Susanna CASTLEDON (1968 - ) Born London, England Arrived Australia 1977 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.parallel prints, printmaking, map, susanna castledon

Portrait - Florence Trew (Nee Susanna Florence Fraene)stawell

Booknon-fictionTells the stories of eight courageous women through diaries, letters, photo's paintings and specially drawn maps.

Brown cover with cream printed text. There is an image of four nurses in different uniforms across the top. There is also a white circle in the top right corner with a red star in the middle and 'autograhed edition' printed around the edge in red print.non-fictionProfiles the grit, determination and selflessness of 11 outstanding Australian women serving in two World Wars. Focuses not only on the outstanding courage these women displayed in battle, but also on their personal struggles and accomplishments - proving they were as heroic in life as they were in war. [From Trove]military nursing, women in war, wwi, wwii, world war i, world war ii, australian nurses

Black & White copies of portraits of George & Susanna Berry. Donated by John Mills from the estate of Bernard Grayden.Two black & white photographs of George Berry and Susanna Berry, George's wife.george berry, susanna berry, john mills, bernard grayden

Text tells the stories of the bravery of Australian women from Gallipoli to Kokoda.Book, soft cover with sepia illustration depicting 4 women. Title in cream lettering. Black & white photographic illustrations & black & white maps. 296 pages with cut edges.Handwritten in black on 1st page: “O'Brien”book, australian women

Brown cover with cream printed text. There is an image of four nurses in different uniforms across the top.non-fictionProfiles the grit, determination and selflessness of 11 outstanding Australian women serving in two World Wars. Focuses not only on the outstanding courage these women displayed in battle, but also on their personal struggles and accomplishments - proving they were as heroic in life as they were in war. [From Trove]military nursing, women in war, wwi, wwii, world war i, world war ii, australian nurses

Illustrated book, with brown and green cover. On the front cover is one large and three small photographs Of women (the large photograph is of Vivian Bullwinkel, top right - Joyce Tweedle, centre -Myrtle Rose White, bottom right - Jeannie Gunn). Below these photos title (black, green and white ink) and author's name (white ink) are printed. Three of these photos are also on the spine (Vivian Bullwinkel, Joyce Tweedle & Jessie Gunn) above the phots the book title is printed in black and brown ink, and below the author's name, publisher's name and logo are printed in white ink. On the back cover is a summary of the book and a photograph of a woman (Myrtle Rose White. non-fictionProviding inspiration for contemporary women, this book profiles 21 individuals who faced different tests - harshness of the Australian outback, but when encountering adversity, even death, each proved her mettle, showing what it takes to be a truly heroic Australian. The 21 women are :- Georgiana Molloy, Frances ('Fanny') Bussell, Elizabeth ('Bessie') Bussell, Charlotte Cookworthy Bussell, Emma Mary Withnell, Atlanta Hope Bradshaw, Jeannie Gunn OBE, Evelyn Maunsell, Catherine Langloh Parker, Myrtle Rose White, Olive May Kelso King, Dr Agnes Elizabeth Lloyd Bennett, Dr Lilian Violet Cooper, Sister Alice Elizabeth Kitchen, Joice NanKivell Loch, Sister Sylvia Muir, Sister Vivian Bullwinkel, Sister Joyce Tweddell, Sister Betty Jeffrey, Mavis Parkinson, and Sister Frances May Hayman.women-biography, women-australian-biography

Illustrated book with brown cover. Title and author's name printed in white on front cover and spine. Front and back covers also have photographs of four women (Joyce Tweddell, Vivian Bullwinkel, Alice Kitchen and Joyce Loch) A summary of the book is printed in white on the back cover.non-fictionThe author profiles the love, dedication and selflessness of eleven outstanding women over the course of two world wars.world war 1914-1918, world war 1939-1945, women in war

