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Glenelg Shire Council Cultural Collection
Book - Book - Marmion, SIR WALTER SCOTT, c. 1918
Poem 'Marmion' in six cantos, by Sir walter Scott, limp cloth cover, brown, black print and decoration. Black and white image of Scott, first page -
Eltham District Historical Society Inc
Sketch (Concept), Joh Ebeli, Bicentenary Year Walter Withers Rock and Plaque Design by Joh. Ebeli (1988), 1988
Concept sketch for the placement of a commemorative plaque on a rock in the Walter Wither Reserve at the corner of Arthur and Bible Streets, Eltham. The rock was installed 17 May 1990. Russell Yeoman advised (14 Jun 2017 society meeting) that the Shire of Eltham had been given a plaque to commemorate Walter Withers and that the rock was sourced from west of Melbourne with funds from a local government grant. The initial crane to lift the rock in place was too small and another crane was arranged. This also proved too small to lift it until a third and larger crane was arranged. Mary Owen, granddaughter of Walter Withers unveiled the commemorative plaque at a ceremony held at Walter Withers Reserve at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990.Colour pencil and wash on paper mounted on card and sealed at edges with masking tape. Protective facing sheet also attached with masking tape."Rock and Plaque design" on facing sheet On back: "John Ebeli 63 Batman Rd Eltham"eltham, walter withers reserve, walter withers rock, shire of eltham, arthur street, bible street, joh ebeli, design, plaques -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Booklet - St John's Church of England, East Bentleigh, The New Church, 1963
St John's Church of England first Church was built by the parish of Bentleigh in 1873. The present site, on the south- east corner of Centre and Tucker Roads, was donated by parishioner named John, in whose honour the new church was named St John’s. Erection of a modest brick and bluestone building began in October 1872, and the first service was held on Sunday, 11 May 1873. In the August 1961 a foundation stone was laid to begin the building of the new Church to meet the demands of the present congregation. It was designed by Gawler, Churcher & Boardman (David Gawler) and the builder was Colin D Mason. St John's Church of England Bentleigh was erected in 1873 and was integral to the spiritual well being and social life of the early settlers.Booklet describing the new church and the history of St John's Church of England, Centre Road, East Benteligh, with photosreligin, church of england, anglican, bentleigh, st john's, centre road, tucker road -
Stawell Historical Society Inc
Photograph, St. Peter’s Lutheran Church in Scallan Street --3 Photos -- 1 Coloured
St. Peter’s Lutheran Church, Scallan Street Stawell. Originally the Congregation Church. Three photographs in the file. Three photos of St Peters Lutheran Church in Scallan St., Stawell. Two black and white photos showing the front and side view. The coloured photo taken from the front of the church. The church is cement rendered. stawell building -
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 -
Stawell Historical Society Inc
Photograph, Rev Thos Evans first Minister at the Baptist Church
Portrait photograph of Rev Thos Evans First Minister at Stawell Baptist Church,Rev. Thos Evans who was the first Minister at Baptist Church. Portrait was once coloured as faint evidence can still be seen on image.ROBERTS & Co. by Special Application Photographers H.R.H. The Duke of Edinburgh and his Excellency the Governor Royal Studio Corner of Bourke & Elizabeth St. opposite the post office Melbourne. This or any other Portrait can be Enlarged up to Life Size. Copies may be had by sending name & N? " handwritten" Rev. Thos Evans who was first Minister of Church.stawell -
Tatura Irrigation & Wartime Camps Museum
Photograph, Joseph Walter Reinhold Wolfgarten
Joseph Walter Reinhold Wolfgarten was a German wool buyer, interned in Camp 1.Coloured head and shoulders photograph of a distinguished gentleman with grey hair, moustache and glasses, wearing a suit, white shirt and blue tie. Has been laminated.german wool buyer, german internee camp 1, joseph walter reinhold wolfgarten -
Ringwood and District Historical Society
Photograph, Demolition of old Methodist Church Cnr. Station St. and Greenwood Ave. Ringwood - 1963
Black and white photograph of partly demolished Methodist church. Truck parked outside, most of roof dismantled.Typed below photograph, "Demolition of old Methodist Church Cnr. Station St. and Greenwood Ave. 1963" Written on backing sheet, "Old Meth. Church. Feb/Mar. 1963" -
Glen Eira Historical Society
Album - Album page, Methodist Church, Bambra Road, 55, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Page 37 of Photograph Album with one landscape photograph of the Methodist church.Handwritten: METHODIST CHURCH 55 BAMBRA ROAD 14 DEC 1972 / 37 [bottom left]trevor hart, caulfield north, bambra road, methodist church -
Greensborough Historical Society
Article - Church history, Watsonia Uniting Church, 1994o
Records the history of Watsonia Uniting Church at various times and mentions names of Ministers and parishioners. The first Uniting Church service was held on 25/02/1957.History of a local church.6 A4 black and white pages of information on the Watsonia Uniting Church, including the 50th anniversary service of that church.watsonia uniting church, watsonia, devonshire road, watsonia rsl -
Whitehorse Historical Society Inc.
