The mystery of the Quietly Club, Berwick

This is one of my favourite posts which I researched and wrote for my work blog, Casey Cardinia Links to our Past. It was posted on November 24, 2010 and is reproduced below, with a few modifications. 

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I had an email from the Dandenong & District Historical Society asking if I knew anything about the Quietly Club in Berwick. They had received an email on this subject from Maurice Mishkel from Canada, a collector of stamps and envelopes. Maurice had purchased this envelope, below, addressed to Horace Bennett, Tarcoola Station, River Darling, via Wentworth, New South Wales.

I passed the query onto Judith Dwyer and Corinne Brewis of the Berwick Mechanics’ Institute and Free Library (BMI), in High Street, Berwick. The BMI have scanned their Minute Books and Attendance or Visitors Registers and Judith immediately recognized the art work. 

The artist was John Warne (1867-1941), a Berwick painter and decorator, who with his brother Charles, a plasterer, had started a business in Station Street (now Gloucestor Avenue) Berwick in the late 1880s. In 1901,  John married Henrietta Searle, the daughter of Henry and Jane Searle. Henry had operated a blacksmiths on the corner of Wheelers Street and High Street (known as Searle’s Corner) in Berwick from around 1860. Sarah and John had four children - Joseph Thomas (known as Tom) b.1902; Marian Hilda (known as Hilda) b.1904; Jack b.1907 and Samuel Charles b.1910. Tom followed his father and also became a painter and sign writer. (1)

John Warne's illustration from the Attendance Register of June 18, 1894.

Image: Berwick Mechanics' Institute and Free Library

From 1893, until she married John Warne, Henrietta Searle was the Librarian at the BMI (2).  From the attendance books we know that both Horace Bennett and John Warne were regular visitors to the BMI and that John frequently ‘annotated’ the attendance book, whereas Horace seemed to make jokes about his occupation.

Horace’s last visit to the BMI was November 3, 1894, where he added Fare the Well after his signature.

Image: Berwick Mechanics' Institute and Free Library

So what was the Quietly Club? – we don’t know but can only surmise it was a bit of an in-joke with John and Horace and the other lads. Perhaps it was to do with Libraries encouraging silence or the Library may have been quiet after Horace left.

Horace signs in as T.H. Bennett Ltd Butcher, on January 10, 1894. Is he actually a butcher? 

Image: Berwick Mechanics' Institute and Free Library

On July 18, 1894 there is a reference to Good old Bennett, what price fish, 

so perhaps he also sold fish?

Image: Berwick Mechanics' Institute and Free Library

Horace also signed in as H.R.H The Duke of York October 18, 1894

Image: Berwick Mechanics' Institute and Free Library 

 November 1, 1894,  he was The Humble Horace Bennett. 

Image: Berwick Mechanics' Institute and Free Library

The entry from March 6, 1894 - there's John Warne's signature, with Horace Bennett's underneath - and A Sop? Above John's signature is that of Horace Bennett, possibly the father of young Horace. What does B.C.B stand for? Berwick Cricket ??, Berwick Cycling??

Image: Berwick Mechanics' Institute and Free Library

Tarcoola Station is near Pooncarie on the Darling River and was firstly occupied by William Campbell. It was taken over by Charles Nicholson in 1851 and at the time consisted of around 30,000 acres. A series of amalgamations with other properties saw Tarcoola having over one million acres in the 1880s, with 21 workmen employed as well as Managers, cooks, maids, grooms, stable hands, a black smith and Chinese gardeners. Tarcoola was broken up in 1918 into ten leases. We don't know what Horace's role was at Tarcoola. An entry in the Attendance Registers lists Horace as a butcher, so may be that was what he also did at Tarcoola, nor do we know when he arrived at Tarcoola. (3). 

What do we know about Horace? He was T.H Bennett, and that it is likely his father was also called Horace. I can't find any Bennetts in the Rate Books in Berwick in the 1890s; I can't find a reference to a birth of a T. Horace Bennett in Victoria or New South Wales nor a death, that I can say with any certainty would be him; and the same with the Electoral Rolls. Essentially, I know nothing about him, but that he had a sense of humour.

The  Horace Bennett Quietly Club mystery brings up a few issues – first the importance of networks. There are hundreds of Local History and Heritage Societies in Victoria, many of whom keep in touch through regional networks such as the South Eastern Historical Association. We have our own network here in the Casey Cardinia Region, the Local History Reference Group, who meet quarterly. It’s good to know that if you can’t answer a query, then you can pass it onto someone who may be able to help. Secondly, it brings up the issue that the role technology now plays in Local History – without email we could never have passed around this query so quickly and if the BMI had not decided to scan all their records would Judith and Corinne have had easy access to the original registers and recognized the art work? Scanning has made all these old Registers immediately available at the click of a mouse button and another click can have these images whizzing around the world.

Thanks to Maurice for sharing his envelope and giving Horace Bennett and the Quietly Club a place in our history. I would love to hear from you if you know anything about Horace.

Footnotes
(1) Early Days of Berwick and its surrounding districts, compiled by Norman E. Beaumont, James F. Curran and R.H. Hughes (3rd edition published by Rotary, 1979); Indexes to the Victorian Births, Deaths and Marriages; John Warne's obituary Dandenong Journal, March 26, 1941, see here;
(2) Berwick Mechanics Institute and Free Library: a history by Richard Myers (Berwick Mechanics Institute and Free Library, 1999)
(3) The history of Pooncarie and District by Rob Lans, Thelma Smith and Bill Smith. (Pooncarie School Centenary & Historical Committee c. 1988.)

Sister Florence Vines - World War One Nurse

Florence Vines operated the Shepton Private Hospital in Berwick, served in the Australian Army Nursing Service in World War One and later became a Chiropodist.

Florence  was the twelfth and last child of Joshua and Mary (nee Nicholls) Vines and  was born in Geelong in 1885. Her own mother, Mary, died ten years later at the age of 51 and her father died at the age of 72 in 1906. Florence attended Clarendon College in Ballarat and later undertook her three years of nursing training at Ballarat Hospital, completing her exams in 1908, as we can see from the results list below.  (1).

Florence successfully completed the Royal Victorian Trained Nurses' Association exams in 1908.

Ballarat Star, January 1 1909,  http://nla.gov.au/nla.news-article217274558

Two weeks after the results were published, the Ballarat Star reported that Florence and some of the other  nurses from the Ballarat Hospital were granted the Hospital seal on their certificates. Florence was later to work with Kathleen Duigan (2), who had also passed her examinations.

