Showing 5983 items
matching 1990
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Kew Historical Society Inc
Photograph - A Class 231 in Doncaster Road, North Balwyn Village, 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 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 -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[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 -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[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 -
Bendigo Historical Society Inc.
Newspaper - 'The Herald' newspaper final edition, 14/08/1990
Final edition of the 'Herald' newspaper 14th August 1990A copy of the final edition of the 'Herald' newspaper, August 14, 1990newspaper, "herald' -
Williamstown High School
Year 11WM 1990
Colour photograph of class Year 11WM 1990year 11wm 1990, williamstown high school, class photographs, 1990 -
Williamstown High School
Year 12 STC 1990
Colour photograph of Year 12 STC 1990year 12 stc 1990, williamstown high school, class photographs, 1990 -
Williamstown High School
1990s - opening new basketball court
Copy of black and white photograph mounted on board.On back of photograph: new basketball court opened 1990.williamstown high school, 1990, basketball court -
Stawell Historical Society Inc
Archive, Stawell Water Board – 3 Books. 5th Annual Report 1988/1989, 6th Annual Report 1989/1990. & 7th Annual Report 1990/1991, 1988 - 1991
Three Books. Blue Green and White Logo. Stawell Water Board stawell -
Wonga Park Community Cottage History Group
Minutes, Wonga Park & District Residents' Association Monthly Meeting Minutes 12 October 1990 and 9 November 1990
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Kew Historical Society Inc
Photograph - A Class 231, Y1 Class B11 & W2 Class 380 in High Street South, 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 from the Kew Tram Depot. Laminated colour enlargement of trams in High Street South during a re-enactment from the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. A Class 231, Y1 Class, B11 & W2 Class 380 in High Street South"kew tram depot, a class trams, trams -- melbourne, y1 class trams, w2 class trams -
Kew Historical Society Inc
Photograph - Class A 231 & X2 Class 676 in High Street South, 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 from the Kew Tram Depot. Laminated colour enlargement of a Class A 231 & X2 Class 676 in High Street South taken at a re-enactment from the Kew Depot in 1990.Annotation reverse: "Kew Depot 1990. Class A 231 & X2 Class 676 in High Street South"kew tram depot, class a trams - melbourne, x2 class trams - melbourne -
Kew Historical Society Inc
Photograph - Horse Tram re-enactment, 1990
The original route of the Kew Horse tram extended from Victoria Bridge to the Boroondara General (Kew) Cemetery. 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 a horse-drawn tram leaving the Kew Tram Depot in 1990. The printed word 'Kew' was presumably added for the event. Annotation reverse: "Kew Depot 1990. Horse tram re-enactment (unsure about origin of tram car)"kew tram depot, kew horse tram -
Lara RSL Sub Branch
Copper Etching of R.A.A.F. Beaufort Aircraft circ 1990, R.A.A.F. Beaufort, circ 1990
Good example of copper etching of R.A.A.F. Beaufort ciric 1990R.A.A.F. Beaufort Copper Etching signed by J. Wiilliams circ. 1990R.A.A.F. Insigna and Title Beaufort shows registration no. 66 and A9.r.a.a.f. beaufort, copper etching -
Williamstown High School
School assembly 1990
2 copies of black and white photograph mounted on board.On back of photo: School assembly 1990. Ex-students of all decades from 1920. Lloyd Jones Principal. From "Education Victoria" article 1990.williamstown high school, 1990, assembly -
Williamstown High School
Year 11SC 1990
Colour photograph of Year 11SC 1990 x 1year 11sc 1990, williamstown high school, class photographs, 1990 -
Williamstown High School
Year 12 1990
Large colour photograph (laminated) of Year 12 1990year 12 1990, williamstown high school, class photographs, 1990 -
Williamstown High School
Year 12 Group 1 1990
Colour photograph of Year 12 Group 1 1990 year 12 group 1 1990, williamstown high school, class photographs, 1990 -
Bendigo Military Museum
Photograph - Staff Activities – Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo, 1990
This collection of 14 photos was most likely taken in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo, in 1990. The photos were mainly taken in the Camera, Contacting Printing BARCRO and Production Control work areas, as well as outside the buildings. Although these photos are not annotated most personnel are positively identified. This is a set of 14 photographs of Lithographic Squadron and staff from other squadrons undertaking various tasks at the Army Survey Regiment, Fortuna, Bendigo, 1990. The photographs were on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1990, Damien Cole .2) - Photo, black & white, 1990, L to R: SGT Keith Quinton, CAPT Bill Jones. .3) - Photo, black & white, 1990, Andrew Morrison-Evans. .4) - Photo, black & white, 1990, John Bragg. .5)- Photo, black & white, 1990, CPL Stuart Ridge. .6) - Photo, black & white, 1990, Ken Delmenico. .7) - Photo, black & white, 1990, Ken Labouchardiere. .8) - Photo, black & white, 1990, CPL Peter Dillon. .9) - Photo, black & white, 1990, L to R: WO1 Ralph Chant, SSGT Rhys De Laine. .10) - Photo, black & white, 1990, CPL Darren Maher. .11) - Photo, black & white, 1990, CPL John ‘Flash’ Anderson. .12) - Photo, black & white, 1990, L to R: CPL SGT Gary Kerr, CPL Lance Strudwick, SGT Dale Hudson. .13) - Photo, black & white, 1990, LT Craig Hersant and Alf. .14) - Photo, black & white, 1990, MAJ Bob Coote.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho -
Bendigo Historical Society Inc.
