Charles Knight is an English publisher and author. He was born at Windsor in 1791, and died in 1873 at Addlestone, Surrey. This book covers the period of English history from pre Roman times to the Industrial age. It shows how life was like in old England in regards to people, places, architecture and fashions, etc. The book contains 1000's of wonderful engravings, hand coloured plates beside 100's of pages of text contained in one volume. A large leather brown/gilt cover book with black leather bound and corners. 392 p. with coloured and b/w illustrations. It includes a table of contents of volume 1, 18 illuminated engraved (colour) plates, indexes to the engravings at the end of the book. 'Old England' gilt decoration on spine. The book shows how life was like in old England in regards to people, places, architecture and fashions, etc. from Roman times through to Industrial age. The book is published in two volumes, the book in hand contains volume 1 only.A plate inside front cover titled "Ballarat Technical Art School Library No. R/170"travel, customs, and, great britain antiquities, old england history, great britain description, the british period, the roman period, the anglosaxon period, regal baronial antiquities, ecclesiastical antiquities, great, britain social, life, charles knight, tomb of mary queen of scots, rochester castle

The Cutty Sark sailing ship was a popular model-making ship. It was a British clipper ship built originally for the China- England tea trade and was one of the last and fastest tea clippers. From 1883 to 1895 it was used to carry wool from Australia to England and held many records for speed during that time. Since 1954 the ship has been on display at Greenwich, England. The model has an etched inscription indicating that it was made by Herman Richter and so it is presumed that he was the maker of this model. A model of the Cutty Sark was made by his father, Edward Richter using wood from the Enterprise wrecked in Lady Bay and that model was in the old Warrnambool Museum. This information was in a newspaper article at the time of Edward Richter’s death. This Herman Richter model may be a copy of his father’s model. The Richters have been prominent in Warrnambool’s history, beginning with Henry Richter who came to Warrambool in the 1850s and worked in the Western Brewery and was licensee of the Royal Archer Hotel. His son Edward who died in 1937 was a prominent Warrnambool resident for 78 years. Herman, the son of Susan and Edward Richter was well-known as a model boat maker and maker of model boats in bottles.This model boat is of great interest because the ‘Cutty Sark’ was a well-known sailing ship and was important in Australia’s maritime history as a carrier to London of Australian wool in the 1880s and 90s. It is also of interest as it was made by a member of the Richter family, a prominent one in Warrnambool’s history with both Edward and his son Herman Richter producing many artefacts connected to Warrnambool’s history – model ships, violin-making, maritime paintings etc. This is the model of a three-masted ship with a hull painted in green and black with gold bands. The ship is mounted on a wooden stand and enclosed in a wooden box with a glass front. The box is varnished and has ornamental patterns in gold and blue on the top and sides. The inside of the box is painted blue and white to represent the sea and the sky.‘Cutty Sark 963Tons by H Richter 1964’richter family, warrnambool, model boat building

This medal has been issued to commemorate the Coronation of King George VI of England in 1937. It was issued by a department store in Warrnambool, that of Cramond and Dickson. This business was established by John Glass Cramond and James Dickson in Timor Street, Warrnambool in 1855. It moved to Liebig Street at the corner of Timor Street and sold mens and ladies wear. It had its own tailors and milliners and the building was a landmark one in Warrnambool for over 100 years. It closed in 1973. In 1937 the business of Cramond and Dickson was 82 years old. This medal is of great interest as it shows the level of fervor for British Royalty and all things British that was prevalent in Warrnambool in the 1930s. The Cramond and Dickson business was one of the most important ones in Warrnambool’s history as it operated for over 100 years. This is a silver-coloured medal commemorating the Coronation of King George VI of England. One side has the heads of King George and Queen Elizabeth surrounded by wording and the other side has the name of the Warrnambool store issuing the medal. The medal is tarnished. A piece of green string is attached to the hook at the top of the medal. ‘King George VI Queen Elizabeth Coronation 1937’ ‘Cramond & Dickson Warrnambool 1855-1937’ ‘P.J.King’ cramond and dickson, king george vi coronation, history of warrnambool