Granted the Hospital seal on their certificates.

Ballarat Star, January 14 1909 https://trove.nla.gov.au/newspaper/article/217275846

In December 1913, Florence and her fellow Ballarat Hospital nurse, Kathleen Duigan, took over the management of Shepton, a small private hospital in Station Street (now Gloucester Avenue) Berwick from Nurse Grace Mary Dunphy (3).

Advertisement for Shepton Private Hospital

Berwick Shire News March 4, 1914  http://nla.gov.au/nla.news-article89083297

Florence joined the Australian Army Nursing Service at the age of 29 on June 25, 1915, leaving Kathleen to operate the hospital. Florence left Australia on July 17, 1915 on the HMAT Orsova (on the same day as Norah and Aileen Lehman, who I have written about, here.) Sister Vines was attached to the 2nd A.G.H at  Harefield Park in England but suffered from various illnesses including dysentery and attacks of rheumatic fever and returned to Australian in December 1916 to convalesce. Florence re-embarked on June 12, 1917 for Salonika (now Thessaloniki) in Greece but was finally invalided back to Australia in April 1918 suffering from debility and colitis. She arrived on May 1, 1918 and was discharged on medical grounds in the August of that year (4).

Report of Nurse Vines leaving for the Front

South Bourke and Mornington Journal, July 8,1915 http://nla.gov.au/nla.news-article66188026

Florence from a group photo of Nurses with our Expeditionary Reinforcements. 

Punch July 29, 1915 http://nla.gov.au/nla.news-article138700459

Group portrait of members of the Australian Army Nursing Service (AANS) most of whom embarked from Australia on the Orsova during July 1915, outside the Ivanhoe Hotel in London.

Florence Vines is second from left, middle row.

Australian War Memorial, see all the names here https://www.awm.gov.au/collection/C1003033

A report of the 11th annual reunion of Clarendon College, Ballarat, paid this tribute to old collegian, Florence Vines and her nursing colleagues.

Ballarat Star, October 30, 1917  http://nla.gov.au/nla.news-article154754867

Florence did not return to the Shepton Private Hospital in Berwick after the War, although a visit was reported in the local paper, when her many friends were glad to welcome her. Kathleen Duigan, operated the hospital until 1920 (5).

Sister Vine visits Berwick after her return from the War.

South Bourke and Mornington Journal January 9,1919 https://trove.nla.gov.au/newspaper/article/66195348

The Electoral Rolls give us some details of her life and career after serving her country. In 1919  Florence was at the Army Base Hospital in St Kilda Road and over the years they note other addresses in  Malvern, Armadale and the St Kilda area.  In 1924, the Electoral Rolls list a change of career, to that of a Chiropodist, a profession she continued with until her retirement. In the 1930s she practiced at the upmarket department store, Georges of Collins Street.

Florence returns from twelve months abroad. 

The Chappe Salon was based in Georges Department store in Collins Street.

The Herald January 12, 1938 http://nla.gov.au/nla.news-article244945982

Florence died on September 11, 1979 at the age of 94, at the Repatriation Hospital and was cremated at Springvale. Florence was a single woman, of perennial cheerfulness (6) who had to make her own way in the world to support herself.   She was a well trained and hard working nursing sister, who along with her colleague, Kathleen Duigan, operated their hospital where they dealt with the whole range of medical issues from the birth of babies, nursing people back to health after operations and disease to the death of patients whose time had come. She served her country during World War One, nursing under tiring and trying conditions and on her return to Australia, Florence devoted herself to a  new career as a Chiropodist. 

Florence's death notice from The Age, September 13, 1979

Footnotes
(1) Indexes to the Victorian Births, deaths and marriages; Clarendon College connection - Ballarat Star, October 30, 1917, see here.  

(2) Kathleen Marie Lytton Duigan.  The daughter of Charles Beamish and Frances Elizabeth (nee Graham) Duigan. She died September 27, 1954 aged 69. This short report tells us that her father was a doctor,  as was her grandfather, so if is perhaps no surprise that Kathleen took up nursing as a profession.

Punch April 9, 1914 https://trove.nla.gov.au/newspaper/article/129698232

(3) Grace Mary Dunphy. Grace established Shepton Private Hospital in 1910, according to Shire of Berwick Rate Books. She died April 18, 1948 at the age of 67, and her informative death notice lists her husband, William, whom she married in 1912; her son, and parents. After she left Berwick she operated Kynaston Convalescent and Rest Home in Bambra Road, Caulfield with her sister, Sara Theresa Dunphy, who was also a nurse. A photograph of Kynaston is here. 

The Argus April 19, 1948  https://trove.nla.gov.au/newspaper/article/22550036

(4) Attestation papers from the National Archives of Australia, see here.

(5) In September 1920 she sold her superior household furniture and effects, due to the fact she was leaving the district, see the advertisement in the South Bourke and Mornington Journal of September 9, 1920, here.

(6) South Bourke and Mornington Journal, July 8,1915, see here.

This is a revised and expanded version of a post, which I wrote and researched, that appears on my work blog, Casey Cardinia Commemorates: Our War Years.

The Arthur Streeton painting of the Brown family of Berwick

I was reading Early Days of Berwick (1) and came across the following in the Harkaway chapter - For some time an artist, Mr Ford Patterson [sic], lived on this property. Whilst there he painted on the stable door a stockman which was a very fine piece of work. What became of it is not known. Mr Paterson was the brother of Mrs Geordie Brown, of the Berwick Border Store. Her son represented Australia as a hurdler in the Olympic Games. After her husband's death Mrs Brown married James Gibb, M.H.R. (2).

That was interesting, because it is said (3)  that Arthur Streeton (1867-1943) painted a portrait of the Brown family in their house, Inveresk, at Berwick, but there didn't seem to be any evidence that this family portrait existed, so when I found the reference above about the link between the Brown family and the artist John Ford Paterson (1851-1912), I thought I would investigate further.

John Ford Paterson's Australian Dictionary of Biography entry by Marjorie Tipping, says, in part, as a landscape painter he was not as successful as others in the Heidelberg group. His work was more romantic in mood and his sense of colour, draftsmanship and mystical feeling for the bush placed him among the important Australian artists of the nineteenth century. With such artists as Conder and Roberts he broke away from the Victorian Academy of Art to found the Australian Art Association. In 1888 these organizations amalgamated as the Victorian Artists' Society; Paterson was its president in 1902 (4). The two other men mentioned are Charles Conder (1868-1909) and Tom Roberts (1856-1931).