Hardcover w/ Dust Jacketwalsh st library

Paperback book with purple blue cover & spine, red and white text one cover & spine, black logo and text on spine and colour image of a woman in army nurses uniform on cover. Top and bottom corners of front cover curling.non-fiction'This outstanding book tells the stories of eight courageous women through diaries, letters, photos, paintings and specially drawn maps. These women had the courage and strength for with the Anzacs are renowns and the compassion and tenderness that only a woman can bring. Sister Hilda Samsing from Melbourne became a whistleblower when nursing aboard the hospital ship Gascon, outraged by the bungled evacuation of wounded Anzacs. She defied censorship and kept a very frank diary, reproduced here for the first time. In 1914, Louise Creed, a Sydney journalist, was caught in the besieged city of Antwerp and mad a hair-raising escape from a German firing squad. Brisbane's Grace Wilson, ordered to establish an emergency hospital on drought-stricken Lemnos Island, arrived there to find suffering Anzacs but no drinking water, tents or medical supplies. Grace and her nurses saved the lives of thousands who had been wounded at Lone Pine and The Nek. In France, Florence James-Wallace, Anne Donnell and Elsie Tranter nursed near the front line in the Casualty Clearing Stations, treating soldiers with hideous wounds or blinded by mustard gas. In 1918 they had to deal with an epidemic of Spanish flu, but their heroism was quickly forgotten. Two of these women received such meagre pensions, they died destitute. Publication of this book with its numerous illustrations has been facilitated by a generous donation from Dame Elizabeth Murdoch, keen that these stories become known to Australians of all ages.' [Summary from back cover] Has endnotes with full biographical details and an index.australian nurses, world war one, wwi, ww1, louise mack [creed], claire trestrail [swan], muriel wakeford, hilda theresa samsing, grace margaret wilson, anne donnell, florence james-wallace, elsie may tranter

People - "Tyson, John & Russ, Susanna, Rintoul"

People - "Tyson, Susanna, Russ,J Ohn, Florence, Elizabeth, Pauline"

A Woman Standing Behind a Headstone with the name TREWTREW In the Memory of John Searle Phebe Price 1838 - 1918 1874 - 1994 Susana Florence Howard Christian 1847 - 1921 1881 Restored by the Grand Children of John & Susanna in 2006

A Headstone with textTREW In the Memory of John Searle Phebe Price 1838 - 1918 1874 - 1994 Susana Florence Howard Christian 1847 - 1921 1881 Restored by the Grand Children of John & Susanna in 2006

1 Rectory Street, Epworth, Doncaster DN9 IHX, Lincolnshire was home to the rector of Epworth from 1697 to 1735, the Reverend Samuel Wesley, his wife Susanna and their 19 children, one of whom, John Wesley was a founder of Methodism.Cream pottery gondola shaped bud vase with brown, green, grey, black and white decal on one side and black text on the other. "Epworth Old Rectory"new devon potter newton abbott devon, epworth old rectory

Eliza Rutledge (1820-1888) was the daughter of Rupert and Jane (nee Newby) Kirk. She married William Rutledge in St James’ Church, Sydney on 18th August, 1840. She and William had five children, two sons and five daughters. Recorded accounts tell that Eliza was “beloved for her kindness and hospitality” and that she and William kept open house for all manner of social events and occasions. Eliza died at Farnham Park, Dennington, on 31st August 1888. She is buried at Tower Hill Cemetery. The marriage of Eliza to William Rutledge, a man of historical importance in the development of Port Fairy, Warrnambool and the western district of Victoria, places her as a person of importance.Their daughter Susan Fleetwood is also memorialised in a window in Christ Church, Warrnambool. Their son Thomas Forster is also memorialised with a tablet positioned near the Eliza Rutledge windows. Stained glass, lancet window, south wall, main nave. Depiction of the ascension of Christ."By Thy Glorious Ascension Good Lord Deliver Us" In Latin: +In Memoriam+ Elizae Rutledge quae pridie idus Februarias/ MDCCXX nata pridie kalendas Septembres MDCCCXXXVIII obit/ liberi amantissimi Gulielmus Rutledge et Susanna Fleetwood pietatis/ indicio hane Jenestram posuerant Beati qui sunt mundi corde.rutledge, christ church warrnambool, eliza rutledge, eliza kirk, farnham park