This cup and saucer set was issued as a souvenir of the opening of the Federal Parliament in Canberra in 1927. The building was opened by Prince Albert, the Duke of York who was accompanied by Elizabeth, the Duchess of York. The Duke of York later became King George VI of England. The colonies in Australia became Federated States in 1901 and from that date to 1927 the Australian Federal Parliament sat in Melbourne. When Canberra became the capital of Australia a Parliament House building was erected at a cost of £600,000 but it is now known as Old Parliament House as the present Parliament House was opened in 1988. This cup and saucer set is of interest as a memento of an important event in Australia’s history – the creation of a capital city and the opening of the first Federal Parliament House. It will be useful for display. This is a white china cup and saucer set. Both the cup and saucer have two gold bands around the rims and are decorated with black ornamentation and the portraits of the Duke and Duchess of York contained within gold oval patterns. There is also black lettering on both objects. The name of the maker is printed on the bottoms of both objects. On both objects: ‘The Federal Parliament opened by H.R.H. The Duke of York at Canberra 1927’ ‘Foley China E.B. & Co. Made in England’ opening of federal parliament 1927, history of warrnambool

The Framlingham Aboriginal Trust is a shareholder- owned organization established under Victorian law in 1971. The Trust owns and manages part of what was the old Aboriginal Reserve established in 1861 under the auspices of the Church of England. In 1865 the Reserve was officially established as a Government-managed aboriginal station. By 1970 the original area of 3,500 acres was whittled down to 585 acres and handed over to the Framlingham Aboriginal Trust. Framlingham is today one of only two discrete aboriginal communities in Victoria where aborigines live on aboriginal land and is an important part of the district cultural life. The celebration of the 150th anniversary of Framlingham’s establishment in 2014 was therefore a significant event in the district’s history and the booklet is a permanent reminder of this.This is a small booklet of 8 pages containing information on the 150th celebrations of Framlingham Aboriginal Reserve in 2014. The cover has a cream background with illustrations and printed material in yellow, black and brown. The pages are stapled. The booklet includes photographs, maps, illustrations and printed material. Front cover: ‘Framlingham Aboriginal Reserve 150th Anniversary Celebration, April 12, 2014, Ngatanwarr’ etc Back cover: Acknowledgements of sponsors and written material framlingham aboriginal trust, western district aborigines, peek whurrong, kirrae whurrong, gunditjmara, tjap whurrong

This is a dish made by the English company of Royal Stafford Bone China about 1920 and sold in Warrnambool as a souvenir of the city with an image of the scene at the mouth of the Hopkins River. The scene depicted shows the old Hopkins Hotel, Proudfoots Boathouse, Lyndoch and the Hopkins River Bridge. This dish is of some interest as an example of the type of high quality souvenir offered to local tourists in the early 20th century. It is historically interesting as it depicts the Hopkins River mouth about 1920 and there have been many changes since then.This is a white oval dish with fluting on the sides and fluted edges. The rim of the fluting is outlined in gold. On the inside base of the dish is a black and white image of the mouth of the Hopkins River. There are brown stains on part of the fluted material and the outside base has the maker’s shield and name. There is a small crack on the edge of the dish.‘Guaranteed Royal Stafford English Bone China Made in England.’ history of warrnambool

This book has been given to John Ardlie by Lewis Gilles in 1866. John Martin Ardlie came to Warrnambool in 1852 as the Clerk of Courts and remained in this position until 1868. He died in 1872. He was a leading figure in community affairs for twenty years and Ardlie Street in Warrnambool is named after him. His family home was Wyton, site of the old convent at Emmanuel College today. Lewis Gilles, important in the early history of Tasmania as a bank owner and breeder of cattle, came to Warrnambool in 1854 as the first resident Police Magistrate. He remained until 1866 when he went to England (the occasion of his presentation of this book to John Ardlie). He died in 1884 in South Australia. Gilles Street in Warrnambool is named after him.This book is of high significance because of its connection to two very important early residents of Warrnambool – John Ardlie and Lewis Gilles. This is a hard cover book of 336 pages. The cover is brown with gold ornamentation and lettering on the front cover and spine. The pages are gilt-edged. The first letter of each hymn is ornamented and there is an illustration covered with tissue paper on the first page. One page shows silverfish damage and the cover is partly detached from the binding. The cover is frayed in places and a little stained. The inscription is handwritten in black ink. ‘Presented to J. M. Ardlie by his friend and comrade L.W. Gilles 1864 Worthing Sussex on departing from Warrnambool 4 May 1866’. john ardlie, lewis gilles, history of warrambool