Clearly, Paterson was an artist of some note, he knew Arthur Streeton, and they socialised together at Paterson's  house in Carlton (more of which later).  In July 1888, the fact that they were both elected to the Victorian Artists' Society Council (5) and they exhibited together in May 1892 (6), are other examples of  their connection.  This connection strengthened the likelihood in my mind that Arthur Streeton may have painted a portrait of the Brown family at Inveresk.

Inveresk, Berwick, the residence of George Brown, designed by Little and Beasley.

Image originally in Building, Engineer and Mining Journal, March 28, 1891 and republished in Berwick Nostalgia: a pictorial history of Berwick (Berwick Pakenham Historical Society, 2001)

Inveresk was built by George Brown, a draper, of Berwick in 1891 (7). George had been in Berwick for many years and was originally married to Margaret Stewart. Margaret was the sister of Susan Bain, the wife of Donald Bain, who had established the Border Hotel, also called the Berwick Inn, in High Street Berwick in 1857. Donald and Susan married in 1859 and George and Margaret married in 1864. George and Margaret had one son, George in 1864, who died in tragic circumstances on May 31, 1887 when he was hit by a train. Margaret died July 28, 1884, aged 50 (8).

George Brown married again in January 13, 1887 to Mary Jane Paterson. He was 50 and she was 32 and a widow (9). Her first husband, Thomas Esson, had died in Scotland around 1881 and Mary Jane came to Australia with her son to join other family members, who were already in Melbourne (10). Her son, Thomas Louis Buvelot Esson (1878-1943) was the playwright, poet and Socialist (11). Mary Jane had two other brothers in Melbourne, apart from John Ford Paterson; her brother Hugh was also an artist and the father of artists Esther Paterson (1892-1971) and Betty Paterson (1895-1970). Another brother Charles was a decorator whose firm, Paterson Bros later monopolized the decoration of wealthy homes and such public buildings as Government House, Melbourne Town Hall, the Parliamentary Library and the Prahran Public Library (12).

George and Mary Jane had the one son, Francis Paterson Brown on November 13, 1887 (13). Louis Esson's entry in the Australian Dictionary of Biography said that Francis was his mother's favourite and that Louis considered his mother to be flighty and economically irresponsible (14). In spite of the fact that Francis was supposedly his mother's favourite the brothers apparently lived together and  socialised. A story was published in The Argus on May 21, 1938, about the suburb of Carlton in the 1890s (15) - Melbourne had its Bloomsbury -

John Ford Paterson, one of Victoria's pioneer artists, lived in a three-story house in Queensberry street with his brother Hugh, and the two were the centre of as famous a group of Australian artists as ever got together for a pipe and an argument.

Every Sunday morning and evening the Patersons' studio was filled with Melbourne's intelligentsia, and Scots voices and tobacco smoke fought for the mastery. Here came Fred McCubbin, who lived with his wonderful wife and growing family round the corner, and Arthur Streeton and John Longstaff. Walter Withers was not often absent, and Max (then better known as Duncan) Meldrum, Alec Colquhoun, Montagu Brown, and Mather were all among the stalwarts who could carry on wordy warfare as slickly as they could wield a brush. When he was in Melbourne Phil May was a joyous visitor and kept the Campbells coming as only he could.

In those days the boys came on almost from the cradle. If you lived in Melbourne you supported Melbourne and it upheld you. Louis Esson and Frank Brown, the former our first real dramatist, and the latter one of our Olympic champions, lived next door to the Patersons and joined the Sunday circles almost as soon as they were breeched (16).

In 1891, George and Mary Jane built, as we said, Inveresk at 93 High Street, Berwick.   It was made of local Berwick bricks, roofed in slate imported from Wales and designed by architects were Little and Beasley, who had who also designed the Berwick Grammar School  at 76 Brisbane Street (17).  John Little and Hillson Beasley had formed a partnership in January 1891 (18). John Little was later in partnership with John Grainger, the Architect and Civil Engineer, a man overshadowed in life by his famous son, Percy Grainger (18). Hillson Beasley's previous work included the East St Kilda Congregationalist Church on the corner of Hotham and Inkerman Streets and in 1896 he moved to Western Australia where he became the Chief Architect of the Public Works Department (20). 

It was at Inveresk that Arthur Streeton was said to have painted the portrait. This has been an on-going mystery for myself and others for many years. In 2013, a colleague of mine, Alice Woolven, asked what I knew of this portrait and she then emailed Dr Anna Gray at the National Gallery of Australia who kindly contacted Oliver Streeton, the grandson of Sir Arthur Streeton and this was his response -
Dr Anna Gray has forwarded on to me your e-mail to her of 8th April. I have no knowledge of a print by Arthur Streeton of “Inveresk”, Berwick, but a portrait of a child, Frank P. Brown '91 has been offered for auction three times, according to the Australian Art Sales Digest record: Joels 22/11/1995 - lot 108 - unsold; Joels 27/11/1996 - lot 111 - unsold; Joels 3/8/1999 - lot 246 - unsold.

The date '91 is possibly a mis-reading of the date inscribed on the painting because there is mention of a visit to Berwick in two letters of Arthur Streeton; to Tom Roberts, June 1892, “... - I’m off this week to Berwick to work at the two £10 commissions I have......” ; to Tom Roberts, 29th June 1892, Berwick Sunday Evening; see the text of these letters in Letters from Smike; the letters of Arthur Streeton 1890 - 1943, edited by Ann Galbally and Anne Gray, Oxford University Press, Australia, 1989 - pp 51 - 54.

There is mention of a possible portrait of Mrs Brown, but I do not know if one exists. When I find a better image of the portrait of young Frank P. Brown, I will try to examine the date to determine what has actually been inscribed. As the painting appears to have remained unsold, I suppose there is a possibility that it can be tracked down from Joels vendor records.

There are two early watercolours by Arthur Streeton, Berwick (Joels, 13/4/1988 - lot 1219 and Joels, 20/4/1993 - lot 150) and Haystacks at Berwick (Joels, 8/11/1978 - lot 521 and Joels, 27/5/1981- lot 509). Both watercolours are undated but appear to me to be in an mid-1880s style. So far I have not come across any reference that would explain Streeton’s visit to Berwick at this time. I attach an image of the Frank P. Brown portrait below.
With best wishes,
Oliver Streeton

Portrait of Frank P. Brown, 1891 by Arthur Streeton

www.aasd.com.au, who credited Leonard Joel for the image.