Document, Memorial service for Walter Emil Jack (1919 - 2002), 24/08/2002 12:00:00 AM
Order of service for the funeral of Walter Emil Jack, grandson of August Schwerkolt and son of Mary Elizabeth Jackschowsky (formerly Schwerkolt) known as Mary Jack.Order of service for the funeral of Walter Emil Jack, grandson of August Schwerkolt and son of Mary Elizabeth Jackschowsky (formerly Schwerkolt) known as Mary Jack. Funeral was held on 24 august 2002 in Pittsburg, Pennsylvania, U.S.A. Also included is the death notice and funeral notice.Order of service for the funeral of Walter Emil Jack, grandson of August Schwerkolt and son of Mary Elizabeth Jackschowsky (formerly Schwerkolt) known as Mary Jack. jack, walter, schwerkolt family, funerals, jackschowsky, mary elizabeth -
Flagstaff Hill Maritime Museum and Village
Document - Commemorative, The Victorian Missions to Seamen, St Nicholas Seamen's Church Williamstown, circa 1944
This framed document titled "The Victorian Missions to Seamen, St Nicholas Seamen's Church Williamstown" shows a list of donors of significant items to the St Nicholas Missions to Seamen's Church in Williamstown when the new building opened in 1944. The organisation ceased in 1966 and the furnishings were later donated to Flagstaff Hill Maritime Village in Warrnambool by the Missions to Seamen Victoria. The transcription of the document is as follows: The Victoria Missions to Seamen, St Nicholas Seamen's Church, Williamstown To the Glory of God List of Gifts Altar - Mrs. and Miss J.R. Schutt Cross - Mrs. R.J. Ewart Chalice and Paten - Mr. and Mrs. Percy Taylor 1 Pair Altar Lights - Mrs. R.J. Ewart 1 Pair Altar Lights - Mrs. M. Jackson Sanctuary Lamp - Miss C. Roberts Rerebos - Miss. M. Breaks, in memoriam Miss. L.A. Breaks Sanctuary Window - Victoria Missions to Seamen Lightkeepers' Auxiliary Missal - Mrs. R.J. Ewart Missal Desk - Mrs. R. Hodgkiss Altar Vases - Mrs. R. Kaybould Bible - Mrs. R.J. Ewart Sanctuary Chairs - Mr. and Mrs. F.H. Twist Credence Table - Mrs. F. Clark Altar Dish – Mrs L. Clark Font - Mr. and Mrs. C.V. Dyble Prayer Desk - H.M.H.S. "Centaur" Reed Organ - "Joy Club for Fighters" Collection Plates - Mr. D. MacKae Hymn Board - St. David's Musical Society, Brighton Pews, Carpet and Hangings - Williamstown Lightkeepers' Auxiliary Bell - Mrs. A.L. Feenes THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This document is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The document is socially significant as it connects the community of Williamstown with the St Nicholas' Missions to Seamen and represents the importance of the church to the community. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson's Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Document titled "The Victorian Missions to Seamen, St Nicholas Seamen's Church Williamstown". The document is a list of gifts originally given to the St Nicholas Seaman's Church in Williamstown, Victoria. The document is mounted in a decorative wooden frame with glass cover. This is one of the original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, framed document, donations to st nicholas seamen's church williamstown, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, mission to seafarers, st nicholas seaman’s church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, flying angel club, mrs. and miss j.r. schutt, mrs. r.j. ewart, mr. and mrs. percy taylor, mrs. m. jackson, miss c. roberts, miss. l.a. breaks, miss. m. breaks, victoria missions to seamen lightkeepers' auxiliary, mrs. r. hodgkiss, mrs. r. kaybould, mr. and mrs. f.h. twist, mrs. f. clark, mrs l. clark, mr. and mrs. c.v. dyble, h.m.h.s. "centaur", "joy club for fighters", mr. d. mackae, williamstown lightkeepers' auxiliary, mrs. a.l. feenes, st. david's musical society brighton -
Ringwood and District Historical Society
Photograph, United Methodist Church - 1904
Black and white photograph of wooden church.Typed below photograph, "United Methodist Church 1904 - Cnr. Mt. Dandenong Rd. & Whitehorse Road." Similar inscription on backing sheet. -
Port Melbourne Historical & Preservation Society
Photograph - Wedding of Walter ELDEN & Agnes MENNIE, 1901
Wedding couple Walter Ricard ELDEN & Agnes Mabel MENNIE, stand in the centre with best man , George BLENKOON. Seated on left is a cousin Ethel CATLIN and on the right Isabella DOW. Two young girls sit in front of the bride & groom. Edith CATLIN is on the right but the other girl is unknown.Photocopy of 1901 wedding goup -Walter Richard ELDEN and Agnes Mabel MENNIE & attendants.Walter & Agnes lived at 54 Evans Street, Port Melbourne. celebrations- weddings, walter richard elden, agnes mabel mennie, isabella dow, edith catlin, ethel catlin, george blenkoon -
Greensborough Historical Society
Photograph - Digital image, Marilyn Smith, Grave of Walter Withers, St Helena Cemetery, 13/10/1914
The Grave of Walter Withers, artist, (died 13/10/1914), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, walter withers, withers family -
Malmsbury Historical Society
Photograph (Item), "Daisy Lipp, Tom War, Ada Yum Wah And Son Walter Yum Wah", Malmsbury c1930
People - "Tom War, Daisy Lipp, Ada Yum Wah, Walter Yum Wah" -
