambool

This book, an Irish spelling book with a strong religious tone, is in a very tattered state but has the name ‘Freckleton’ on it and it may have come with the first Freckleton immigrants to Australia. In the 19th century there were Freckleton families in the Warrnambool district at Port Fairy, Cooramook, Mailors Flat, Woolsthorpe, Woodford and Wangoom. The provenance of this book is unclear but it is kept because of its early printing (1844) and because of its association with the Freckleton families. This is a soft cover book of 240 pages. The cloth cover is brown with no visible markings on the front cover or spine. The pages are bound together with string and the material on the spine is almost worn away. Some of the pages are torn and very dirty and all are dog-eared. There is a grey and white illustration on the first page. The inscriptions on the first and second pages, barely legible, are handwritten in pencil and in black ink. ‘W. Freckleton, landed (?) 1857….1875….1888’ ‘…May landeth….’ freckleton families,, western district, history of warrnambool

This book, an Irish spelling book with a strong religious tone, is in a very tattered state but has the name ‘Freckleton’ on it and it may have come with the first Freckleton immigrants to Australia. In the 19th century there were Freckleton families in the Warrnambool district at Port Fairy, Cooramook, Mailors Flat, Woolsthorpe, Woodford and Wangoom. The provenance of this book is unclear but it is kept because of its early printing (1844) and because of its association with the Freckleton families. This is a soft cover book of 240 pages. The cloth cover is brown with no visible markings on the front cover or spine. The pages are bound together with string and the material on the spine is almost worn away. Some of the pages are torn and very dirty and all are dog-eared. There is a grey and white illustration on the first page. The inscriptions on the first and second pages, barely legible, are handwritten in pencil and in black ink. ‘W. Freckleton, landed (?) 1857….1875….1888’ ‘…May landeth….’ freckleton families, western district, history of warrnambool

THE SKIRT The skirt has a gentle, soft, feminine design which keeps it in good shape and condition, preserving it from soiling and prolonging its life: - the satin fabric is softly pleated at the waist and falls gently to almost floor length - the opening is concealed at the back within one of the folds and closes with hooks and eyes underneath the bow at the back of the jacket - the horizontal stitching at the base of the skirt joins the lining to the skirt, and the firmness it creates allows it to gently flare out at the base without the need of hooped petticoats - a removable fabric lining at the hem protects the front and back of the skirt from friction and soiling from the wearer’s footwear THE SKIRT This evening outfit is significant for its connection with colonial Australia, Victoria and Warrnambool. It is a fine example of female fashion of the mid to late 1900s. The outfit is significant for its connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The outfit is significant too for connecting the colonial families to the indigenous culture of the district and the contact between the native and European people. The lined, floor-length, amber satin skirt has gentle folds that gather into a fitted waistband. One of the folds at the back conceals the opening of the skirt that fastens using metal hooks and eyes. The bow at the back of the jacket covers the top of the closure. There are metal hooks distributed around the top of the waistband. The skirt is stitched horizontally around the hem in several rows. There is a removable fabric lining at the base of the skirt.evening skirt, ladies 1h century skirt, satin skirt, antique satin skirt

