Portrait. Lieut Walter Shirreff. Fireman Stawell Fire Brigade 1893stawell

Recorded in Echuca. Nancy Egan speaks and sings in Wemba Wemba. She talks about making kangaroo and possum skin rugs. Wergaia vocabulary with Walter Kennedy and Billy Marks.CD, recording noteswemba wemba, wergaia, wotjobaluk, wamba wamba, echuca, nancy egan, walter kennedy, billy marks, kangaroo skins, possum skin rugs

Concept sketch for the placement of a commemorative plaque on a rock in the Walter Wither Reserve at the corner of Arthur and Bible Streets, Eltham. The rock was installed 17 May 1990. Russell Yeoman advised (14 Jun 2017 society meeting) that the Shire of Eltham had been given a plaque to commemorate Walter Withers and that the rock was sourced from west of Melbourne with funds from a local government grant. The initial crane to lift the rock in place was too small and another crane was arranged. This also proved too small to lift it until a third and larger crane was arranged. Mary Owen, granddaughter of Walter Withers unveiled the commemorative plaque at a ceremony held at Walter Withers Reserve at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990.Colour pencil and wash on paper mounted on card and sealed at edges with masking tape. Protective facing sheet also attached with masking tape."Rock and Plaque design" on facing sheet On back: "John Ebeli 63 Batman Rd Eltham"eltham, walter withers reserve, walter withers rock, shire of eltham, arthur street, bible street, joh ebeli, design, plaques

Joseph Walter Reinhold Wolfgarten was a German wool buyer, interned in Camp 1.Coloured head and shoulders photograph of a distinguished gentleman with grey hair, moustache and glasses, wearing a suit, white shirt and blue tie. Has been laminated.german wool buyer, german internee camp 1, joseph walter reinhold wolfgarten

[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

Wedding couple Walter Ricard ELDEN & Agnes Mabel MENNIE, stand in the centre with best man , George BLENKOON. Seated on left is a cousin Ethel CATLIN and on the right Isabella DOW. Two young girls sit in front of the bride & groom. Edith CATLIN is on the right but the other girl is unknown.Photocopy of 1901 wedding goup -Walter Richard ELDEN and Agnes Mabel MENNIE & attendants.Walter & Agnes lived at 54 Evans Street, Port Melbourne. celebrations- weddings, walter richard elden, agnes mabel mennie, isabella dow, edith catlin, ethel catlin, george blenkoon

The Grave of Walter Withers, artist, (died 13/10/1914), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, walter withers, withers family

People - "Tom War, Daisy Lipp, Ada Yum Wah, Walter Yum Wah"

People - "Townsend, Edward; Hume, Walter" Buildings - Malmsbury Hotel? Associated with - Hume Bros.

Katie Sandow & Walter Bonthorn married in 1918. Their children were Mary, George and Lionel.Copy of original wedding photograph, showing seated man holding glove, elbow on side table. Lady standing holding bouquet in right hand, flower spray on dress.katie sandow, walter bonthorn, weddings

Born: Birmingham, England 1854; Arrived Australia 1882; Died: 1914Heidelberg SchoolLedger Gift, 1980Rural landscape with grazing sheep and trees. Gold brushed grey painted timber frame. Recto: Signed "Walter Withers" in brown paint l.r.c of composition; Dated: "~ 10 ~" in brown paint; Not titledlandscape, animals, trees, sheep, australian art

Record of purchases of land on the north side of Nepean Street Greensborough by Walter Edwin Kell and others.Folder containing Certiificates of Title, documents and photographsnepean street greensborough, grace park, kell family, jackson family

Denis Walter performing on stage at the 2006 Carols by Candlelight, held at the Sidney Myer Music Bowl.1 digital image of man selling candles at concertcarols by candlelight, vision australia, denis walter

This document is another of the 5 contained in a frame called the West CollectionCertificate with English Coat of Arms Top of Page: English Coat of Arms To Lieutenant W.T. West, MM., 6th March 1919 Australian Imperial Force I congratulate you on the gallantry and devotion to duty for which you have been awarded, The Military Cross. Signed Commanding Fourth Armyww1, walter, thomas, west, mm, mc

Walter Jack was the only child of Emil Jack & Mary Schwerkolt and grandson of August Schwerkolt. He lived in the USA.Black & white photograph of a man with a cockatoo on his left shoulder.jack walter, jack emil, jack mary (nee schwerkolt)

Walter Jack was the only child of Emil and Mary Jack (nee Schwerkolt) He was a grandson of August Schwerkolt and a member of the USA Army.Black & White photograph of a man standing on a grassed area and wearing a uniform.jack walter, jack emil, jack mary (nee schwerkolt)

A short article about Walter Raywood Menzies and his service in World War 1. At the time of his enlistment he was living at GreensboroughOne page, text and colour images.world war 1 project, walter raywood menzies

Plaque was commonly called 'Dead Man's Penny. Walter Leslie SMITH enlisted No 3486 on 14.7.1915 in the 11th reinforcements to the 7th Batt AIF. He transferred to the 21st Batt on 4.3.1916 to be with his brothers. His No is changed to 3846A. He DOW's on 31.7.1916. Refer 52.6 for photo and details of his brothers and cousins.Plaque, round, bronze commemorating the military service of Walter Leslie SMITH.He died for Freedom and Honour 'Walter Leslie Smith Brittanica & Lion 20 - ECRPmilitary history, memorial, plaque

Interior of Library at Mechanics Institute c1955. Female is Miss Anne Carroll Librarian. The male standing on the right holding the book is Walter (Jim) Fleetwood Smith.stawell

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 acknowledges "Landscape with Sheep" by Walter Withers. The text on the board states: Walter Withers depicts in this work a number of sheep on Mr. Tom Orr’s property. Our view is from the rise above this park, from the Lower Plenty side of the nearby Diamond Creek, looking northwards towards the main Eltham township. The area that is now Wingrove Park, would have been to the right, in the valley below the sheep. The mood of this work is warm and vibrant, with the use of strong blues and pinks, and this stands in marked contrast to the softer, cooler greens used by Walter Withers in his work ‘The Silent Gums’.Roll of 35mm colour negative film, 7 stripsAgfa HDC 200 plus-2eltham, heidelberg artists' trail, wingrove park trail, landscape with sheep, walter withers

Walter was the youngest son of Emily and Thomas Antonio. At the time of the marriage Ivy was only 19 years of age. Her mother, Ada Alice Bond. gave her consent to the marriage and was also a witness. The other witness was John Thomas Antonio, eldest brother of the groom. Emily Antonio is seated at the right of the photograph wearing a yellow dress. Presumably, the the lady on the left is Ada Bond, the mother of the bride. Thomas Antonio, the groom's father, would be the older gentleman standing behind the groom, and John Antonio would be one of the younger men standing. Ivy did have an older brother, Stanley Gordon, so presumably that would be the gentleman standing behind her mother. Ivy and Walter had three children, Dorothy Jean (Jean), Ernest Walter and Alfred John (Teddy0Sepia photograph of a 1st May 1913 wedding party. Three men, two flower girls, bride standing, two attendants and groom seated. Yellow and pink tones have been added to the photograph.bond, ivy myrtle, antonio, walter herbert