James Hossack and his wife, Penuel, arrived in Geelong from Scotland on Christmas Day 1852. This album contains photographs of the Saunders family; Gertrude Morris, sister of Percy Morris; Isabella Wright; the Whillance family; Mrs Stevens; Mrs Conlan of Marlo;and her sister Susanna who died aged 62 in 1918; Bella Turnbull, wife of Captain McNeill of Marlo;Hon. James Cameron, First President of the Orbost Shire, M.L.A. East Gippsland 1902-1920.This item is a pictorial record of many Orbost locals of the first quarter of the 20th century.A large photograph album with a deep purple ornate cover. It contains photographs of local people with most labelled.inside- "Best love to Lucy from Fred & Daisy Christmas 1913" On front page on white label - " The unnamed photos belonged to Mr James Hossack - March 1821 to January 1921. They are from Scotland, Geelong, Ballarat, Melbourne. She landed at Geelong 1853 with her husband."photograph-album whillance saunders morris wright conlan cameron-james

People, cemeteryColour photograph, Headstone of Garrett John Russell and members of his family, marble, inlaid brass letters, some missing. On headstone: "Garrett Joihn Russell M.A.T.C.D. First incumbent of Holy Trinity Church Buninyong Died 10th February 1877, Aged 57 years. His Mother Mary, Died 17th March 1862, Aged 62 years. His Wife, Susan, Died 10th December 1884, aged 65 years. And his Daughter Susanna Maria Swifte, died 29th November 1880 aged 42 years." buninyong cemetery, g.j.russell, mary russell, susan russell, susanna maria swifte

This book was a prize given by the Warrnambool Baptist Sunday School to Richard Petterd in 1888. The Warrnambool Baptist Church was established in 1864 in a small cottage in Kinross Avenue in Warrnambool at the home of Mr and Mrs Andrew Griffiths. In 1869 a church was built in Koroit Street and enlarged in 1974. From time to time more improvements were made and the church still operates from the same site today. A Sunday School was established in 1865. Richard Forrester Petterd, born in 1878 in Warrnambool, was the son of George Petterd and Mary Ann Petterd, nee Warn. He married Susanna McConnell in 1903 and died in 1935. A daughter, Muriel, married Frederick Wooles in 1933 and it was their son, Kenneth from whose estate this book has come to be added to the Society’s collection.This book is most significant as it is a rare memento from the early days of the Warrnambool Baptist Sunday School and it belonged to Richard Petterd whose family was involved in businesses in Warrnambool as picture framers, stationery and fancy goods shop proprietors and estate commission agents. The book is a very attractive example of Victorian-era children’s books. This is a hard cover book of 80 pages It has a multi-coloured front cover depicting three children reading a book with a window behind them and floral decorations and two birds surrounding the three girls. The red binding is somewhat torn. The back cover has black and white etchings of flowers and children and advertisements for other books available. The book has several black and white drawings in grey tonings.‘Warrnambool Baptist Sunday School, Fourth Class United, Third Prize awarded to Richard Petterd, April 10th 1888.’warrnambool baptist church, richard petterd, kenneth wooles

Martin KING (1957 - ) Born Melbourne This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print Editioned lls '2/36' Signed lrs 'King'artist, artwork, printmaking, parallel prints, martin king

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

William Shakespeare 1564 to 1616 was an English playwright, poet, and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist. He is often called England's national poet and the "Bard of Avon" . His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. They also continue to be studied and reinterpreted. Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best work produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights. Many of Shakespeare's plays were published in editions of varying quality and accuracy in his lifetime. However, in 1623, two fellow actors and friends of Shakespeare's, John Heminges and Henry Condell, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that included all but two of his plays. The volume was prefaced with a poem by Ben Jonson, in which Jonson presciently hailed Shakespeare in a now-famous quote as "not of an age, but for all time.A book published in 1908 of Shakespeare works and significant as yet another reinterpreted of his plays only reinforcing that he was not only of his time but as his friend once said Shakespeare's works are for all time.The cover is burgundy coloured leather with embossed lettering and the inside covers are a dark green with a light symmetrical pattern. The edges of the pages are gilt.“The Complete Works of William Shakespeare” with introduction by Barry Cornwall (Bryan Walter Procter). Published by Ward, Lock and Co. Limited, London, New York and Melbourne. The book has an introduction by Barry Cornwall (Bryan Walter Proctor).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, complete works of shakespeare, book, complete works of william shakespeare, barry cornwall