This amber satin evening outfit was worn by Mrs. Isabella Mitchell (nee Russell, 1840 – 1929) at the wedding of her brother Alexander (c.1846–1938) and Eliza (nee Moore c.1854–1939). The jacket and skirt attach to each other at the waist by joining the metal rings that are around the base of the jacket and to the metal hooks that are on the waistband of the skirt. The outfit was donated with its own mannequin and fits it perfectly. In the colonial days, outer clothing was rarely, if ever, washed, due to the expense of fabrics and difficulty in careful laundering. Clever methods were employed to reduce the occurrence of soiling. The mannequin included with the donation would also help keep the outfit in good shape as well as being used for ensuring a flattering fit. FAMILIES’ HISTORY The families connected with this wedding for which this outfit was worn are from Warrnambool’s colonial days. Isabella and Alexander’s parents, Robert Russell and Elizabeth (nee Mitchell) were both born in 1808 and married about 1830. They were from farming families in Northern Ireland where they raised their seven children there before migrating to Australia in the early colonial days, around 1857. Their graves are in the Tower Hill cemetery. Alexander’s wife Eliza (nee Moore, born in 1854) was also from Northern Ireland and migrated to Australia in 1858 with her parents, Thomas and Nancy Moore, in the last voyage of the sailing ship “Chance”. Isabella (Bella) talked with her grand-daughter Ruby Akers about her memories of Alexander and Eliza’s wedding and other events in her life. Ruby recorded these memories in a letter. She says “They were married in the Warrnambool Congregational Church by a pioneer minister, the Reverend Uriah Coombs. The bride wore a pale blue silk wedding gown which was made by herself. Bella was Matron of Honora and Ian McCasker was best man. In those days the transport to the church was usually a carriage – similar to a cab – and a pair of white ponies. They would have the reception at home and then go for a drive afterwards and at night there would be a dance. They did all the catering themselves … Eliza carried on farming in the Dennington, Yarpturk and Purnim districts until they moved to Camperdown around 1905…” Ruby’s letter later mentions “[Isabella] could recall seeing a blackfellows’ corroboree being performed near where the Dennington Bridge now stands. It was rather a terrifying experience, they seemed in a warlike mood and one never knew what they would do next. One lubra came running to granny crying, Hide me, bad man kill me. She was bleeding from a wound in the head. Probably the result of a blow from a waddy. My mother [Margaret Jane McLaughlan nee Mitchell], coming home from school, often met blackfellows walking ahead with spears and boomerang, the two lubras – he usually had two – following in the rear, carrying the children or any burdens they had.“ Margaret would probably have been in primary school in the 1800s when she saw these things. Alexander and Eliza had ten children. One of their daughters, Margaret Jane, was born in Warrnambool in 1879. She married William McCullagh and they had eleven children. Margaret made headlines in the Warrnambool newspapers for celebrating her 100th birthday. She had lived in the district for 60 years before moving to Melbourne. Alexander passed away at the age of 92, and Eliza passed away six months later aged 85. Their graves are in the Colac cemetery. Isabella married Ralph Mitchell and their daughter Margaret Jane married John McLauchlan in 1891. Margaret and John’s daughter, Ruby Elizabeth, Jane married Fredrick Akers in 1938. Fredrick was born in England and was a Boer War veteran and served in the British Army. He migrated to Queensland, Australia, in 1913 and he joined the Australian Army to fight in World War I. In 1935 he moved to Warrnambool where he served in the Volunteer Defence Corps 1938-1945. Both Ruby and Fredrick are buried in the Tower Hill Cemetery.Together, the evening outfit and the mannequin are examples of female fashion of the mid to late 1900s. They are also significant for their association with the colonial pioneer families of Australia, Victoria and Warrnambool. The outfit and mannequin are significant for their connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The evening outfit and its mannequin are significant for its connection with colonial families and their contact with the indigenous culture of the district and the contact between the native and European people. This ladies’ evening outfit is made from amber coloured satin fabric. It comprises a short-waisted, long-sleeved jacket and long skirt and it has its own neck-to-floor wooden mannequin on a pedestal. The outfit was worn by Mrs. Isabella Mitchell (nee Russell) as the Matron of Honour at the wedding of her brother Alexander Russell and his fiancé Eliza Moore in Warrnambool, 29th April 1874. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, evening outfit, wedding outfit, bridesmaid’ outfit, matron of honour outfit, clothing female, clothing late 19th century, clothing wedding late 19th century, clothing bridesmaid late 19th century, clothing antique, clothing ladies, women’s clothing, women’s fashion, alexander russell, eliza russell, eliza moore, isabella mitchell, bella mitchell, bella russell, isabella russell, ralph russell, ian mccusker, ruby akers, fredrick william akers, ruby mclauchlan, margaret jane mclaughlan nee mitchell, margaret jane mclaughlan centenarian, william mclaughlan, robert russell, elizabeth russell nee mitchell, irish immigrants, warrnambool volunteer defence corps 1938-1945, antique satin outfit, warrnambool wedding 1874, congregational church warrnambool, reverend uriah coombs, dennington farmer, yarpturk farmer, purnim district farmer, camperdown resident 1905, dennington bridge, indigenous corroboree in dennington, corroboree in warrnambool, 1880s corroboree in warrnambool, lubra and baby, indigenous corroboree in warrnambool

