The original of this portrait is held by Melbourne University Art Collection. Redmond Barry was the first President of the Ballarat School of Mines. Until 2020 this was exhibited at the Ballarat School of Mines Administratin building, outside Founders Room. Artist George Folingsby died in 1891.Framed reproduction of a painting of edmond Barry by George Folingsby.His HOnour Sir Redmond Barry K.C.M.G., M.A., LL.D 1813-1880 Foundation Presidet of the S.M.B., 1870-1876 Trustee of the S.M.B., 1870-1880 Chancellor of the University of Melbourne, 1853-1880redmond barry, george folingsby, available

The original of this portrait was painted by Max Meldrum in 1926. In 1934 the Ballarat School of Mines sought donations to purchase the portrait for the Art Gallery of Ballarat, where it is held today. Donations were handed by the Balllarat School of Mines Registrar, John B. Robinson. Professor Alfred Mica Smith was a famed professor at the Ballarat School of MinesFramed reproduction of a painting of Alfred Mica Smith. available, alfred mica smith, max meldrum, john b. robinson

Belonged to Clarence (Clarrie) Edward Nicholls who was a communications person on the Sunderland Flying Boats. He was in the Battle of Britain. He was seconded to the RAF and flew out of Plymouth. He was shot down a number of times. He was in the peace keeping corps in Japan and then Korea, and then went into the full time Korea. At one time Clarrie and his two brothers were in New Guinea at the same time. They knew they were all there together but they could not find each other, and officials would not tell them where they were. He flew the last Sunderland back to Lake Boga. He wanted to buzz his parents in Wodonga so he knew he was on the way, but the authorities wouldn't let him. Clarrie Nicholls was a flag bearer for the Melbourne Olympics.Red hard covered book of 200 pages. The following images are by official war artist Geoff Mainwaring (SX13471) who later taught painting at the Ballarat Technical Art School. * 'And Again. So-Heave', page 121 * 'Day's Work Done', page 121 * Untitled image, pg 185 Includes photographs of General Sir Thomas Blamey, Corporal Jim Gordon, John Lavarack, Iven Maccay, Australian Women's Army Service, Convalescent Diggers at Heidelberg Hospital; and maps of the Malay Peninsula and Singapore.clarence nicholls, nicholls, world war 2, geoffrey mainwaring, new guinea, singapore, libya, solomon islands, charles bush, ivor heale, g.j. browning

Booklet to accompany third year student exhibition of Bachelor of Visual Arts students. Includes staff list, individual student names and photographs within their studio spaces at the Mt Helen Campus. It also includes student contact details and some artist statements. Introduction by Associate Professor Ian Hemingway, Head, School of Visual and Performing Arts, Ballarat University College. List of subject areas and staff names. Ceramics, Drawing, Graphic Design, Painting, Photography, Printmaking, Sculpture, Art History / Art Theory. At this time, the School offered the three-year Bachelor of Arts, Visual Arts; Bachelor of Arts, Performing Arts, a one year Graduate Diploma of Visual Arts and a one year Graduate Diploma of Music Education.Saddle-stitched book. 68pp cover black and white text pages on gloss stock, plus 4pp single colour cover on textured card.ballarat university college, buc, ballarat college of advanced education, bcae, university of ballarat, ub, federation university, visual art, ceramics, drawing, graphic design, painting, photography, printmaking, sculpture, art history / art theory, mt helen campus

The exhibition opened on Friday 27 November 1998 at 6.00pm. Work was exhibited in the studio spaces in the School of Arts (Visual Arts) building at Mt Helen Campus (incorrectly labelled as Mt Clear on this document). The opening speaker was Peter Stitt. Given dimensions, this was possibly an insert for a CD ROM (compact disc) of student work.10pp concertina fold brochure promoting opening of University of Ballarat, final year student art exhibition. Offset printed in 2 PMS colours (black and metallic blue). Features a photograph of graduating class, and a list of graduates and their study areas. Also a list of sponsors and prizes.ballarat university college, buc, ballarat college of advanced education, bcae, university of ballarat, ub, federation university, visual art, painting, multi-discipline, graphic design, print making, ceramics, drawing., mt helen campus