Frank P. Brown - is surely  Francis Paterson Brown, the son of Mary Jane Brown, nee Paterson,  and the nephew of artist, John Ford Paterson. Frank Brown, attended Scotch College, and played for Melbourne and St Kilda in the Victorian Football League. He was an all-round athlete and Australian Hurdles Champion, and represented Australia at the Festival of the Empire Games held in London during the festivities held during the Coronation of King George V in 1911 and won the 120 yards Hurdle at an International meet in Berlin in 1912, but I can find no evidence he competed in the Olympic Games, as stated in the Early Days of Berwick.  Frank served in the A.I. F during World War One. He was the boxing and athletic editor of the Sporting Globe, when he died at only 41 years of age in  November 26, 1928. One of his obituaries in The Herald is written by C.J. Dennis (21).

Francis Paterson Brown during his Scotch College days.

https://www.scotch.vic.edu.au/greatscot/2010sepGS/51.htm

There may well still be a portrait of the Brown family, painted at Inveresk by Arthur Streeton, waiting to be discovered, but I am of the opinion that Arthur Streeton did paint a portrait at Inveresk, but it wasn't of the Brown family, it was of their son, little Frank Brown. 

Acknowledgment
Thank you to Alice Woolven, Dr Anna Gray and Oliver Streeton. It was Alice, who in 2013, was curious enough to email Dr Gray, who contacted Mr Streeton. Between the four of us, we have (I believe) solved a mystery.

Footnotes
(1) Early Days of Berwick and its surrounding districts, compiled by Norman E. Beaumont, James F. Curran and R.H. Hughes (3rd edition published by Rotary, 1979), p. 74. The book was originally published in 1948.
(2) The reason I was looking up Early Days of Berwick was to see what information they had on Franz Schmitt, who had the Steinberg vineyard at Berwick. Early Days of Berwick referred to a property owned by a Lotha Schmidt who operated a vineyard and winery and this was the property that John Ford Paterson lived on for a time. Franz Schmitt, Lotha Schmidt their vineyards are a story for another time.
George Brown died December 29, 1896 and Mary Jane married James Gibb on July 30, 1898, when she was 43 years old and he was 55. The Hon James Gibb (1843 - 1919) was the son of Alexander Gibb of Campbellfield. James was the M.L.A for Mornington from 1880 to 1886 and also owned at one time, Melville Park (now Edrington in Berwick, the former home of Lord and Lady Casey). Gibb was also a draught horse breeder and described as one of the most enterprising farmers in the State - a champion ploughman, gentleman an politician. He was a Shire of Berwick Councillor for 30 years and the Federal Member for Flinders from 1903 to 1906. You can read his obituary in the Weekly Times of March 8, 1919, see here. In 1904, Mary Jane Gibb purchased the Tullillan property in Clyde Road. Read about Tulliallan, here. She died on July 30, 1932 aged 78. Read her obituary in the Shepparton Advertiser of August 1, 1932, here.
(3) The Heritage of the City of Berwick, researched by Context P/L and published in 1993, quotes (page 320) A Brief Cultural Review of the City of Berwick by Helen Millicer, which was produced in 1991. I have not seen the Millicer document.
(4) Read John Ford Paterson's entry, written by Marjorie Tipping, in the Australian Dictionary of Biography https://adb.anu.edu.au/biography/paterson-john-ford-4372
(5) The Argus, July 26, 1888, see here.
(6) The Argus, May 14, 1892, see here.
(7) The Heritage of the City of Berwick, researched by Context P/L and published in 1993.
(8) Family information from various notices in the newspapers and Early Settlers of the Casey Cardinia District researched and published by the Narre Warren & District Family History Group in 2010. George Brown, junior married Emily Gissing on August 14, 1885, she was the daughter of George Gissing of St Kilda. You can read an account of the Inquest into his accident in the South Bourke & Mornington Journal, of June 8, 1887, here.
(9) Marriage certificate of Mary Jane Esson and George Brown.
(10) Louis Esson's entry in the Australian Dictionary of Biography, written by D.R. Walker, https://adb.anu.edu.au/biography/esson-thomas-louis-buvelot-6115
(11) Ibid.
(12) Esther Paterson https://www.womenaustralia.info/biogs/AWE3783b.htm
Betty Paterson https://www.womenaustralia.info/biogs/AWE3782b.htm
Charles Paterson, is mentioned here    https://adb.anu.edu.au/biography/paterson-john-ford-4372
(13) Scotch College, Melbourne website https://www.scotch.vic.edu.au/greatscot/2010sepGS/51.htm
(14) https://adb.anu.edu.au/biography/esson-thomas-louis-buvelot-6115

(15) I took the date (1890s) from the headline of the article 'a generation ago' and the fact that John Ford Paterson died in 1912. Melbourne had its Bloomsbury: the Carlton of a generation ago was thronged with Artists and Bohemians by Gladys Hain.

(16) Melbourne had its Bloomsbury: the Carlton of a generation ago was thronged with Artists and Bohemians by Gladys Hain in The Argus, May 21, 1938, see here.
(17) The Heritage of the City of Berwick, researched by Context P/L and published in 1993
(18) The Age, January 3, 1891, see here.
(19) John Little https://manchestervictorianarchitects.org.uk/architects/john-little John Grainger https://cv.vic.gov.au/stories/built-environment/john-harry-grainger/
(20) Hillson Beasley - East St Kilda Congregationalist Church http://skhs.org.au/SKHSchurches/east_st_kilda_uniting_church.htm Australian Dictionary of Biography entry https://adb.anu.edu.au/biography/beasley-hillson-12789
(21) Frank Brown - Football career is listed on the Scotch College website https://www.scotch.vic.edu.au/greatscot/2010sepGS/51.htm; Other information - Obituary Sporting Globe, November 28, 1928, see here; Obituary The Argus, November 27, 1928, see here; Obituary by C.J. Dennis, The Herald, November 27, 1928, see here.

A version of this post, which I wrote and researched, appears on my work blog, Casey Cardinia Links to our Past. 

Elizabeth Parsons (1831-1897)

Elizabeth Parsons (1831 - 1897) was a professional artist, who created many delightful landscapes in water-colour, oil and drawings. The State Library of Victoria has around thirty of her works on-line, many of the St Kilda area (1) however Elizabeth also has a number of works of Berwick, which was then a country town and where the family stayed during summer.

View from Wilson's Hill, Berwick, 1878 by Elizabeth Parsons.