Hints on tracing Irish ancestors.526p., maps.family history, genealogy

Edited by Jim Martin, Tim Erickson and Frank Carrucan. The Carrucans came from Ireland to Australia in the 1850s, settling in Eltham and living there for many generations. Much of this family history book is set in Eltham and surrounding districts. Contents: Themes - The Wurundjeri in Eltham - The Carrucan Story - The Michael Line - The Emigrants - The Bridget Line - The Patrick Line - The Peter Line - The Denis Line - They serve the Lord - They served their country - Final thoughts. SoftcoverCover: Commemorating the dispersion of members of the Carracan Family from West Clare, Ireland ISBN 9780646552286 [includes a dedication letter from Tim Erickson (for the Carrucan Book Committee) to the Eltham District Historical Society, presenting a complimentary copy of the book, 13 October 2011; there is also a handwritten summary of Eltham references inside the back cover]carracun family, pioneers

Originally catalogued around 1998 as John Cochrane in front of Shillinglaw Cottage, this is now believed to be Thomas Cochrane born 1817 in Ireland. The photograph is a reproduction of a low-resolution, poor-quality photograph. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book "Shillinglaw Family of Eltham 1660-2007", Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. Thomas Cochrane was born in Ireland in 1817 and died at Collingwood 1877. He married Sarah Jane Casey at St James, Melbourne in 1846. They had eight children: • Elizabeth Jane Cochrane born 1847, Keelbundoora • Sarah Cochrane born 1849, Keelbundoora • William John Cochrane born 1854, Eltham • Isabella Mary Cochrane (Cochren) born 1855, Eltham, my Great grandmother • Mary Cochrane born 1857, Eltham • Thomas Cochrane born 1859, Eltham • William James Cochrane born 1861, Eltham • Margaret Anne Cochrane (Cochran) born 1863, Eltham Information received from Richard Stone in 2019, a 2nd-great grandson of Thomas Cochrane suggests that during the early 1930s, one of Isabella’s daughters and her family attended cricket matches at Eltham. The mother and a daughter (Richard’s cousin) would wander around Eltham and a cottage in the main street backing onto the cricket ground. The cousin remembers well her mother telling her that her mother, Isabella Cochrane, lived in the cottage as a young girl. The family also had a similar or the same photo of a man standing in front of the cottage. When the Cochrane family left the cottage in 1874, Thomas Snr would have been 57 and Thomas Jnr 15 and William 13. The man in the photo has a dark and substantial beard. Therefore, it is unlikely to be Thomas Jnr or William and most likely Thomas Snr. The photo is of poor quality and low resolution however, there is little grey evident in his beard. It was possibly taken when Cochrane was a younger man shortly after the cottage was built, circa 1865. When the Eltham District Road Board was established in 1858, the forerunner to Eltham Shire Council, Thomas Cochrane was listed as the occupier/owner of two assessable parcels of farmland in Little Eltham: one of 21 acres of pastureland and another 22 acres of cultivation land. George Stebbings was not recorded as an occupier or landowner. In 1859 and 1860 a Joseph/Joshua Stebbings was recorded as the occupier of a hut owned by G. Atkinson. A hut was recorded on Cochrane’s pastureland parcel in 1860 and this parcel increased in size to 36 acres in 1861 and grew further in size by 1863. George Stebbings first appears as the owner/occupier of a hut in Eltham in 1861, also 1862 and 1863. This is most likely his cottage (still standing in present day) in Pitt Street adjoining the Eltham Hotel property owned by Benjamin Wallis where he was residing in 1867 when they both sued each other for trespass. (POLICE. (1867, August 9). The Argus (Melbourne, Vic. : 1848 - 1957), p. 7. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article5774640) Thomas Cochrane was appointed one of the original trustees of the ground set aside for Eltham Cemetery in Feb 1860 (GOVERNMENT GAZETTE. (1860, February 11). The Argus (Melbourne, Vic. : 1848 - 1957), p. 7. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article5676991)A very early photo of Shillinglaw Cottage with its original builder and owner/occupier, Thomas Cochrane. Cochrane was also a founding Trustee of the Eltham Cemetery Trust. Reproduction of sepia photographshillinglaw cottage, eltham, eltham cemetery trust, evelyn observer, george stebbings, james rossiter, little eltham, phillip shillinglaw, thomas cochrane