Booklet to accompany third year student exhibition of Bachelor of Arts (Visual Arts) students. Pages include photographs of students, names and examples of work. Introduction by Associate Professor Robert L Allan, Head, School of Arts. Final page lists sponsors, award donors, exhibition committee names and layout/design names. Mt Helen CampusBooklet to accompany third year student exhibition of Bachelor of Arts (Visual Arts) students, 1996. Spiral bound landscape book. 56pp uncoated text plus card cover, printed single colour (blue) throughout.The number 50 in a circle written on cover.ballarat university college, buc, ballarat college of advanced education, bcae, university of ballarat, ub, federation university, visual art, printmaking, painting, graphic design, sculpture, ceramics, drawing, mt helen campus

Promoting the Graphic Design/Multimedia program being offered by the University of Ballarat at the Mt Helen Campus. Promoted course as "one of the smallest and arguably the best three year programs of its kind in Australia and the South Pacific region." The brochure lists student awards received including Platinum and Gold in the AGFA International Young Designer Contest, 1999; two meritorious awards in The Art Directors Club Student Awards, New York, USA 1999; Graphis New Talent 1999; two Gold in Souther Cross Packaging Awards, 1998. At time of publication, the School of Arts, Visual Arts reportedly had 210 students with majors in Graphic Design/Multimedia, Ceramics/3D, Painting, Drawing, and Multidiscipline. Minors studies included Printmaking, Photography, 3D, 2D, and Graphic Communication. ___ Course aimed to train "independent, flexible thinkers". The course promised to "Promote creativity, originality and imaginative thinking; Develop self-directed learners, displaying initiative in the formation of ideas and the confidence to construct personal responses; Develop appropriate conceptual, technical and professional skills; Develop the student's critical process: ability to undertake research, and to make informed decisions; Clarify thinking, concepts and understanding and deep knowledge, attitudes and skills enabling the designer to respond to community needs." Studio and working environment described as "one open space with working facilities for approximately 75 students across 3 year levels. The area is divided up into work stations where 1st, 2nd and 3rd year students intermix, allowing a natural interaction. These workstations are configurations of six, consisting of two students from each year level. This reinforces the area's ongoing development with an open ethos and cross-level delivery and learning. This maximises the use of information in order for it to be applied throughout all levels of the learning process, whilst allowing a natural mentor arrangment to be developed for all first year students, " "The open ethos approach also encourages students and staff to freely express their opinions in relation to design via cross-level critiques, whilst allowing for a liberal arts approach and structure to the development of the creative process." "Emphasis is placed on experimentation, innovation, expression and the development of the individual's design philosophies, concepts and style." Also notes the 24 hour access Macintosh laboratory, with 34 Power Macintosh computers, ratio of one for every 2.5 students. Each with a Fujitsu Dyna Magneto Optical drive for file storage and transport. Two Sharp scanners, Phaser Dye-Sublimation Extra Tabloid colour printer and Ricoh A3 colour printer. Two large format printers. Digital and video cameras. Software: Adobe Photoshop, Illustrator, Acrobat; QuarkXpress; Macromedia Freehand; Pagemaker; Premier; Director; 3D Extreme; Sound Eidt, Shockwave, Infinite 3D and After Effects. Approx 4.5 staff, "all of whom are practicing designers. They have a full understanding of industry requirements and trends which assists in the development of industrial contacts when specialists are required." Prospective students interviewed in late Nov/ early Dec, face to face. Present a "comprehensive folio of work", academic records, references. "Selection is determined by the perceived potential of the student, their motivation and reason for study within the field as well as their previous experience in the Visual Arts. Folio work should be representative of the individual's ideas and abilities. Qualities of importance are: originality, innovation, imagination, experimentation and a competent display of the basic skills associated with visual arts [evidence of drawing skills should be included]." Demonstration of GD/MM computer skills an advantage. Students also asked to bring sketch books. Promotional brochure for prospective students. 8pp Double fold brochureuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree

Ian Whitcher is an Associate of the Ballarat School of Mines.Copy of a painting of Green Hill, Mount Helen by Ian Whitcher who lived at 'Pleasant Bank' farmgreenhill, mount helen, pleasant bank farm, ian whitcher, landscape

