stawell photography

Annual report providing overview of activities and achievements including: sudden loss of Stephen Crook and Robert Moir, retirement of Theresa Smith-Ruig, Don Fraser, Liz Alison, opening of the Leigh Garwood Mobility Training centre, introduction of Iris Vision, and Tech Buddies program introduced to provide after sales support with devices.1 volume with illustrations providing overview of organisational achievementsvision australia, corporation records, nicola cotton, julie hall, jessica timmons, micah cheung, ron hooton, andrew moffat, david woodbridge, kelly o'dwyer, james holloway, dung nguyen, vu nguyen, martin stewart, sir peter cosgrove, denis walter, sylvie palladino, marina prior, david hobson, serena melissari, sonya hardman, jack hardman, neslihan sari, grant uther, anthony testa, julie newton, lucian galbraith, bashir ebrahim, daniel keogh, marion dickinson, werner brand, alison jones

Annual report information documenting the financial positions and changes at Vision Australia.1 volume with illustrations providing overview of financial positionvision australia, corporation records

Gravestone in the Creswick Old Cemetery for William and Eliza Bell.creswick cemetery, creswick old cemetery, william bell, william walton bell, eliza bell, eureka veteran, eureka stockade

A number of plaster nativity statues photographed at St Brigid's Crossley. The staues are by Mattei brothers.mattei brothers and co., mattei, mattei brothers, plaster, nativity, st brigid's crossley

Participating in the ceremony were Harley Hall, 1st Battalion Charlie Company, Rohan Abtur, 6th Battalion and his daughter Emma. The address was given by Vicki Jones-Evans , Whitehorse Historical Society President. All local soldiers (surviving or deceased) were recognized. Each serviceman's name was attached to a poppy and placed in the field.24 coloured photographs of the Whitehorse Historical Society ceremony held to celebrate the Armistice centenary which was signed on November 11th 1918centenary of armistice 2018, world war 1914-1918

Photograph taken by Michael Taffe of Hymettus, family property at Ballarat since 1899 on the centenary of it being awarded "Champion Cottage Garden" for the City of Ballarat in 1918.

386.1 - A4 photocopied sheet titled "Swanston Tram Fleet Depot Allocation", dated 13/5/1998, giving tram allocations for Brunswick, Glenhuntly, Essendon, Malvern and Preston Workshop storage. Also provided details of recent tram movements. 386.2 - ditto for 21/5/1998. 386.3 - ditto for 27/10/1998 - added 17/6/2019 Both signed by A. Chircop, Inspecting Foreman.trams, tramways, tramcars, swanston trams, lists, depots, depot allocation

1, 3-8, 15, 20, 22. Quad. Feb 85. 19. Pruning Day 1985 "Barry Dimelow" Jul 85. 18. Apprentice? mowing the Bull Paddock, 2, 11. Administration Building, 14. Nursery, Nov 85. 23, 24.News reporters Dec 85. 27-41. Possible excursion, using a cultivator, not Burnley Nov 85. 10, 13. Garden view. 16. Signing of documents by the Principal? 21. Possibly part of Old Nursery. 43. Sunken garden.pruning day, 1985, barry dimelow, bull paddock, administration building, mowing, publicity, cultivator, quad, nursery, excursion, apprentice, sunken garden

Colour photograph of the night lights at Sovereign Hill known as Winter Wonderland. sovereign hill, main road, winter wonderland

Colour photograph of the interior of the Sovereign Hill Contectioners. sovereign hill, main road, confectionary

1. "Hockey 1969 R. Hamley Foreground" Jul 69. 2-5. "Clearing Tech Block Site" Jul 69. 6. Garden view Dec 75. 7. "Nursery Block from College Building" (roof) Mar 77. 13-14 slides garden beds in front of Administration Building Sep 81. Garden view Feb 87.23. "Wide World of Gardening' display Mar 86. 17-19 View towards Plant Research Institute. 15-16, 21-22 Construction New Library. hockey, 1969, r. hamley, tech block site, garden views, garden beds, administration building, nursery block, wide world of gardening display, construction new library, plant research institute

``Newspaper clipping from The Mail, 13-07-93 Customer safetyRingwood Council might install pedestrian crossings at Eastland to improve customer safety. Cr Ann Fraser called for an investigation on the feasibility of a zebra crossing.`

Has a strong association with the life of Frank Puls, trammie, unionist and museum workers.Folded A4 sheet, photocopied, titled "Frank Puls 5 March 1932 - 13 October 2008", funeral service programme, 17 October 2008. Has photos of Frank on the front and rear pages, the rear, a photograph from The Courier. Produced by Peter Tobin of Ballarat. Poem on page 2, titled "The Wave". Service programme on page 3. See October 2008 Fares Please! for details of Frank's trammie life and association with the BTMtrams, tramways, funeral, drivers, btm, frank puls

Postcard inscribed on reverse "Eltham 26.12.12" In the distance on the hill to the left of centre is the new St Mary's Catholic Church, corner of Main Road and Henry Street, Eltham (blessed 13 October 1912, later destroyed by fire in 1961). Just below the church, Shillinglaw Cottage is visible with two of the Shillinglaw trees partially obscuring the church. Photograph believed to have been taken just west of the present-day Catholic Ladies College carpark in the Inez Avenue Park region with Diamond Street running up hill behind the fence in middle of picture.Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 13 Feb 2018michael aitken collection, postcards, eltham, picnic, catholic church, exhibition yprl 2019-12, shillinglaw cottage, shillinglaw trees, summer

Memorandum - three typed sheets (8"x10.5") - titled "Opening of Luna Park - Saturday 13 October, 1934" from DJ Davidson, District Traffic Superintendent S.S. to Mr Mazoletti, Hanna Street, Mr Bradley, Glenhuntly and Mr Jones, Malvern. Memo dated 12 October and specifies trams required for event at Luna Park. Also paper pinned to front with inscription: "Opening Luna Park Sat 13th Oct 1934" written in red pencil."Copy to Hanna Insps" written in black pencil on Hanna St memo, "Copy to Hanna St & Ghtly Insps" written in black pencil on Glenhuntly memo, "Copy to Malv & Hanna St Insps" written in black pencil on Malvern memotrams, tramways, instructions, events, luna park, specials, candy corner

Unveiled Saturday 13 October 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.Colour photograph 10 x 15 cm. Supplementary material including invitation to unveiling and news clippings (incl. photocopies) of the eventarthur street, bible street, walter withers reserve, walter withers, walter withers rock

[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

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regimentblack and white photograph of 8/13 Victorian Mounted Rifles at Annual Camp at Puckapunyal 1974" 8/13 VMR 1974 "