Ian Graham attended Ballarat College 1924 - 1930; a member of Garbutt; Ian married old collegian Gwen Griffith (1935)Dark red leather bound book with gold lettering and ornamentation on spine; gold crest on front cover; bookplate in inside front cover; black and white illustrations;Book plate: Crest / Ballarat College / VB Form / Special Prize / The gift of Mrs John MacLeod / Awarded to / Ian Graham / A Richardson BA / December / 1926ian graham, ballarat college, book prize

Elias Samuel BABIDGE No 1312 (born Heathcote, enlisted Heathcote) in the 2nd reinforcements 6 th Batt AIF on 18.11.1914. Embarked for Egypt 2.2.1915 then Gallipoli 5.4.1915. WIA 14.5.1915 GSW to the shoulder. Hospitalised 3.12.1915 with enteritis. Embarked for Australia 9.2.1916 enteric. He embarked for England on 3.7.1916 with the 18th reinforcements 6th Batt. Regt No. changes to 2194. Transferred to the 59th Batt 8.10.1916. WIA 21.12.1916 with GSW to the buttocks but changed legs slight. Hospitalised 21.7.1917 with old GSW (ulcer). WIA 25.6.1918 with GSW chest penetrating. DOW's 25.6.1918. Collection re Mrs May Burns.Post card photo of the grave of Sam BABIDGE, other graves and buildings in the back ground.On photo “2194 Pte S BABIDGE”. On rear “Sam Babidges grave at Gallipoli” in blue ink.photography, war graves, head stones, military history

Sharped Edged instrument used for cleaning hair from the skin. http://en.wikipedia.org/wiki/Straight_razor A straight razor is a razor with a blade that can fold into its handle.[1] They are also called open razors and cut-throat razors. HISTORY The first modern straight razor complete with decorated handles and hollow ground blades was constructed in Sheffield, England, by Benjamin Huntsman in 1740. Huntsman's process was adopted by the French sometime later. The English manufacturers were even more reluctant than the French to adopt the process and only did so after they saw its success in France.[5] Straight razors were the most common form of shaving before the 20th century and remained that common in many countries until the 1950s. TODAY Straight razors are still manufactured. DOVO, of Solingen, Germany, and Thiers Issard of France are two of the most well-known European manufacturers. Feather Safety Razor Co. Ltd. of Osaka, Japan makes a razor with the same form as a traditional straight, but featuring a disposable blade that can be installed through an injector-type system. Modern straight razor users are known to favor them for a variety of reasons. Some are attracted to the nostalgia of using old and traditional methods of shaving. It is a masculine ritual comparable to pipe smoking. Others profess an interest in reducing the waste of disposable blades.[11][22] Still others agree that straight razors provide a superior shave through a larger blade and greater control of the blade including the blade angle. Straight razors cover a much greater area per shaving stroke because their cutting edge is much longer than any of the multiblade razors. Ivory cut throat razor, with cream case 00121.3.Known as a straight razor.Razor with square point, full hollow ground 5/8” blade and double transverse stabiliser. The centre pin adds stability and rigidity to the handle---I think this is it ROM Parts The narrow end of the blade pivots on a pin, between 2 pieces of ivory forms the handle. LONG EXTRACT FROM WIKI _ SHORTEN to describe 00121 The parts of a straight razor and their function are described as follows: The narrow end of the blade rotates on a pin called the pivot, between two protective pieces called the scales or handle. The upward curved metal end of the narrow part of the blade beyond the pivot is called the tang and acts as a lever to help raise the blade from the handle. One or two fingers resting on the tang also help stabilize the blade while shaving. The narrow support piece between the tang and the main blade is called the shank, but this reference is often avoided because it can be confusing. The shank sometimes features decorations and the stamp of the country of origin. The top side and the underside of the shank can sometimes exhibit indentations known as fluting, or jimps for a more secure grip.[8] The curved lower part of the main blade from the shank to the cutting edge is called the shoulder.[9] The point where the shoulder joins the cutting edge is called the heel. A thick strip of metal running transversely at the junction where the main blade attaches to the shank is called the stabiliser. The stabiliser can be double,[10] single or can be absent in some razor models. The first stabiliser is usually very narrow and thicker and runs at the shank to blade junction, covering the shank and just spilling over to the shoulder. The second stabiliser can be distinguished since it is considerably wider and narrower, appearing after the first stabiliser and running lower into the shoulder. The non-cutting top of the blade is called the back or the spine while the cutting part of the blade opposite the back is called the cutting edge.[11] Finally the other free end of the blade, at the opposite end of the tang, is called the point and, sometimes, the head or the nose.[9][12] There are two to three pins in any handle. The middle pin, if present, is plastic coated and is called the plug.[13] Its function is to stabilise the sides of the handle so that they cannot be squeezed in the middle. When folded into the scales, the blade is protected from accidental damage, and the user is protected from accidental injury. During folding, the back of the blade, being thick and normally with a curved cross-section, acts as a natural stopper and prevents further rotation of the blade out of the handle from the other side shaving, lever, handle, blade, pivot, razor, tang