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

Dr Michele Matthews has been a local and social historian for nearly three decades since she first used correspondence held by the then Bendigo City Council for her Honours thesis. She is an ardent advocate for the use of local history records to tell Victorian and Australian history from a grassroots perspective. Michele’s MA thesis, ‘A forgotten “Father” of Federation: Sir John Quick 1852‑1911’ (2003), and her PhD thesis, ‘Survivors, schemes, Samaritans and shareholders: the impact of the Great Depression on Bendigo and District 1925‑1935’ (2007), both drew heavily on Bendigo and district records. Michele Matthews Collection: PHD Research - Taylor Family Transcript of Audio Tape Interview This item includes the following document: 8672.91a Black and White photo of the Taylor house in Panton Street - Scanned from the transcript - Only a representation of the original photo. 8672.91b The document presents the early history of the Taylor family of Bendigo, tracing several generations from the arrival of John William Taylor in Victoria during the gold rush through to the childhood and early adulthood of Howard Johnson Taylor. Drawing heavily on oral history interviews, it describes how the family's experiences reflected the broader social and economic development of Bendigo, from the goldfields to the Depression era. Historical photographs of family members, homes and possessions accompany the narrative. The story begins around 1860, when John William Taylor emigrated from England and walked from Melbourne to Bendigo carrying his belongings. Attracted by the gold rush, he acquired a miner's right and built a timber home on Specimen Hill near Chum Street. Although he initially pursued gold, he later secured work as a pattern maker in one of Bendigo's foundries before becoming a house builder as mining declined. He married Susanna Johnson, and together they raised nine children, establishing a family whose descendants remained closely connected with Bendigo for generations. The narrative then focuses on Henry Johnson Taylor, the youngest son, and his wife Elva May Hartin, whose son Howard Johnson Taylor was born on 9 September 1912 in a weatherboard house on Specimen Hill. Howard's early childhood was marked by tragedy when his mother died in childbirth while expecting another child. The account reflects on the limitations of rural medical care at the time, suggesting that faster transport may have saved her life. Following her death, the family moved to Golden Square, and Henry later remarried May Whitcombe, who became Howard's stepmother. Howard's childhood provides an insight into everyday life in early twentieth-century Bendigo. The family experienced the influenza epidemic that followed the First World War, although Henry survived despite lasting health effects. Howard recalled living in several homes built or renovated by his father, including properties in Panton Street and later Echuca Street, Quarry Hill. The document describes domestic life in detail, including wood-fired bath heaters, heating and cooking with timber, and the pride taken in maintaining weatherboard houses. Education forms another important theme. Howard attended Specimen Hill State School, Golden Square State School, Quarry Hill State School, and later Bendigo High School. He remembered strict discipline, small class sizes in the primary years, and a strong interest in mathematics, particularly algebra and geometry. Despite enjoying school and performing well academically, the economic pressures of the Great Depression forced him to leave after obtaining his Merit Certificate so he could work alongside his father in the building trade. He later attended night classes to improve his building and bookkeeping skills. The memoir also captures changing technology and transport during Howard's youth. The family initially travelled by horse and buggy before purchasing a Chevrolet touring car in 1925, a significant financial investment at the time. Howard developed a lifelong enthusiasm for motor vehicles, learning to drive as a teenager and eventually owning numerous cars. He also briefly owned a B.S.A. motorcycle before replacing it with a Ford V8 Roadster, illustrating the rapid shift from horse-drawn transport to motor vehicles during the interwar years. Throughout the document, Howard's recollections provide valuable insight into family life, housing, education, employment, transport and community in Bendigo between the 1860s and the 1930s. Rather than simply recording genealogical facts, the narrative places the Taylor family's experiences within the broader history of Bendigo's growth from a gold mining settlement into a well-established regional city. The final pages consist of detailed footnotes referencing the original oral history recordings from which many of the quotations were drawn.bendigo, michele matthews collection, taylor transcript of audio tape interview