Plaque Unveiling – Methodist Church Site 1999stawell

Plaque Unveiling – Methodist Church Site 1999stawell

29 August 1977 was 100 years since the first patient was admitted to the Ballarat Reformatory. It was later known by a number of names such as the Ballarat Asylum, Ballarat Lunatic Asylum, Ballarat Mental Hospital, and Lakeside.Pink folded sheet of paper with typed details regarding the unveiling of a plaque to commemorate the 100th anniversary of the Lakeside Hospital.Inside the booklet is typed:- This building erected in 1868 as a Reformatory was the Ballarat Asylum under the superintendence of Albert Baldwin, Head Warder fro 1877 until December 1879 (when it reverted to its original use until 1893) This plaque was unveiled by the Mental Health authority on 29th August 1977 the one hundreth anniversary of the admission of the first patients.lakeside, lunatic, mental, reformatory, hospital, asylum, centenary, anniversary, baldwin, alec baldwin, haughton, kinnersly, knowles, jack evans, warren white, woods, ballarat asylum, ballarat lunatic asylum, ballarat mental hospital

Plaque Unveiling – Methodist Church Site 1999. Mrs Swartz centre of photostawell

Robert Henderson Croll Melbourne Walking Club Plaque unveiling a Town Hall. 1977stawell

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1970. Bendigo Institute of Technology, Engineering School, Applied Science. An official giving a speech at the unveiling of the plaque.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1970. bendigo institute of technology, engineering school, applied science. official giving speech unveiling plaque

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1970. Bendigo Institute of Technology, Engineering School, Applied Science. Officials shaking hands at the unveiling of the plaque.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1970. bendigo institute of technology, engineering school, applied science. officials shaking hands unveiling plaque

Catalogue card reads, 'Library. Unveiling stone outside library to commemorate Matthew Flinders explorers and early graves of settlers, 1970'. Back of photograph reads, 'Unveiling of plaque, 1970. Cr. Stan Norris and E. Pullin'.

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1970. Bendigo Institute of Technology, Engineering School, Applied Science. Officials looking at plaque after speeches and unveiling of the plaque.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1970. bendigo institute of technology, engineering school, applied science. officials plaque speeches unveiling plaque

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1966. Bendigo Institute of Technology, Engineering School, Applied Science. Speeches at the unveiling of the plaque. Ralph Birrell giving a speech.Agfacoloreducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1966. bendigo institute of technology, engineering school, applied science. speeches unveiling plaque ralph birrell

Photograph of descendants of past owners of Happy Hollow unveiling the commemorative plaque. Includes descendants of Charles Partington, John McLaughlin and Robert Emmett Whatmough. The land was later owned by Mrs Betty Bell and was purchased by Parks Victoria in 1994 to form part of the Plenty Gorge Parklands. This plaque was laid by Plenty Historical Society. Digital copies of 3 colour photographs.happy hollow, plenty river, john mclaughlin, charles partington, robert emmett whatmough, parks victoria

Colour Photograph of a Crowd of Seated people and Brick Building in the background.deep lead school, education

ballarat east hight school, plaque

Black and white photographWritten on back of photograph, 'Mayor S.C. Morris and Mrs. E.V. Pullin, MBE, President of Ringwood Historical Research Group at unveiling of pioneers plaque outside library on 26.10.74.'

Photograph of descendants of past owners of Happy Hollow preparing to unveil the commemorative plaque. Includes descendants of Charles Partington, John McLaughlin and Robert Emmett Whatmough. The land was later owned by Mrs Betty Bell and was purchased by Parks Victoria in 1994 to form part of the Plenty Gorge Parklands. This plaque was laid by Plenty Historical Society. Digital copy of colour photograph.happy hollow, robert emmett whatmough, charles partington, betty bell, parks victoria

On 02/04/2016, Greensborough Rotary and Greensborough Hstorical Society members gathered to unveil an updated plaque at the Pioneer Children's Cemetery on the Plenty River. These photos show the new plaque and Steve Whatmough viewing the plaque. Steve is a descendant of the Whatmough family whose children, with their cousins the Partingtons, were buried in this place. More photos of this event can be found at the GHS Resource Centre. Digital copy of colour photograph.greensborough historical society, pioneer childrens cemetery, steve whatmough, rotary club of greensborough

Black and white photographWritten on back of photograph: "Plaque unveiled by John R. Urquhart, 10th June, 1980 to commemorate centenary of first production of confectionery by founder, the late Sir Macpherson Robertson. From L to R: D. Robertson (son of Mr. N), E. Robertson, J.R. Urquhart, N. Robertson, F. W. Miller."

8 colour photos taken at the unveiling of the memorial plaque for Joseph Davies, who previously had an unmarked grave at the Brighton Cemetery, Melbourne. The unveiling took place on the 13th. September, 2015. Bendigo Historical Society had input into the compilation of the details on the plaque. Photos enclosed in a Christmas card addressed to the Bendigo Historical Society, written on card 'Dear Sir, Here are photos which I took at the unveiling of the plaque honouring Joseph Davies at the Brighton Cemetery on Sept 13, 2015.' On back of envelope ' Paul Street, 30 Baldwin Ave, Boronia, 3155, Victoria, Descendant of Joseph Davies.bendigo, gold mining, joseph davies

[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

Churchill Island was discovered by Lieut. James Grant in 1801 and he planted the first wheat crop in Victoria there. The Cairn was erected to commemmorate this by the Victorian Farmer's Union. The Minister of Agriculture The Hon. G. L. Chandler CMG. MLC unveiled the Cairn on the 4th May of November 1968.Mrs J Jenner with grandson on left hand side of photograph and daughter Nancy on right hand side of photograph sitting on the Cairn which was erected by the Victorian Farmer's Union commemorating the first cultivation of wheat in Victoria by Mr James Grant in 1801 on Churchill Island. Plaque unveiled on 4/11/1968Hand written "Unveiling Plaque 4/11/68 / Back To"churchill island, cairn, victorian farmer's union, james grant, first wheat crops for victoria

Mr Eddie Mitchell (right) President of Tatura Mechanics Institute, with Mr Arch Wilson (centre) and Mr Bill Ponting (left), at the unveiling of the memorial plaque honouring John Dixon Love and the Love family. Plaque is situated between Mechanics Institute and Victory Hall.tatura, costume, male, buildings, historic

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1966. Bendigo Institute of Technology, Engineering School, Applied Science. Ralph Birrell and a lady at the unveiling of the foundation plaque.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1966. bendigo institute of technology, engineering school, applied science. ralph birrell lady unveiling foundation plaque

In 2013, Gary Partington generously donated farm implements to Greensborough Historical Society. These implements had been used at the family property "Willis Vale" up to the 1960s. Members of the Partington family farmed the area from the 1840s. In this photo, Elinor, Gary and Faye stand behind the plaque that explained the provenance of the displayed implements. Unfortunately, one of these items was stolen in December 2016. More photos of this event can be found at the GHS Resource Centre.Digital copy of colour photograph.greensborough historical society, partington family

Colour photographmaroondah aqueduct, maroondah dam, time capsule