Clothing. Yellow cotton ladies gloves. Three pin tucks on back of each glove.Inside wrist gathered onto strip of elastic (3.5cm X .6cm). Gloves unused. Still stitched together at side seam. 3cm split inside wrist. Old box 573.Stamped inside LH glove, 6 1/2 Cotton. Made in England.costume accessories, female, ladies yellow cotton gloves

Clothing. Cream coloured ladies leather gloves. Three pin tucks on back of each glove. 6cm split at inside wrist. Gathered inside wrist on elastic strip. Unused. Still stitched together on side seam. Old box 573.Stamped in gloves 02691 (twicein LH glove). RH glove ''Made in England''. Leather gloves 7''. Two stickers , 5/- 11/9 6-3 412''costume accessories, female, cream coloured ladies gloves

Copy of a newspaper page titled Cornishman's day at Sparrowhawk. Also a smaller article titled Long Gully was in the Boom. There is a photo of Knipe's Castle and a sketch of a wrestler throwing another wrestler in the air. Mentioned in the articles are the pyrite burners chimneys, local indenties, wrestlers, the mines, the gullies, hills, housess shops and businesses, and Fire Brigade practice sports on Christmas morning. Item 11010.140b is an enlargement of Knipe's Castle scanned at a dpi of 1200.bendigo, history, long gully history group, the long gully history group - cornishman's day at sparrowhawk, st mathew's church of england, old hercules mine, st just point, old spadger, bendigo city, eaglehawk borough, marong shire, liddell's, cook and spargo's, deeble's, edward's, iron-jawed dick, dooley dick, tom the scientist, jack the local blondin, jumbo the whistling butcher boy, larry adler, dick davey's pub, billy williams, billy couch, billy martin, billy nicholas, the midway, victorian consuls, the gold mines (ironbark company), old hercules, kent (carlisle), paddy's bull of a whistle, cornish united, kock's poineer, old alabama (hustlers and redan), happy valley, moonta, speck gully, st just point, derwent gully, pinchgut, american gully, victoria hill, rae's hill, danger hill, windmill hill, redan hill, comet hill, comet mine, halley's comet, pengelly's (now truscott's), stamp's (later lewis and dunstan's), hattam's (later semmen's), bamford's drapery, cooperative store, weller's butcher shop, ebbott's coach factory (later payne's), philpot's shoeing forge, dennis's mining smithy, stoppelbein's tinsmith shop, wallace's bakery (later malcolm's), connell's bakery, fire brigade, knipe's castle

