Desmond TutuThere are five couriers 05/01/1987 07/01/1987 08/01/1987 09/01/1987 10/01/1987 12/01/1987 One copy of the Age 12/01/1987Articles on the visit of Desmond Tutu

[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

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

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

'A range of first aid supplies, including older types of stretchers and syringes emphasise the importance given over the years to emergency equipment and to the need for remedial items such as bedpans and invalid cups.' (Pg. 110. Historica) For many years whilst under Railways Management the First Aid Room was opposite the stairs leading down to the Café, on the left hand side leading up to the Dining Room. Here skiing and recreational injuries were attended to.Listed in Draft Inventory of Significant Collection items. Appendix A.3.Staff Equipment. (Pg 167 Historica).Syringes: from .01 till ..04 they have a scale ,they are made with Glass, .01 5ml .02 1ml, .03 20ml, .04 22ml, .05 are made with metal..01 British made 200`C, Everett .02 Gima .03 JJEFF, record british make original .04 original record .05 W.G.LTD Sydney

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

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

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

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

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

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'

This folder of articles was compiled by the Department of Land & Water Conservation / Forestry.This item is a useful reference tool on the pulp /paper mill proposed for East Gippsland.A small 8 pp folder of photocopied articles from the Snowy River Mail. They relate to the pulp/paper mill proposal in East Gippsland. pulp-mill-orbost

Parkwood High School/Secondary College opened in 1979 and operated until closure in 2011.Pictures, stories and articles of interest - Parkwood High School/Secondary College, 35-39 Tortice Drive, North Ringwood, Victoria.

Articles featuring local Eltham mudbrick houses designed by Robert Marshall, Alistair Knox, etc and landscape bush gardens by Gordon Ford • “At Home with the Browns”, pp114-116 ‘Cherrytrees’, home of Margaret and Neil Brown, originally built in 1917 for eminent Collins Street surgeon, Dr. Kent-Hughes. • “The Mud Brick homes of Eltham”, pp148-149 References to Alistair Knox and Robert Marshall • “Mudbrick Collecting”, pp150-155 Features a Robert Marshall designed home built by Barry Wild and Geoff Williams • “Mudbrick sophistication”, pp156-158 Features a Robert Marshall designed home with Gordon Ford landscape garden • “It grew like topsy”, pp160-162 originally designed by Alistair Knox then extended upon • “A love of the environment”, pp163-164 Features artist and local Councillor Jenni Mitchell’s mudbrick cottage designed by Bohdan (Danny) Kuzyk with influences of Alistair Knox • “Build your own muddy”. Pp165-167 • “Pioneer of bush gardens; Gordon Ford and his no mowing no weeding approach”, pp174-177 robert marshall, alistair knox, gordon ford, mudbrick, margaret brown, neil brown, cherrytrees, dr kent-hughes, eltham, barry wild, geoff williams, jenni mitchell, bohdan (danny) kuzyk, bush gardens

Possibly Research-Warrandyte Road near Researchell731 (vic reg), infrastructure, research (vic.), research-warrandyte road, roads, shire of eltham

Roll of 35mm colour negative film, 4 stripsKodak GC400-8activities, local history centre, russell yeoman

Interior of St Francis Xavier Catholic Church highlighting stained-glass windows by Marinus 'Rein' Slagmolen (1916-1999), a Dutch-Australian artist and sculptor.Roll of 35mm colour negative film, 4 stripsKodak GC400-8catholic church, montmorency, marinus rein slagmolen, st francis xavier