Malmsbury Historical Society
Photograph (Item), Walter Hume (Left) And Edward Townsend Late 1930S, Malmsbury c1930s
People - "Townsend, Edward; Hume, Walter" Buildings - Malmsbury Hotel? Associated with - Hume Bros. -
Buninyong & District Historical Society
Photograph - B/W photograph, Mr C J Brooks, Holy Trinity Church of England, cnr Scott & Warrenheip Sts. Buninyong, July 1993
Original brick church/school (1857) and bluestone church (1862)BW photograph, of Holy Trinity Church of England church, corner of Scott Street and Warrenheip Street, Buninyong. Rev. Garrett John Russell arrived Buninyong 1857 when vicarage and school were built, Church of Holy Trinity opened in 1862.anglican, buninyong, church of england, bluestone, building -
Greensborough Historical Society
Photograph - Digital image, Charles Marshall et al, Church of England, Port Said, 1917_
This photographs depicts the Church of England at Port Said.Digital copy of black and white photograph. "Church of England at Port Said"charles marshall, world war 1 -
Melbourne Legacy
Photograph, Widows' Sunday Scots' Church Service 2005, 2005
A church service for Legacy widows at Scot's Church in Collins St, Melbourne. This is an annual event for Legacy widows at the start of Legacy Week, which is the first week in September. The church used for the service varies. Then the widows attend a ceremony at the Shrine and then have a lunch. The Scots' Church was the first Presbyterian Church to be built in Victoria. Events of the day are also at 00707, 00708, 00709A record of a church service for Legacy Widows in 2005.Colour photo x 2 of a church service.Printed on the back -
Ringwood and District Historical Society
Photograph, Seventh Day Adventist Church, Bond Street, Ringwood - circa 1970
Seventh Day Adventist building Church buildingWritten on backing sheet, "Old Seventh Day Adventist building (Church)". Written on back of photographs, "Previously Seventh Day Adventist." -
Federation University Historical Collection
Photograph - Black and White, Lostwithnal Church
Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.This is a black and white photograph of the Lostwithnal Church in CornwallWritten on the reverse side of the photograph in pencil is "Lostwithnal Church 1190 (1st part) Spire & Crown 13th Century "the glory of Cornwell", "frank wright lostwithnal church cornwell -
Greensborough Historical Society
Folder of Documents, Nepean Street Greensborough...Purchasers Walter Edwin Kell and others, 2019_
Record of purchases of land on the north side of Nepean Street Greensborough by Walter Edwin Kell and others.Folder containing Certiificates of Title, documents and photographsnepean street greensborough, grace park, kell family, jackson family -
Vision Australia
Photograph - Image, 2006 Denis Walter at Carols by Candlelight, 25/12/2006
Denis Walter performing on stage at the 2006 Carols by Candlelight, held at the Sidney Myer Music Bowl.1 digital image of man selling candles at concertcarols by candlelight, vision australia, denis walter -
Ballarat Heritage Services
Photograph, Former Barkly Street Uniting Church, Ballarat, 2015
The church shut its doors on May 31, a date which marks the 162nd anniversary of the establishment of the parish.Church buildings associated with the former Barkly Street Uniting Church, Ballarat East. former barkly street uniting church, barkly street methodist church, ballarat east -
Stawell Historical Society Inc
Photograph, Baptist Church 1870
View of Baptist Church 1870. Embossed surround the edges of the building. Front view of Baptist Church showing detailed brick work and small shrubs in front of Church.stawell -
Ballarat Heritage Services
Photograph - Photograph - Colour, L.J. Gervasoni, Avoca Uniting Church and Hall, 2011, 06/08/2011
The foundation stone for this church was laid in 1854. The church was built by Green BrothersColour photograph of the Avoca Uniting Church and Hall. avoca, avoca uniting church and hall, avoca methodist church -
Federation University Historical Collection
Slide, Eglise du Bras de Pontho (Church of the Holy Angels of Bras de Pontho), c1970
A small wooden chapel was built on this site but was destroyed by a cyclone in 1948. It was immediately replaced by the present church, which has simple architecture and interior ornaments. The concrete building is a large rectangle to which is added a square tower supporting a small bell tower. From the church site you can view the Bras de la Plaine valley Photograph of a church Handwritten "Eglise du Bras de Pontho" Stamped "R. Ueberschlag"eglise du bras de pontho, church of the holy angels of bras de pontho, church, bras de la plaine valley -
Ringwood and District Historical Society
Photograph - Photographs, Ringwood Methodist Church, Station Street, before demolition in 1963 (undated)
2 Black and White photos of the Ringwood Methodist Church. Photos undated, but these buildings were demolished in 1963. These photographs are in the presentation album given to Vera Wigley in memory of her husband, builder Evan Wigley. See Registration Numbers 11002-00 to 11002-10 for the full set of photographs. Old Methodist Church