This framed print of the famous clipper ship “Schomberg” is associated with Flagstaff Hill’s collection of artefacts from the wreck of the “Schomberg”. The original was painted in 1992 by maritime artist Philip J. Gray. This limited edition print is number 9/1000. ABOUTH THE SUBJECT – “Schomberg” The Schomberg was a luxury ship built in 1855 to bring immigrants from the UK to Australia in superior comfort. The voyage could take three months or longer but Captain ‘Bully’ Forbes thought that he could sail the Schomberg from Liverpool to Melbourne in a record time of 60 days. On October 6th 1855 the Schomberg left Liverpool on its maiden voyage. She carried 430 passengers plus 3000 tons cargo including rail lines for Geelong and iron for a bridge in Melbourne. After 78 days at sea, on December 27th, Schomberg ran aground near Peterborough, Victoria. All on board were rescued the next day by the passing steamer SS Queen. Gray is well known for his depiction of maritime history. His meticulous attention to detail shows the enormity of the immigrant clipper with its huge billowing sails compared to the tiny figures at work on the deck. The busy crew can be seen attending to the rigging, as can a group of sailors working on the bow under supervision. He identifies the company logo of the Black Ball Ship Line by the flapping white flag with its black circle. Divers from Flagstaff Hill including Peter Ronald (former director) salvaged artefacts and personal effects from the wreck, to be preserved and displayed. Amongst these is the famous Schomberg Diamond ring. ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. The subject of the sailing ship “Schomberg” is significant for is connection with the 1800s vessel “Schomberg” and the historic role the ship, and other similar ships, played to transport migrants and goods into Australia. The print is significant as it is a limited edition of an Australian maritime artist. Print in gilt timber frame. "The Colonial Clipper Schomberg" by Australian maritime artist Philip J Gray, 1992. Signed and numbered, Limited Edition print 9/1000. Depicts clipper ship “Schomberg”, in full sail at sea with land in background. Backing of frame has illegible adhesive label and pencilled text. Stamp In pencil “FLAGSTAFF HILL” and “FLAGSTAFF C”. Illegible text on adhesive label. Signature [Philip J Gray] Stamped as a limited edition of SCHOMBERG Handwritten edition "9/1000"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ships, schomberg, clipper ship, colonial clipper, limited edition print, 9/1000, philip j gray, marine artist

Photograph of Janefield Special School students enjoying an outdoor painting lesson 1962.Black and white photographCaption on back: "The painting lesson. Nursery group 1962"janefield, janefield special school, painting classes

A period view of later 20th century waterside. Possibly MelbourneFrom the Artist website: "Born in Melbourne Australia in 1941, David’s early career began in etching and a 6-year apprenticeship at the north Melbourne Printing School of Graphic Arts to colour etching assisted in his future career as an artist painter. Many hand skills were learned such as hand engraving, lino and wood cutting also etching with zinc, copper and magnesium, later etching on film in lithography. David’s painting career expands many years of studying the art of watercolour painting and he has been involved in teaching his great love of this medium to painters both in Australia and overseas since the late sixties. He is involved in regularly tutoring for the Australian and International Artist magazine."Maritime ArtMatted framed and glazed watercolour painting of a waterfront with vessels and cranesArtist signature at lwr right corner On verso: number 31 in black ink / name and address of the artist written in black ink (top left corner) / sticker with number AMAA3053, name of artist, title of painting and number GFAM 047/ in pencil : GFAM 047waterside, docks, cranes, shipping, port, david k taylor, artwork, marine art, artwork-paintings

Little known as this print was discovered in an old cabinet in the vestry of the Chapel of St Peter. Possibly a donation meant to be framed or possibly an item used at Port Melbourne Mission which at times ran Sunday school services at the turn of the 19th and 20th C.Allen a child prodigy was a significant popular religious artist. This print is a good example of her work.Appears to be a fine quality full colour reproduction of a nativity scene with angels wise men and madonna in the style influenced by late Pre -Raphaelites mounted on heavy card with printed name of artist at left and printer initials at right and title in centre. see imagenativity scene, daphne allen, artwork-paintings

MedievalismMedieval type illumination framed in wood painted blueBotton left corner: Charles Terry, Printer, 183 and 184, High Holborn, London, W.C. Bottom right corner: Sunday School Union, 56, Old Baily, London.illumination, religion, artwork, artwork-paintings, sunday school union, old bailey, london, charles terry

Digital copy of news article reporting on art work displayed at Briar Hill Primary School and other school activities.Digital copy of newspaper clippingbriar hill primary school, briar hill state school