Image: National Gallery of Victoria A35-1976

This is a very short history of her life and works, most of which I have summarised from the book More than a memory: the art of Elizabeth Parsons by Veronica Filmer.  This is the catalogue of an exhibition of Elizabeth Parson's work held at the Geelong Gallery in 2004. The exhibition was also curated by Veronica Filmer. It's a lovely book, I found a copy at an on-line second-hand book seller and it is well worth tracking down, however the Geelong Galley has recently digitised the book and it is available on their website, here https://www.geelonggallery.org.au/whats-on/exhibitions/elizabeth-parsons

Elizabeth was born to William and Elizabeth (nee Keens) Warren on November 27, 1831.  The Keens were market gardeners and William and Elizabeth and their children lived on the family property after their marriage in 1820. Elizabeth (the younger) found employment as a governess and in the late 1850s began art lessons with instructors including Thomas Miles Richardson and James Duffield Harding.

Elizabeth Parson

The Age, December 10, 1932, https://trove.nla.gov.au/newspaper/article/204305272#

Her mother, who died in March 1867, left Elizabeth an annuity as long as she remained unmarried and this gave her some freedom to travel around England on sketching trips. It was on one of these trips that she met George Parsons (1830 - 1920) who was the manager of the Lizard Serpentine Marble Works.  George had trained as a surveyor and was a widower with two sons, George and Cecil. Elizabeth and George married on October 28, 1868. Elizabeth gave birth to  a daughter, Adeline, in August 1869. 1869 was also significant for Elizabeth as she exhibited seven works in the Society of Female Artists exhibition, her first major exhibition. Elizabeth exhibited under the name of Mrs George Parsons.

In 1870 the family decided to migrate to Australia and they arrived in Melbourne on May 20, 1870 and their son Henry was born the same year. In 1872 another son, Warren, was born followed by two more sons, Noel in 1875, Jonathon in 1876 and a still-born baby in 1879.   Elizabeth lost no time in establishing herself as an artist in her new country and she exhibited in the Victorian Academy of Art exhibition in November 1870. The Argus had a two part review of this exhibition, which you can read here and here. The Argus said that there were three water-colour landscapes of conspicuous merit by Mrs G. Parsons (2).

There was also a more detailed review of Elizabeth Parson's work in The Argus of December 26, 1870, which Ms Filmer quoted in her book (3) and I have reproduced, below.

Praise for Elizabeth Parson's work.

The Argus December 26, 1870 http://nla.gov.au/nla.news-article5839972

Elizabeth commenced teaching in the early 1870s as well as continuing to exhibit works  depicting local landmarks such as the Carlton Gardens and Melbourne University. Around 1873, Elizabeth rented a studio in Flinders Lane and the next year the family moved to a house in Neptune Street, St Kilda. They later moved to Charnwood Road in the same suburb and then to 249 Carlisle Street in Balaclava.

The family also toured the State and scenes from areas such as Mornington, Geelong, Woodend and Berwick featured in Elizabeth's work. Ms Filmer writes that the family spent many summers in Berwick, where they had either leased or brought  a small holiday house. From here Elizabeth could make sketching trips into the surrounding district. (4)  The picture, below, shows  the back of the holiday house in Wilson lane (or Wilson Street as it was actually called). Ms Filmer also writes that from the Berwick house popular locations such as Harkaway and Koo Wee Rup were easily accessed (5).  I checked the Shire of Berwick Rate books and neither George or Elizabeth are listed as owning property at Berwick,  so they must have rented a house in Berwick. 

Wilson lane, Berwick, c. 1876 by Elizabeth Parsons.

Image: More than a memory: the art of Elizabeth Parsons by Veronica Filmer (Geelong Gallery, 2004)

Elizabeth's standing as an artist continued to grow and in December 1874, she was elected to the Victorian Academy of Art Council, which is all the more remarkable as there was much opposition to women taking up public positions of any kind and also that she had the responsibility of a  young family to care for and George was often away due to his job as inspector and auditor of the Seymour to Avenel section of the North Eastern railway line. Elizabeth also continued to exhibit and began painting in oils.

In the early 1880s, Elizabeth became more enterprising and published three books - the Drawing book of Australian Landscape - book one covered buildings, book two trees and book three landscapes. Books one and two have been digitised by the State Library of Victoria, here and here and Ms Filmer writes that no trace has been found of the third book, Landscapes (6) 

At Berwick, 1882, by Elizabeth Parsons. This illustration was originally published in her book, Drawing book of Australian Landscape - Part 1 - buildings.

Image: National Gallery of Australia Image NGA 86.1996.

The 1880s saw Elizabeth continue to exhibit in the annual Victorian Academy of Arts shows, the Sydney Art Society exhibition, Victorian Jubilee Exhibition of 1884, amongst other shows. In 1886 she joined the newly formed Australian Artist's Association along with other artists such as Tom Roberts, Arthur Streeton and Charles Conder. The first exhibition of this group was reported on in the Melbourne newspapers, see below and you can read Elizabeth's review, below.

Praise for Elizabeth Parson's work at the inaugural Australian Artist's Association exhibition.

The Argus September 7, 1886 http://nla.gov.au/nla.news-article11571934

Elizabeth was also a member of two social clubs - the Buonarotti Club, whose members were mainly young artists (7) and the Stray Leaves Club, which was active from 1889 to 1892 and often met at the Parson's home in Balaclava. Emma Minnie Boyd (nee A'Beckett, 1858 - 1936) was also a member of the Stray Leaves Club.  Ms Filmer writes that Emma Minnie Boyd and Elizabeth Parsons, exhibited together from the mid 1870s, had stylistic similarities and that Elizabeth may have been something of  a mentor to Emma (8).  The A'Becketts owned The Grange property at Harkaway, the town just north of Berwick, so it is likely that they also socialised when the Parsons were at Berwick.

At Berwick, 1882, by Elizabeth Parsons. This illustration was originally published in her book, Drawing book of Australian Landscape - Part 1 - buildings.

Image: National Gallery of Australia Image NGA 86.2250

From 1889 Elizabeth decided to retire and sold many of her works at a sale in 1890 and she held another sale in 1896. You can read the coverage of the 1896 sale in The Age of  July 17, 1896, here.  By this time Elizabeth was suffering from breast cancer and she died May 28, 1897. She is buried in the St Kilda Cemetery, as is her husband, George, who died January 19, 1920.