Rectangular storage box with three compartments. May have been used for collar and sleeve cuff studs, or a jewellery or sewing box. Full length hinged lid. Cream in colour. Black lettering on lid. Old box 74.Made in England (on base) stamped into base-RMO in black ink on lid Top RH corner.U2656 written in black oc clear nailpolish on underside top left cornercostume accessories, haberdashery, sewing box

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier kneeling beside a grave in a cemetery. He is dressed in an Australian military uniform. The cemetery pictured is the Arnos Vale Cemetery in Bristol, United Kingdom. There are multiple crosses marking graves in this photograph, all marked in memory of different soldiers who fought with the Australian Imperial Force (AIF) during World War I. It is believed that the soldier who is kneeling was also part of the Australian Imperial Force. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Another signifier of the Australian Imperial Force uniform are the three inverted chevron stripes positioned on the lower part of the left sleeve, near the wrist. These are called Good Conduct Stripes and were worn by Warrant Officers and NCOs. This patch consisted of a single chevron stripe for each year of military service meeting certain requirements of good conduct. Additionally, the man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Furthermore, the grave that this unidentified soldier is kneeling next to is the resting place of Private John James (J. J.) Simpson. He was born in Stanley, Victoria in 1883. He enlisted in the Australian Imperial Force in Melbourne, Victoria on 12 July, 1915, with the service number 4909. John James Simpson was then posted to the 60th Company Depot at Seymour for military recruit training. John James Simpson was reported wounded in action in France on 19 July, 1916. He was admitted to 13th General Hospital, France with gunshot wounds to his legs. From Boulogne, France, he traveled to the United Kingdom aboard the Hospital Ship 'St. Denis' for medical care. Upon arrival, he was admitted to 2nd Southern General Hospital, Bristol, England on 27 July, 1916. John James Simpson passed away from his wounds on 1 August, 1916. He was 33 years old.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: A.I.F. / AUSTRALIA / 441, PTE.T. / T (?) / 26B (?) / 6.1.17 / (?) / LANGTON RD. / ST. ANNES PK. / BRISTOL / A.I.F. / AUSTRALIA. / 708, GNR B.L.CRAWFORD. / FR / 5 D.A.C. / 13.2.17 / A.I.F. / AUSTRALIA. / 4481, P (?) D.MORRIS. / (?) / 31.12.(?) / A.I.F. / AUSTRALIA. / 4909, PTE J.J.SIMPSON. / 608(?) / 1.8.16 / Winchester / LANGTON RD. / ST. ANNES PK / BRISTOL / Reverse: 2641 /military album, military, war, world war i, wwi, australian imperial force, aif, j. j. simpson, uniform, cemetery

Photocopy of page headed "order of programme" with historical information Photocopy of article "St Margaret's C of E, 95 years" from "The News" 14th December 1956 Photocopy of article "The oldest shire church" from" and "Eltham in old days" by Sarah Dawson both from 100 years of News Special edition August 27, 1997 page 30 Typed recollections from Peter Bassett-Smith, 2001 Invitation, flyer and booklet: Celebration of 150 years for gathered community of St Margaret's 1861-2011 (26 February 2012). Service booklet 10 pages from an unsourced book about the early history of the Church of England in Eltham, including references to the denominational school, naming of the district, church, Henry Dendy, site, W.B. Andrew, building committee, laying of foundation stone, building, opening and dedication, list of vicars to 1960. Other documentsHG Booklet 39 and 190harry gilham collection, st margaret's anglican church, norm williams, peter bassett-smith, doney, organ

[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

Rae Alexander Anderson OAM (1903-1986) was connected to St Paul's Church and a pharmacist at the Bendigo Hospital. Rae was the organist and choir master of the parish church of St Paul, Bendigo, 1931 - 1965. Rae's son Stuart Anderson from the Balgownie Winery 1969-1999; had also been a pharmacist. Rae Anderson was a former President of the Royal Historical Society of Victoria, Bendigo Branch; now the Bendigo Historical Society. Rae died on the 8th. February, 1986 aged 82 years. He was a dedicated pharmacist; an outstanding musician; choir master and organist at St. Paul's Anglican Cathedral; a craftsman who loved to fashion things in wood and brass; interested tn the preservation of our heritage. Rae established "the Anderson Library" at the Society for reading and research.Eighteen Photos of the Bendigo Hospital - wards, pharmacist, nurses and general views. They were restored from a box of glass plate negatives found under a house in Mckenzie Street, Bendigo,.when it was sold. The photos are assumed to be taken by Rae Alexander Anderson and were processed through his pharmacy. One of the slides was maked 1935.bendigo history, sandhurst victoria, david anderson chemist, collins, dorman, holdsworth, rae anderson, st paul's church of england bendigo, bendigo hospital, stuart anderson

