Gold embossed card, 4 page programme of events for the 75th anniversary celebrations of Williamstown High School in 1990. Events ran from Friday 16th March 1990 to Sunday 18th March 1990.See images abovewilliamstown high school, 1990, 75th anniversary

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.Parent file of the items in the Viola Annie Ayling collection of 1940s, 1950s, 1960s and 1970s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), ceramics -- victoria (australia), viola annie mcvicars, viola annie ayling

Light blue yearbook with a colour photo of the Wangaratta High School memorial in the centre, and black text reading WANGARATTA HIGH SCHOOL 1990 SCHOOL MAGAZINE and a black WHS logo in the middle at the bottomWANGARATTA HIGH SCHOOL 1990 SCHOOL MAGAZINE

Coloured photograph"Written on front of photograph" City of Ringwood Bowls Club Ladies Section- 1990-91 No 3 Side, Section Winners, Division B2, Sect 5. Back Row- L to R: S.Cornell, M.Williams, J.Riddell, B.McLean, L.Hodge, R.Stanfield, F.Robinson, L.Seddon, D.Levins, H.Turner, M.Price, B.Harusler, R.Anderson. Front Row- L to R: M.Snow, M.Stone, H.Jacobs, B.Hawkins.

This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event from the Kew Tram Depot. Laminated colour enlargement of A Class tram 231 in High Street South, during a re-enactment from the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. A Class 231 in High Street South"kew tram depot, trams -- melbourne, a class trams

Mrs Eileen Allen was a member of the Vermont Auxiliary of Maroondah Hospital and was honorary Secretary for 12 yearsLife Governorship Maroondah Hospital Shield, awarded to Mrs E Allen, 18/10/1990LIFE GOVERNORSHIP - MAROONDAH HOSPITAL TOGETHER FOR HUMANITY Awarded to Mrs E Allan 18/10/1990trophies & awards, public events

John Cain (26 April 1931-December 2019), Australian Labor Party politician and 41st Premier of Victoria, holding office from 1982 to 1990. During his time as Premier, changes were enforced to the practices of various institutions in Melbourne which discriminated against women, while other reforms were introduced such as libearlized shop trading hours and liquor laws, equal opportunity initiatives, and occupational health and safety legislation.Statue of John Cain Junior by Peter Corlett.john cain, john cain junior, treasury gardens

2 colour photographs mounted on board. Accompanied by a caption.Caption reads: 75th Anniversary in 1990.williamstown high school, anniversary gate, 1990

This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event at the Kew Tram Depot. Laminated colour enlargement of an 'S Class' tram No 164 in High Street South, taken at a re-enactment at the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. S Class 164 in High Street South."kew tram depot, s class trams -- melbourne

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. An Agreement between the Commonwealth of Australia and Doctors Else and Cowley of VIOSH was made in relation to Consultancy Services for a review of Occupational Safety in the Antarctic Division and on Australian National Antarctic Research Expeditions. It was signed by Commonwealth representative, Mr B R Dixey and by Dr D Else and Dr S Cowley of VIOSH on 21 November 1989. The completed Review was signed off in August 1990..1 consists of twelve sheets printed on one side. .2 consists of thirty sheets printed on one side..1 Hand written note on first sheet. Date and signatures to agreement on last page - B R Dixey (for the Commonwealth), D Else and S P Cowley (for VIOSH). Signed on 21/11/1989viosh, victorian institute of occupational safety and health, commonwealth of australia, agreement, review of occupational safety, antarctic division, australian national antarctic research expeditions, casey station, macquarie island, voyage 4

This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event from the Kew Tram Depot. Laminated colour enlargement of two A Class Trams Nos 237 and 231, with a Y Class 469 in the background at a re-enactment in the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. A Class 237 231 Y Class 469"kew tram depot, a class trams, y class trams, trams -- melbourne

Rectangular box of matches sold at Carols by Candlelight. White box with 'Carols by Candlelight 1990' in blue lettering, with a Hungry Jacks logo in the centre. On the reverse side, also in blue lettering, 'Royal Victorian Institute for the Blind Carols by Candlelight 1990'.1 box of white headed matchesCarols by Candelight 1990 Hungry Jacks logocarols by candlelight, fundraising

This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event from the Kew Tram Depot. Laminated colour enlargement of an A Class 231 in Doncaster Road, North Balwyn Village during a re-enactment from the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. A Class 231 in Doncaster Road, North Balwyn Village."kew tram depot, a class trams, trams -- melbourne

John Cain (1931-2019), Premier of Victoria from 1982 to 1990 (centre), joins two Activity Ambassadors in an exercise demonstration at the Active at Any Age launch in 1990. The Active at Any Age program was a health promotion project funded by the Victorian Health Promotion Foundation. This photo appears on page 11 of the Vol 3 No 3, Spring 1990 issue of the Arthritis Foundation of Victoria's quarterly magazine, Arthritis Update. It accompanies a brief article titled, "Activity Ambassadors".B&W photo of three people taking part in an exercise demonstration outdoors. A man, standing between two women, kicks one leg high in the air. The women, standing on either side of him, link their arms into his as each one holds her other arm out to the side. One of the women is also kicking her leg forward.[on yellow sticky note] arthritis foundation of victoria, john cain, victorian premier, activity embassadors, active at any age, program, launch, victorian health promotion foundation, exercise demonstration, arthritis update, 1990, victorian labor party, politician

Final edition of the 'Herald' newspaper 14th August 1990A copy of the final edition of the 'Herald' newspaper, August 14, 1990newspaper, "herald'

[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

Colour photograph of class Year 11WM 1990year 11wm 1990, williamstown high school, class photographs, 1990

Colour photograph of Year 12 STC 1990year 12 stc 1990, williamstown high school, class photographs, 1990

A black and white photograph of Mountain Lodge in Marysville that was taken in 1990.A black and white photograph of Mountain Lodge in Marysville that was taken in 1990.marysville, victoria, australia, mountain lodge, accommodation, photograph

A black and white photograph of Mountain Lodge in Marysville that was taken in 1990.A black and white photograph of Mountain Lodge in Marysville that was taken in 1990.marysville, victoria, australia, mountain lodge, accommodation, photograph

Copy of black and white photograph mounted on board.On back of photograph: new basketball court opened 1990.williamstown high school, 1990, basketball court