This booklet gives information on the Cavenett families from 1840 to 1970. John and Eliza Cavenett with four children set sail from England to Adelaide in 1840 but Eliza and one child died on the voyage. John Cavenett married again and settled in Adelaide. Most descendants of John Cavenett that are mentioned in the booklet also lived in South Australia but some settled later in Victoria, New South Wales and Western Australia. The book has been produced by Kingsley Ireland. This book is of some interest as an example of a family history written by a descendant of the pioneer family. As far as can be ascertained it does not have any local significance. This is soft cover booklet of 41 pages. The cover has a cream-coloured background with sepia-coloured photographs of three Cavenett family members on the front cover and a sepia-coloured reproduction of an S.T. Gill sketch on the back cover. The book contains a Foreword, a Preamble, information on members of the Cavenatt families, an Appendix and a Surname Index. There are many black and white photographs of the Cavenett family members. The booklet is stapled. Front Cover: ‘The Cavenett Family in Australia 1840-1970’ ‘Henry 1829-1876, Eliza 1834-1884. John 1838-1916’john and eliza cavenett, south australian pioneer families, warrnambool

This book was written in 2007 by Margaret McOrist to mark the 150th anniversary of the arrival in the Warrnambool area of John Logan. It is a sequel to a 1991 book, ‘Clotted Cream and Mangels’ which told the story of John Logan and his wife Mary Gardner. They lived at Hopkins Point, Warrnambool and the book, ‘Beyond the Point’ tells the story of the Logan descendants. When the farm land was sub-divided and sold the nearby beach was named ‘Logans Beach’. This book is of considerable interest as it tells the story of the descendants of important early settlers, John Logan and Mary Gardner. The area where they first settled is now of major interest as Logans Beach (named for the Logan family) is the well-known whale watching area. Southern Right Whales return to this beach each year and the females calve and remain up to three months at this beach, making it an important ‘whale nursery’. This is a soft cover book with black plastic ring binding and clear plastic sheets covering the front and back paper covers. The front cover has a reproduction of an 1891 map of Warrnambool and district with the title of the book and other information superimposed on the map. The back cover is black. The book has 101 pages and contains information on the Logan families who lived at Tooram in Allansford and their descendants. There are many black and white and colour photographs, diagrams, maps and family trees. Front Cover: ‘Beyond the Point, 150 years since the arrival of Irish ancestor, John Logan, Hopkins Point, Warrnambool, Victoria, 1857-2007, by Margaret McOrist’. john logan and mary gardner, hopkins point, logans beach, tooram, history of warrnambool

Green tinted paperback with photograph of farming men with children and horses on front cover. Title and other text is dark brown edged in white. A number of Irish surnames are written in darker green on the paler part of front cover. This effect is also on back cover in tan lettering. The back cover description is written in brown text with image in oval above text.non-fictionHistory of St Brigid's Catholic Church and the Irish-Australian community warrnambool, crossley, st brigid's church, crossley catholic church, helen doyle