There were periodic exhibitions of Elizabeth Parson's works after her death, mainly instigated by her daughter Adeline, and also one in 1920, which Ms Filmer said reignited interest in Elizabeth and her art (9).  The Herald reviewed this exhibition, you can read it here and it is transcribed, below. 

The review of Elizabeth Parson's 1920 retrospective exhibition.

The Herald, March 15, 1920  http://nla.gov.au/nla.news-article242159510

Mid-Victorian Memories by A. Colquhoun

An exhibition of 65 paintings in water-colors by the late Elizabeth Parsons (Mrs George Parsons) was opened today at the Decoration Galleries, Collins street. Mrs Parsons occupied a prominent place in Victorian art during the seventies and eighties, and her work was accepted not merely as that of a talented woman painter but as an equal of the leading professional artists of her time and environment. Her manner of using water-color was direct and forceful, free from tricky manipulation of any kind, and generally characterised by a uniform sincerity of purpose. In the present collection, which ranges over many years, the quality is naturally unequal, but there is no example shown which has not some claim to be considered on its merits as a work of art. Apart from their artistic worthy these pictures have overlooked, and they form, collectively or individually, an impressive record of the great changes which have taken place in Melbourne and its environs during the lust 40 years. Mrs Parsons, who was a woman of intellect and of attractive personality, died in 1897. The exhibition will remain open till March 20. (The Herald, March 15, 1920).

The man who wrote this review, Alexander Colquhoun (1966-1941), was an artist and the art critic who wrote for The Age, as well as The Herald (10).  In 1932, he profiled Elizabeth Parsons in his series Australian Artists of the Past for The Age (11).  It is an interesting look at her life which addresses the difficulties she face balancing raising a family as a professional artist. It also looks at some of the prejudice she faced initially as a woman, when the art world was dominated by men.

Australian Artists of the Past - Mrs Geo. Parsons. By A.C.

In reviewing the progress of the pioneer artists of Australia one is apt to think of it a a parade fit males only, and in the main the presumption is largely borne out by fact; for in those early colonial days woman had other things to do than fiddle about with paints and brushes; and though she had since amply justified her claim to recognition on a professional footing, the time was not yet ripe in the seventies for her acknowledgment as any thing more serious than a pretty dabbler in the arts. The woman who then sought to make art her vocation in life had many things to reckon with and overcome before attaining even a moderate grip on success, and only one of those was a popular conviction that her only credible sphere of action was in that shrine of early Victorian smugness - "the home."

The perfunctory lady amateur had rather a vogue in Queen Victoria's days but with Mrs. Parsons the case was different, for though the mother of a family and a domesticated woman in the true sense of the term, her art never fell to the level of a hobby or accomplishment, but was, from the first to last, the serious business of her life. She was born at Islesworth, on the Thames, and lived there until she married, at the age of thirty-five, her husband being a widower, whom she met while on a sketching trip in Cornwall, and with whom, a few years later she left England to settle in Australia. Mrs. Parsons, like Glover and Buvelot, brought with her to this country a record of past achievement. 

Before her marriage she was a pupil of Thomas Miles Richardson, a man of some note in his day as a painter, engraver and illustrator, and on various occasions an exhibitor at the Royal Academy exhibitions. His landscapes, in oils and water colors, were painted in a bold and original manner, and he had a special gift for "sunset effects," which had then a more popular appeal than in these sophisticated days. Her next mentor in art was James Duffield Harding, celebrated as a teacher, painter and lithographer, and who published several works relating to the practice of his profession, among them "Lessons in Art" and "The Principle and Practice of Art", both of which had a wide circulation. The teaching of this artist had a lasting influence on the work of Elizabeth Parsons, and though in the light of modern opinion some of his methods might be regarded as superficial, Ruskin, in his "Modern Painters," says of him: "Let us refresh ourselves for a moment by looking at the truth; we need not go to Turner - we will go to the man who, next in order, is unquestionably the greatest master of foliage in Europe - J. D. Harding." 

On her arrival in Melbourne, Mrs. Parsons lost no time in identifying herself with the art of the new land of her adoption. On 1st December, 1870, an exhibition of paintings by Victorian artists was opened by Viscount Canterbury at the Melbourne Public Library, in which 230 pictures were shown.

Among the artists represented were Buvelot, von Guerard, O.R. Campbell, Chester Earles; and three water colors, which were described as of conspicuous merit, were by Mrs. Geo. Parsons.

Working quietly but assiduously, she again came to the front in a mixed display of pictures held in a well-known art gallery situated somewhere in the doctors' quarters of Collins-street. This was in 

1872, and her water colors received further praise from the newspapers as being of outstanding quality. She had now become a recognised personage in the art life of Melbourne, and a constant contributor to the exhibitions of the Victorian Academy of Arts on Eastern Hill, in connection with which body she was elected a member of the council somewhere about 1873. Though voicing the restricted sentiment of the day, some of the sitting members strongly resented the intrusion of a female into their conclaves; probably on the grounds that her proper place was in the "home" minding her children and darning her husband's socks. These found, however, that they had an advance representative of the Australian new woman to deal with, and the interloper was not long in consolidating her position and making her influence felt in the raising of the standard in local art. 

Much of her time was spent in teaching, and in this branch of her many activities she established a reputation for method and scrupulous sincerity of purpose which did not tend to lighten her labors. One of her scrupulosities - which is worthy of imitation - was a rigid taboo of all impermanent colors, however brilliant, and as a result pictures painted by her party of fifty years ago still retain their freshness of yesterday, which is a matter for consideration by young artists with a possible fifty years of life still before them.

In the Colonial and Indian Exhibitions held in London in 1886, we read in the Magazine of Art an article by R.A.L. Stevenson, who, after speaking of J. Ford Paterson, refers appreciatively to a painting by Mrs. Parson entitled The Red Bluff as "another work inspired by study of good schools, it is composed and arranged with taste and method, and the color is laid on in good broad washes." In this number of the magazine the pictures reproduced are On the Lerderderg, by John Ford Paterson; The Red Bluff, by E. Parsons; and Luck at Last, by G. K. Ashton. For her work in this exhibition the artist was also warmly commended in a letter from Peter Graham.

While the standard she aimed at and reached was normally a high one, her art was, as is the case with every capable painter, liable to variations and reactions to environment and conditions. Perhaps the best things she produced belong to her mid-Australian period, and her daughter, Adeline, speaking of this, says she believes there was a slight falling off while her children were little and requiring constant care, but it revived later, and almost up to the year of her death, in 1897, kept pace with the progress and development of the times. 