Negative - Negative of front page of "The Herald" newspaper final edition, 14/08/1990
Final edition of the 'Herald' newspaper 14th August 1990A negative of the front page of the final edition of the 'Herald' newspaper, August 14, 1990newspaper, "herald' -
Whitehorse Historical Society Inc.
Article, Patchwork, 5/12/1990 12:00:00 AM
Article on award of prizes to Felicity and Anna McClean .Article on award of prizes to Felicity and Anna McClean for patchwork at the annual Lilydale Show, 1990.Article on award of prizes to Felicity and Anna McClean . patchwork, mcclean, felicity, mcclean, anna -
Federation University Historical Collection
Document - Document: names and photographs, VIOSH: Graduate Diploma of Occupational Hazard Management: Intake 14, 1990
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. Students enrolled in this course would have been in the year Ballarat College of Advanced Education became known as Ballarat University College.Ten A4 sheets divided into four sections. Name and portrait photograph in each sectionviosh, victorian institute of occupational safety and health, ballarat university college, ballarat college of advanced education, occupational hazard management, peter adams, marcus baker, andrew batterson, gabriele boehle, jim bonder, john boyle, thean ch'ng, jeanette chipchase, raymond clifford, natalie combrie, douglas cunningham, leonora davidson, brent deale, kathleen fysh, geoffrey hurst, jenny jackson, trevor kuerschner, mark lewis, anne lord, werner lushington, suzanne mareska, christopher mcgoldrick, jacki metcalf, joy monckton, clinton morton, anne navion, susan pilkington, rosemary pink, jennifer quinlan, corey quinn, richard ridout, alan ryan, alma sanders, david skegg, gary thompson, andrea tidey, doug wait, brenton walton, susan watt, susan whiteley, rohanne young, john zivanovic -
NMIT (Northern Melbourne Institute of TAFE)
Video recordings: Promotional 1990-1994 NMCOT and NMIT, VHS video recordings: Promotional 1990-1994 NMCOT and NMIT
Promotional VHS Videos all produced during the 1990s. Listed alphabetically: An Introduction to NMIT 1996 Building & Construction Heidelberg 1992 Building & Construction Heidelberg 1992 1, 2, 3 (Umatic) Concrete pour - Heidelberg 1992 Foreign Fellowship Program 1996 Greensborough Music Promotional 1994 NMCOT College Promotion 1990 NMCOT College promotion 1992 NMCOT Corporate Video 1992 NMCOT Corporate video 1994 NMCOT Enrolment form 1991 (Umatic) NMCOT Enrolment Form 1992 NMCOT To Market to Market Promotional video 1993 NMCOT To Market to Market Promotional video 1994 NMIT Education TVCs To Market to Market 1997 NMIT To Market to Market Promotional video 1996 includes titles ‘General’, ‘Change’ and ‘Open Day’ Open Day (undated) Open Day 1992 Student Information Open day 1994, Commercial Course & College Information X 2 Open Day 1998 David Jones Promotional VHS Videos 1990s Recreation - Student Services 1994 X 2 TAFE College Group Marketing 1993 The TAFE Direction: smart options for young women (undated) northern metropolitan college of tafe, handbooks, nmit -
Williamstown High School
Year 7WM 1990
Colour photograph of Williamstown High School 1990 class 7WM.williamstown high school, class photographs, year 7wm, 1990 -
Williamstown High School
Year 8SG 1990
Colour photograph of Williamstown High School 1990 class 8SG.williamstown high school, 1990, year 8sg, class photographs -
Williamstown High School
Year 9AG 1990
Colour photograph of Williamstown High School 1990 class 9AG.williamstown high school, class photographs, 1990, year 9ag -
Williamstown High School
Year 9DM 1990
Colour photograph of Williamstown High School 1990 class 9DM.williamstown high school, class photographs, 1990, year 9dm -
Williamstown High School
Year 9IF 1990
Colour photograph of Williamstown High School 1990 class 9IF.williamstown high school, class photographs, 1990, year 9if -
Williamstown High School
Year 10EP 1990
Colour photograph of Williamstown High School 1990 class 10EP.williamstown high school, class photographs, 1990, year 10ep -
Williamstown High School
Year 11AG 1990
Colour photograph of Year 11AG 1990 Williamstown High Schoolwilliamstown high school, class photographs, 1990, year 11ag 1990 -
Williamstown High School
Year 11PD 1990
Colour photograph of Year 11PD 1990 Williamstown High Schoolyear 11 pd 1990, williamstown high school, class photographs, 1990