The Bass and Co. Brewery was founded in Burton-on-trent in Staffordshire, England by William Bass in 1777. In 1876 in registered the first ever trademark in EnglandBendigo Advertiser ''The way we were'' from 2001. Photo of Bass & Co Pale Ale Beer Bottle with the advertisement: I picked this up at Bendigo and thought of you! Something good inside you'll find to bring the old place to your mind. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Lily Sandner (1896-2001) was born in London to Dr Adolph Sandner and his wife Rosa Lang. After studying at St Mary's College in Bendigo, Lily obtained a BA from Melbourne University in 1915. In 1929, she married New South Welshman Alexander Ewan McDonald. Lily died in Queensland in 2001 at the ripe old age of 104. She came from a family well instilled in Bendigo history. Carl Sandner and his wife Lena Sticht came to Australia from Hamburg, Germany and set up an eucalyptus distillery in 1875 in Unly St. Bendigo. The business grew and Carl sent to Germany for his son Adolph to join him. Adolph furthered his interest in the health benefits of eucalyptus and decided to formalise his medical training. He studied in England and Scotland before returning to Bendigo and opening a practice in Bridge Street. Lily's brother Eugene followed in his father's footsteps and became a doctor and then the first specialist surgeon in Bendigo.Copy of photograph of Lily Sandner (m. McDonald) b. 1896. Sister of Eugene born London, photo courtesy - Mrs F Legg, Canterbury, Melbourne.photograph, person, sandner, bendigo-german-sandner

BHS CollectionA4 yellow paper. List of additional mines along the Deborah reef. Walter Scott, Tadmor, Rose of England, Herschel and Tait, Vital, Metropolitan, Metropolitan South shaft, Monument Hill Central, Monument Hill old, Violet. Locations of each mine listed with name.bendigo, mining, central deborah gold mine, central deborah gold mine

Typed copy of the Bendigo & Sandhurst Gold Mining Companies From 1872. Vol 1 Victorian Government Gazettes. Eight pages. Includes Mine name, Reef/Gully, Place/Suburb, Mine Managercottage, miners, mechanics institute, old masonic hall, court, st killians, forrest st methodist church, hospital, baptist church, bendigo gas company, st andrews presbyterian church, bendigo benevolent home, railway, st marys church of england, bendigo m p building society, st pausl church of england, high school, city family hotel, fire brigade, b u f s dispensary, synagogue, beehive store, school of mines, bendigo miners association, st marys convent, dr backhaus, st mathews long gully, salvation army, post office, art gallery, sacred heart cathedral, eaglehawk town hall

Honi soit qui mal y pense is a maxim in the Anglo-Norman language, a dialect of Old Norman French spoken by the medieval ruling class in England, meaning "shamed be whoever thinks ill of it", usually translated as "shame on anyone who thinks evil of it". Wikipedia. Dieu et mon droit, which means 'God and my right', is the motto of the monarch of the United Kingdom. It appears on a scroll beneath the shield of the version of the coat of arms of the United Kingdom. WikipediaCoffee Mug with portrait of Queen Elizabeth II in center framed in blue with Honi- Soit- Qui -Mal -Y -Pense in border and crown on top. Thistle, clover and red flower either side. Dieu - Et - Mon -Droit in garland along bottom. On Back E II R with Crown in Centre- The Coronation of Queen Elizabeth II - June 2nd 1953. Gold gilding on rim of mug Empire England 1 53 coronation queen elizabeth ii, june 2nd 1953, queen elizabeth ii