Besides contributing freely to general exhibitions, she was one of the first exponents of the "One-Man Show" in Melbourne, one successful display being made about 1885, and another - her latest public demonstration - in 1896. Though a prolific worker conditions did not, as a rule, admit of her travelling very far afield in search of subject matter, and indirectly owing to this a special interest attaches to many of her pictures of near-by rural spots which are to-day marked by tram lines and busy suburban streets.

A pianist of more than average ability she was, in company with John Longstaff, Fred McGubbin, J. G. Gibbs, the writer and other artists of the then younger generation, a member of the then Buonarotti Club, which, with Cyrus Mason as president, was a source of semi-Bohemian culture in the Melbourne of the late eighties, and, when after some years of activity it ceased to function, Mrs Parsons, who rather leant to functions, and liked to have people about her, started a new society, happily named the "Stray Leaves' primarily designed to bring together and encourage young people interested in art, which purpose it served helpfully for a time when going the way of all such organisations.

Perhaps the happiest lime of the artist's life was when she was associated with the old Academy of Arts, and was one of the group of enthusiasts who, in the face of much that was discouraging, kept the door of art open in this country in the interests of the coming generations. The building, described as "a large bluestone room lit at the top by skylights," was opened in 1874, and cost £800 - an unpretentious beginning, perhaps - but it has borne fruit, and tribute is due from this generation to the memory of the pioneers. Among whom besides Mrs. Parsons were the Hon. H. T. T. a'Beckett, grandfather of the late Penleigh Boyd, J. A. Panton, F, Mackennell, father of Sir Bertram Mackennell ; Buvelot, von Guerard and Chester Earles.

To excite interest in the cause of art which, in those days, seems to have wanted a good deal of tickling, an art union was arranged in connection with the academy, and Mrs. Parsons had the honor of having her work chosen and sent to Tasmania, where it was well received. So it will be seen that, though like others who served in the burden and heat, her name has become little more than a memory - she was not without honor in her day, and honor, fairly earned, is a thing that dies hard. (The Age, December 10, 1932, see here)

We will finish this post on Elizabeth Parsons once again quoting Veronica Filmer - Through persistence and hard work Elizabeth Parsons reached a prominent position in the Victorian art world and was an inspiration to many around her who aspired to do the same. (11)

Acknowledgement
Much of this post I have summarised from Veronica Filmer's essay on the life and work of Elizabeth Parsons, which was published in More than a memory: the art of Elizabeth Parsons (Geelong Gallery, 2004). It is of course a much more comprehensive, scholarly and detailed study of Elizabeth's life and work than what you read here. Here is the link to the work again from the Geelong Gallery website https://www.geelonggallery.org.au/whats-on/exhibitions/elizabeth-parsons Even though you can view it on-line, as I said before, if you ever come across a copy of the book, it is still worth buying. I've scanned the cover, so you will recognise it if you see it. It has 40 of her works reproduced, it's just a delight. I found out about Elizabeth Parsons, her connection to Berwick and Veronica Filmer's book, from my fellow historian, Isaac Hermann.

Footnotes
(1) As well as the Elizabeth Parson works which are on-line at the State Library of Victoria, www.slv.vic.gov.au you can view some of her works on the Geelong Gallery website, https://www.geelonggallery.org.au/. The National Gallery of Victoria has three of her works, on-line, https://www.ngv.vic.gov.au/ The National Gallery of Australia has nine of her works on-line https://nga.gov.au/

(2) The Argus December 1, 1870, see here.  
(3) Filmer, Veronica More than a memory: the art of Elizabeth Parsons (Geelong Gallery, 2004) page 15.
(4) Filmer, page 17
(5) Filmer, page 28
(6) Filmer, page 24
(7) Filmer, page 33
(8) Filmer, page 33. Ms Filmer was alerted to the possible connections between Elizabeth Parsons and Emma Minnie Boyd by Jennifer Phipps of the National Gallery of Victoria (footnote 79, page 33)
(9) Filmer, page 35
(10) The Age, February 15, 1941, see here.

(11)  The Age, December 10, 1932, see here.
(12) Filmer, page 37

A version of this post, which I wrote and researched, appears on my work blog, Casey Cardinia Links to our Past. 

Identical Post Offices - Berwick, Murtoa and Donald

The Berwick Post and Telegraph Office and Court House was opened in 1885. It was designed by Public Works Department architect, John Thomas Kelleher. Victoria had two other Post Offices of near identical design to Berwick, one at Murtoa, which opened in 1882 and the other at Donald, which opened in 1884 (1).  The Berwick Post Office is as described as predominatly neo-Gothic, with Venetian influence in the pointed windows, loggia and polychrome brickwork. Red-brown brick with white tuck pointing is decorated with cream brick courses at impost level and red and cream bricks in the Lombardic arch heads at the windows (2).

The Berwick Post Office.

Image: Berwick Nostalgia: a pictorial history of Berwick

(Berwick Pakenham Historical Society, 2001)

I cannot find the exact date that the Post Office complex at Berwick opened, but it was late in 1885, because an advertisement (see below) for a tender for furniture and fittings for the building was published in early October, 1885. You will notice that the Commissioner of Public Works at the time was Alfred Deakin, Australia's second Prime Minister who served from September 1903 until April 1904 and later served for two more terms (3). 

Tender for the fit-out of the Berwick Post Office complex, signed by Alfred Deakin

South Bourke & Mornington Journal October 7, 1885

https://trove.nla.gov.au/newspaper/article/70391028

The Architect, John Thomas Kelleher, was born in Sydney in 1844 to Jeremiah and Mary Kelleher (4).  The family moved to Melbourne in 1848 and they lived in Elizabeth Street, opposite where the old General Post Office is located. He spent his entire career in the Public Works Department of Victoria and reached the position of the Eastern District Architect (5).  His other works include the Fitzroy Post Office, the Benalla Post Office and the Traralgon Post Office and Court House (6).  John was forced to retire on a pension in April 1894. These forced retirements were usually due to the fact that the officers of the Public Service had reached the compulsory retirement age of 60, even though John was only 50, and it appears that his retirement was due to the retrenchment and reorganisation scheme of the Public Works Department (7). 

John had married Florence Athole Todd (nee Edwards) on December 5, 1889. She was a 26 year old widow and he was 45 years old (8). They had one daughter, Kareen, in 1900. The family lived at Athole in Poplar Grove, Murumbeena (9). Kareen married William Norman Fysh in 1923, the year after her mother died. John died in 1928. The Electoral Rolls show that Kareen and William lived in Poplar Grove, until at least 1980 (10). Kareen was fortunate the house was still standing as in 1907 Poplar Grove was the location of a sensational incident, which was reported in The Age of November 28, 1907.