[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

In 1848, 43-year-old John Clarke launched a cutlery business in Harvest Lane in Neepsend, Sheffield UK. Clarke entered the trade late in life he was indenture and apprenticed to Octavius Twigg, a razor maker. Clarke was granted his Freedom in 1856 and began using the trademark 'NEVA'. By the 1860s, Thomas Clarke's son by his wife Elizabeth had joined the firm. When John Clarke died at his home at Augusta Place, Rock Street, Sheffield on 25 July 1873 (aged 68), he only employed six workmen.  By 1881, Thomas had expanded this number to twenty.  He sold a wide range of cutlery and was also an ‘emigration agent’, the Sheffield Independent, of 7th September in 1886 had an article published stating Thomas helped to recruit personnel from England for cutlery centers in America.  In 1893 Clarke’s showroom displayed miniature knives from '5/16ths-inch long to the most expensive sportsman's knives, that were gold and silver mounted.  Table knives and carvers were also manufactured (or factored).  Agencies were opened in London, New York, and Melbourne.  Besides ‘NEVA, the ‘EXPRESS’ and ‘RING’ marks were used on razors; and Clarke’s marketed the American ‘GEM’ safety razor.  By 1901, the firm had moved to Mowbray Street, where its Mowbray Works overlooked the River Don. Thomas Clarke died at Harrogate on 26 April 1902, aged 62, and was buried in the same Burngreave cemetery as his parents.  Thomas’s sons, John Roome Clarke (1860-1925) and Thomas Edward Clarke, were directors, another son George William Clarke was a shareholder. John Roome Clarke died on 3 February 1925, aged 64  his son, John Clarke, of Crimicar Lane, remained as the senior partner.  Clarke’s was one of the last producers of hand-made pocket knives and it also produced a large output of sheath knives for scouting associations. The firm was liquidated in 1964, but the company name was resurrected and Its last address after 1980 was at 65 Garden Street Sheffield.  The company trademark passed on to Meteor Industries and then to Egginton Ltd. Weber & Co: The Clarke company purchased or (factored) many of its blades for razors and knives from Weber & Co of Solingen Germany. The full name of the firm originally was Jowika Stahlwarenfabrik Eugen Weber & Altenbach KG. It was founded in Solingen prior to 1928, under the name Johann & Wilhelm Kleinewefers GMBH, Messerfabrik. JWK for short, hence JoWiKa. The company was sold to Eugen Weber in the 1930s. Weber was married to a woman named Altenbach, from a family that manufactured innovative low-priced pocketknives, as well as other cutlery items. In 1960 Weber opened a branch factory in Listowel Ireland. It was sold to Albert M. Baer of Imperial Schrade in 1978. The Listowel factory was closed about a year and a half before the U.S. Schrade factory closed in 2004 and the Jowika factory in Solingen had closed in 1984.An item with an interesting manufacturing history from the 1930s showing how one man can grow a business into a successful concern that made quality products that stand the test of time.Razor metal folding blade with horn handle in its original cardboard box Inscription Made by John Clarke and Son England. "Champion" razor. On box " The Champion 10/6d" and "Weber Lohmann & Co SOLINGEN".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This chest came from County Cavan, North Ireland, with Jane Fleming, when she migrated to Australia arriving at Port Fairy in approximately 1863. Jane Flemming was about 6 or 7 years old at the time and later was to become the mother of Mary Jane Giles (nee Flemming). This chest is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The chest is of historical significance as an example of an early piece of furniture brought to Australia by Jane Flemming when she migrated to Australia during the mid 19th century. The chest is associated with the Giles family as Jane later was to become the mother Of Mary Jane Giles (nee Flemming). The Giles family collection is of social and historical significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. Linen chest wood construction with hinged lid and lock. Hinges are brass. Painted black. ( Giles Collection)Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, wooden chest, cabin trunk, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, jane flemming, mary jane giles, linen chest