Mary Ann Charman was a pioneer settler in the Cheltenham area of the Parish of Moorabbin c1850 Stephen Charman , who emigrated in 1942 as a Henry Dendy employee aged 21 years, sadly lost his wife and child shortly after arriving in Brighton. When Dendy could not employ him he found other work. In 1850 he met Mary Gettens a widow with 5 children who supported her family by managing her late husband’s Inn in Collins St. Melbourne. Stephen purchased land in Spring Grove, now Cheltenham, in 1852 and the family moved to the wattle and daub hut after their marriage. Mary and Stephen worked very hard to establish a market garden, poultry and pork farm . They specialised in Marigolds which they sold to Martin & Pleasance Pharmacy , Melbourne for medicinal purposes. Mary and Stephen had 7 more children and Mary still managed to find time to sell the pork, poultry and vegetables from a horse drawn cart she drove around St Kilda. 1857 Stephen donated land to the Methodist Church for a School, burial ground and Chapel in Balcombe Road. Mary died 1870. Stephen remarried in 1878 and died aged 85 years 1906. Charman Road runs from Nepean Highway , Cheltenham through Beaumaris to the Beach Road at Mentone. Mr Les Jones was the Great Grandson of Mary Ann CharmanAn oval framed colour painting of the likeness of Mary Ann Charman, 1820 - 1870 pioneer settler in the Cheltenham area of the Parish of Moorabbinpioneers, early settlers, dendy henry, charman mary ann, jones les, cheltenham, moorabbin, brighton, market gardeners, dairy farmers, charman stephen, poultry farms, pork farms, charman road, balcombe road, mentone, beaumaris, st kilda, methodist church,

In 1852 Stephen Charman purchased 160 acres bounded by Charman Rd and Balcombe Road in an area called Spring Grove , later Cheltenham. A spring ran through the land providing a good source of water. Stephen aged 21 years had arrived in Melbourne 1842 as one of Henry Dendy’s emigrants . His Ship passage was paid by the Colonial Land and Emigration Commission and in return he was required to work on the land of the Henry Dendy Special Survey Brighton 1841. However Henry Dendy could not provide enough work for all the emigrants that arrived and Stephen had to obtain other work. Then sadly his young wife Harriett and their infant died. 1850 Stephen married widow Mary Gettens, a Publican in Little Collins Street, with 5 children. Stephen & Mary built a wattle and daub hut and established a market garden producing marigolds for Martin & Pleasance Pharmacists, Melbourne. They had 7 more children and built a weatherboard cottage that was used for early Methodist Church services. Stephen donated 1 acre to the Methodist Church in 1855 for Chapel , School and Cemetery. This is the weatherboard cottage in the painting, The road between Cheltenham and Mentone bears their name. Mary died in 1870 and Stephen remarried 1878 and died in Gippsland 1906. Stephen and Mary Charman were pioneer settlers in the area of Spring Grove later known as Cheltenham . Charman Road Cheltenham commemorates their contribution to the development of the area A painting of 'Spring Grove' the home of Stephen Charman and Mary Charman formerly Gettens nee Rees, This cottage was the first house in Charman Road Cheltenham c1852signed L Schumerspring grove cottage 1852, schumer l, cheltenham, charman stephen, early settlers, jones a l , gettens mary, rees mary, charman mary, moorabbin, brighton,

A photo taken during set-up of the Wildflower Show in 1985. The child on the left with the pink top and curly red hair is Kristy Miller (who in 2009 became a school teacher at Halls Gap Primary School). The child on the right with a white outfit and red hair tied in a ponytail is Nadia Miller (who currently, 2010, manages the Pomonal Store). The identities of the other children are unknown.The photo shows five children involved in painting activities on the floor. Stands with floral displays can be seen in the background."85 9 27" imprinted date on bottom, right of photoevents, wildflower show

Installed as part of a stage of renovations to the War Memorial Park in eary 2002. This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

The Heidelberg School Artists Trail was established in about 1999 with about 52 signs across four local governemnt areas including Nillumbik and Banyule. This one located in Wingrove Park Eltham pays tribute to Walter Withers and his painting "The Silent Guns" Transcription of sign: Walter Withers – The Silent Gums, 1909 Walter Withers painted this tranquil pastoral scene in the vicinity this park. Here he has captured the dairy cattle belonging to local Eltham farmer, Mr. Tom Orr, feeding and resting in the shade of the tall Manna gums. Wither’s daughter, Nan recalled how her father, for inspiration, often visited the property of their neighbour, Mr. Tom Orr, and in his later years, Withers painted many landscapes depicting Mr Orr’s sheep and dairy cattle. Heritage Excursion by EDHS Members - An Eltham South Ramble, 2 Sep 2017Born Digitalactivities, eltham district historical society, eltham south, heritage excursion, local history centre, walter withers, heidelberg artists' trail, wingrove park trail, the silent gums

[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