The Age November 28, 1907 http://nla.gov.au/nla.news-article204996746

SEVERE THUNDERSTORM
SENSATIONAL INCIDENT AT MURRUMBEENA.
HOUSE STRUCK BY A THUNDER BOLT.
Several of the residents of Murrumbeena met with a thrilling experience during a remarkable electrical disturbance accompanying a thunder storm of great violence which burst over that suburb in the early hours of Tuesday morning. Mr. J. T. Kelleher, who resides not far front the Murrumbeena railway station, states that shortly after 5 a.m. he was awakened by a most awful din, accompanied by a confused feeling of being shaken up all over. His wife and little daughter, who were sleeping in the next room, rushed in to him, in a panic stricken condition. Immediately afterwards a little boy from the next house came running in stating that his mother wanted him (Mr. Kelleher) at once, as their house had been struck by lightning. On hurrying to the spot Mr, Kelleher found that the whole of the chimney stuck of a house occupied by Mrs. Pierson had been knocked clean over, from top to bottom. The falling bricks, which were scattered in all directions, had greatly damaged the roof and gutters. A quantity of the iron piping had also been fused, and some furniture and ornaments in one of the rooms had been knocked down and broken. Mrs. Pierson and the children were uninjured, but the former has suffered severely since from nervous shock. Mr. Kelleher said it was a matter of astonishment to him why the lightning had missed his chimneys fully 20 feet, higher, and picked out the smallest and most secluded house on the spot. 

Mr. George, a retired senior constable, who lives in an adjacent house, gives an interesting account of his experience during the storm which did the damage just described. He states that he was working in his garden, as was his custom about day break. when he saw a huge fire ball making straight for Mr. Kelleher's and Mrs. Pierson's houses, accompanied by the most awful clap of thunder. He confessed to being so terrified at the awesome sight that he bolted panic stricken into his own house. Hearing the noise of the thunder bolt striking Mrs. Pierson's house recalled him to his right senses, and he ran out in time to see the bricks of the chimney stack being scattered in all directions (11).

Berwick Post Office and Court House, opened 1885.

Berwick Post Office and Courthouse, November 19, 1967. Photographer: John T. Collins.

State Library of Victoria Image H90.100/1961

The Berwick Post Office was used until 1983, when a new facility in High Street was built and the Court House closed in 1990 (12). The buildings still exist and have a City of Casey Heritage overlay (13).  

The Murtoa Post Office, which was on Marma Street, has been demolished. The existing Post Office on the corner of Haby Lane and McDonald Street was built in 1959 (14).  The Donald Post Office is still there and is still in use. There are photos of the Murtoa and Donald buildings, below.

Murtoa Post Office and Court House, opened 1882.

Courthouse and Post Office Murtoa, 1883. State Library of Victoria Image H9027

Murtoa Post Office, c. 1920s.

State Library of Victoria Image H89.105/167

Donald Post Office and Court House, opened 1884.

Donald - Post Office and Courthouse, c. 1898. Photographer: Sands and McDougall.

State Library of Victoria Image H27288/3f

Donald Post Office, c. 1920s.

State Library of Victoria Image H89.105/75

Donald residents welcome home Private Hornsby and Private Moyle, soldiers from the Boer War, 1900.

Photographer: A E Petsche Studio. 

Museums Victoria https://collections.museumsvictoria.com.au/items/773995

I have also written about the Elwood and Pakenham/Pakenham East Post Offices, another set of identical buildings, see here. 

Footnotes
(1) Context P/L Heritage of the City of Berwick: identifying and caring for important places (City of Berwick, 1993), p. 322.
(2) Context P/L, op. cit. p. 323.
(3) Alfred Deakin, read his Australian Dictionary of Biography entry by R. Norris, here.
(4) John's parents were Jeremiah Barry Kelleher and Mary Winter (although his father is called John on John's marriage certificate). Jeremiah, whose mother's maiden name was Barry, died in 1905, aged 90. Mary died in 1857, her death notice is below.

The Age January 7, 1857 https://trove.nla.gov.au/newspaper/article/154821552

(5) These details about John's life are from his obituary which is reproduced, below.

The Argus, September 8, 1928 https://trove.nla.gov.au/newspaper/article/3955661

(6) Context P/L., op. cit, p.232.
(7) The Age reported on his retirement on March 26, 1894 and the subsequent re-arrangment of the Architectural staff of the Public Works Department. The report also says that this will complete the retrenchment and reorganisation scheme of the Public Works Department. Four years ago the wages sheet of the professional branch amounted to £23,000 per annum, and it has been reduced to £11,000. Read The Age article, here. The retirements were even announced in the Adelaide papers, see below.

Adelaide Evening Journal, February 7, 1894. https://trove.nla.gov.au/newspaper/article/200767112

(8) This information is from their marriage certificate.
(9) The Poplar Grove address is from the Electoral Roll available on Ancestry. From 1903 until 1912, they lived at Poplar Street and then in 1913 this changed to Poplar Grove, Murrumbeena. The street is now part of Carnegie.
(10) Florence died March 27, 1922. She was the daughter of Richard James and Annie (nee Smith) Edwards. John died September 5, 1928, see death notice below.

The Argus September 7, 1928 https://trove.nla.gov.au/newspaper/article/3955144

There is a report of Kareen's wedding to William Norman Fysh, which took place at St Anthony's Church, Grange Road, Glenhuntly on February 10, 1923 in Table Talk, here. William came from Mile End Road, East Caulfield (now called Carnegie) about a five minute walk from Poplar Grove. Interestingly his parent's surname was spelt as Fish in the Electoral Roll and Kareen and William have their surname as Fish in the Electoral roll from 1924 until 1980 (the last year of the rolls on Ancestry) and they were at 18 Poplar Grove the entire time.
(11) The Age November 28, 1907, see here.
(12) The date of closure of the Post Office comes from the Context P/L report, page 322. The date of the closure of the Court comes from here https://researchdata.edu.au/children039s-court-registers/155646
(13) Read the Victorian Heritage Database citation, here.
(14) Information supplied by Wayne Degenhardt. Wayne is connected to Fred and Gustav Degenhardt, who are amongst the earliest European settlers in the Murtoa area.

A version of this post, which I wrote and researched, also appears on my work blog, Casey Cardinia Links to our past.