Printed at the Theater for the author, MDCCVII . And sold by Mr . Bateman in Pater -Noster-Row, London: and Jeremiah Pepyat bookseller at Dublin. Lhuyd [Lhwyd; formerly Lloyd], Edward (1659/60?-1709), was a naturalist and philologist and the Keeper of the Ashmolean Museum. Lhuyd was a pioneering linguist. In the late 17th century, Lhuyd was contacted by a group of scholars, led by John Keigwin of Mousehole, who were trying to preserve and further the Cornish language and he accepted the invitation to travel to Cornwall to study the language. Early Modern Cornish was the subject of a study published by Lhuyd in 1702; it differs from the medieval language in having a considerably simpler structure and grammar. In 1707, having been assisted in his research by fellow Welsh scholar Moses Williams, he published the first volume of Archaeologia Britannica: an Account of the Languages, Histories and Customs of Great Britain, from Travels through Wales, Cornwall, Bas-Bretagne, Ireland and Scotland. This book is an important source for its linguistic description of Cornish, but even more so for its understanding of historical linguistics. Some of the ideas commonly attributed to linguists of the nineteenth century have their roots in this work by Lhuyd, who was "considerably more sophisticated in his methods and perceptions than [Sir William] Jones’’. Lhuyd noted the similarity between the two Celtic language families: Brythonic or P–Celtic (Breton, Cornish and Welsh); and Goidelic or Q–Celtic (Irish, Manx and Scottish Gaelic). He argued that the Brythonic languages originated in Gaul (France), and that the Goidelic languages originated in the Iberian Peninsula. Lhuyd concluded that as the languages had been of Celtic origin, the people who spoke those languages were Celts. From the 18th century, the peoples of Brittany, Cornwall, Ireland, Isle of Man, Scotland and Wales were known increasingly as Celts, and are regarded as the modern Celtic nations today. (Wikipedia)Oversize book. Includes the original languages of England and Ireland, Amoric Grammar, Amoric-English Vocabulary, Welsh words ommitted from Dr Davies' dictionary, Cornish Grammar, Ancient Scottish language, Irish-English Dictionary. Four page index which includes the errata, has the list of subscribers, mainly 3 columns per page. Includes a Cornish Grammar and dictionary of the Irish language, Archaeologia Britannica, Giving Some Account Additional to What Has Been Hitherto Published, of The Languages, Histories and Customs of the Original Inhabitants of Great Britain: From Collections and Observations in Travels Through Wales, Cornwal, Bas-Bretagne, Ireland and Scotland. Chapters on: The comparative Etymology, The comparative Vocabulary, The Armoric Grammar and Vocabulary, Dr Davies's Dictionary, Cornish Grammar, Catalogue of British Manuscripts in Welsh and Latin, Essay towards a British Etymologicon, The Introduction to the Irish, Irish Dictionary etc. language, gaelic, irish, scottish, edward lhuyd, welsh, latin, greek, etymologicon, celtic

Harland & Wolff Heavy Industries is a heavy industrial company, specialising in shipbuilding and offshore construction, located in Belfast, Northern Ireland. Harland & Wolff is famous for having built the majority of the ships intended for the White Star Line. Well known ships built by Harland & Wolff include the Olympic Class trio: RMS Titanic, RMS Olympic and RMS Britannic, the Royal Navy's HMS Belfast, Royal Mail Line's Andes, Shaw Savill's Southern Cross, Union-Castle's RMS Pendennis Castle, and P&O's Canberra. Harland and Wolff's official history, Shipbuilders to the World, was published in 1986.Two photographic postcards showing the new gantries, Harland & Wolffs, Belfast, Irelandchatham family archive, belfast, ireland, new gantries, harland & woffs