A set of 70 (incomplete as full set believed to be 85 cards) black and white and colour stereoscopic charts, divided into series Includes geometric, pictorial and photographic examples of charts and Schlechteres Auge test. An instructional leaflet is also included. These featured images thought to strengthen the eye muscles.1 rectangular fawn cardboard box sleeve which contains specially printed cards with pictures and text6th editionequipment, emil hegg

Sepia photograph of gentleman with large sideburns dressed in academic gown with white jabot portrait, pioneer, settler, people, church official

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon

p.156.fictionA novel based on the adventures of Dr Wassell, of the United States navyworld war 1939-1945 - naval operations - united states, croydon mcalymont wassell

The seal of the first Catholic Bishop of Ballarat and the first Victorian Catholic regional bishop installed in 1874.circular metal seal.

A small booklet issued as the program for an exhibition celebrating 130 years of music and theatre in Albury Wodonga. It consists of 16 pages and contains illustrations, a map, and portraits.Dr. Barnett and the "Irish Tiger" was an in-house and travelling exhibition of the Albury Regional Museum. The in-house exhibition took place from 14 December 1985 until 30 June 1986. The travelling exhibition were available for three to six week periods between July 1986 and July 1987. Museums, galleries, schools and libraries could apply to host the exhibition. The Albury Amateur Dramatic Club was formed in 1859. In December that year, they staged a production of "Two Heads are Better Than One", and the "Irish Tiger" at the Theatre Royal which was attached to the Imperial Hotel in Townsend Street, Albury to raise money for the building fund for a Mechanics Theatre Dr Joseph Knight Barnett was Involved in the formation of the Dramatic Club and was stage manager for these productions. Other topics in the exhibition included Historic Pipe Organs, Town Bands of Albury and Wodonga, and Concert Halls, Theatres and Schools of Music and Drama.joseph knight barnett, albury theatre, wodonga theatre, music and theatre albury wodonga

Black and white copy of original photograph showing two men sitting in a gig, covered with a knee rug, with two dark horses in front. There is a house and picket fence in the background.dr. donaldson, william (bill) jennings, horse and gig, transport

Black and white copy of original photograph showing four children, two boys dressed in dark jackets and white collar. Two girls are wearing white dresses. Also featured are a tricycle, a doll, a football and a dog.james blair donaldson, alexander somerville donaldson, amelia roberta donaldson, agnes donaldson

Black and white copy of original portrait showing a bearded man wearing a dark suit jacket buttoned up with a high collar and necktie pin.dr j.b donaldson

Black and white copy of original photograph showing two boys dressed alike in short pants and jacket buttoned and belted. One is seated and holding a wooden toy, with the other standing to his right with a cricket bat leaning next to him.dr j.b. donaldson snr, james blair donaldson, alexander somerville donaldson

Very dark black and white copy of original photograph of a young man standing between an older gentleman seated on his right and an older lady seated on his left. The young man is resting his right hand on a pile of papers in front of him.dr j.b.donaldson, mrs amelia jane donaldson (millie), blair donaldson

Black and white copy of original photograph of a man in profile with large sideburns and moustache. He is dressed in a dark coat buttoned and a dark tie with pin.dr j.b donaldson

Black and white copy of original portrait of an older man with white hair and moustache and wearing a dark jacket and striped tie with a white shirt.dr j.b. donaldson

EDHS Newsletter No. 271 August 2023 Public Record Office Victoria (PROV) is the Archive of the State Government of Victoria. Established fifty years ago under the Public Records Act 1973, PROV at the Victorian Archives Centre in North Melbourne now holds around 106 kilometres of public records from 1836 to the present day. There are also PROV collections at Ballarat, Beechworth, Bendigo, Geelong and the University of Melbourne. Our next meeting will be about PROV and former PROV staff member Andrew Lemon, will briefly reminisce about his work there, in it’s early days. As Assistant Director Access Services at PROV, David Taylor oversees the management of, and access to, the State collection. David will be outlining PROV’s unique role in Victoria, the nature of the public records it holds and how researchers can use increasingly sophisticated online resources to discover more about their ancestors and Victorian history. Finally, our Society member Irene Kearsey will talk about her experiences as a long-time volunteer at PROV.1:21:12 duration Digital MP3 file; 27.8MBaudio recording, eltham district historical society, meeting, society meeting, eltham, david taylor, dr andrew lemon, irene kearsey, public records office victoria (prov)

Sepia portrait of a bearded man wearing suit coat collar and tie. One of two copies of this photograph.dr thomas hoskins

xx, 694 p.; 25 cmnon-fiction"L. L. Smith, medico, writer, publisher, politician, litigant, showman, speculator, collector, vigneron, farmer, breeder and rider of racehorses, guiding hand for thirty years of Melbourne's great exhibition complex." - publisher's website. ll smith, louis laurence smith, upper beaconsfield (vic.), louisville, beaconsfield (vic.)

xx, 694 p.; 25 cmnon-fiction"L. L. Smith, medico, writer, publisher, politician, litigant, showman, speculator, collector, vigneron, farmer, breeder and rider of racehorses, guiding hand for thirty years of Melbourne's great exhibition complex." - publisher's website. ll smith, louis laurence smith, upper beaconsfield (vic.), louisville, beaconsfield (vic.)

Biography - Australian Dictionary of Biography. Victorian list Period III 1850 - 1890. This is a list of most of the more prominent Victorians in this period. Draft sent out by Dr Geoffrey Serel, Monash University for comment 1963. 10 pages of names, dates and occupationsDr Geoffrey Serelhistory, australian, biography, dr geoffrey serel.

Colour photograph showing Gerald Mahon and Aunty Mary. Ringwood - 1986"Written on back of photograph" May 1986. Aunty Mary about 93 years of age

6 x copies -Glossy stapled paper Booklet 'Beneath The Southern Cross ' ' Sacred poetry , hymns and readings for the 1988 Australian Bicentenary and other Occasions Devised and written by by Dr Keith Cole - these details and the Australian flag shown on the front cover / 18 pagesDr Keith Colebook

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. Kookaburra in flight holding book in beak with MK lower left beneath bird's wing in plate and signed Mary Keep beneath image.Signature of Mary Keep in pencil beneath print.keith wingrove memorial trust, australian bookplate design awards 2020, mary keep, bookplates

[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