Showing 317 items
matching owen street
-
Kew Historical Society Inc
Document - Sheet Music, J Albert & Son Pty Ltd, A Dear John Letter / by Barton, Tally & Owen, 1950s
Geoffrey (Geoff) Brooke was newspaper columnist, radio commentator, magazine writer and television broadcaster. He wrote a regular column for The Argus titled 'Your night out'. He opened his own restaurant, Geoff Brookes Steak Cave, in 1965. Later in his life he was a resident of Wellington Street, Kew. He died in 2003, aged 86.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Sheet music for the song A Dear John Letter, featuring a cover photograph of the Australian 'radio star' Geoff Brooke. Brooke, a resident of Wellington Street (Kew), was a close friend of the singer Robin Vanser (aka Robin Kelly The item forms part of the Vandersluys-Kelly Collection of performance memorabilia donated by her to the Kew Historical Society in 2018.geoffrey (geoff) brooke, performing arts - 20th century -
Federation University Historical Collection
Book of sheet music, Beethoven's Works, Solo Cornet B flat, Early 1900's
Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A four page book of sheet music with a dark red cover. In the style of the early twentieth century, it was a printed copy of hand written music. The arrangement was by A. Owen. This music was owned by Frank Wright and was possibly the music he played to win the gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years in 1919.Throughout the music there are pencil notations and on the inside front cover is written in pen, 'Frank Wright, Smeaton. 29/3/1919'.frank wright, sheet music, beethoven's works, solo cornet b flat music, a. owen -
Flagstaff Hill Maritime Museum and Village
Functional object - Marine Lamp, Kempthorne Pty Ltd, 1941
Kempthorne Lighting Pty. was established as Coffey Lanterns in East Malvern, Melbourne Victoria in 1931 by brothers Selwyn and Owen Coffey. They manufactured lighting fixtures and fittings including oil lamps for marine use as well as for the domestic market. In early 1936 two other brothers, Erle and Terence had joined the company which was renamed Kempthorne Lantern Works Pty., Ltd. In 1946 Kempthorne joined with a small design team who had developed a domestic fan to form the subsidiary, Mistral fans. The company previously known as Kempthorne Holding Ltd was listed on the stock exchange in 1968. In 1977-1979 Kempthorne Mistral Ltd. Was a holding company comprising of Kempthorne Lighting Pty., Ltd. & Mistral Fans Pty., Ltd. An early Australian made marine lamp by a significant manufacturer that is still in business today making electrical equipment. The item is an important artefact that was made by an early Australian business that started in the 1930s. Over the years this company has demonstrated many innovations to the manufacturer of electrical items. Marine copper Lamp, round with brass makers lozenge and rounded hollow lugs set on either side of the lamp. Heavy metal handle with brass locking pin. Lid with catch on top. Made by Kempthorne Pty Ltd Melb. 1941flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lamp, copper ship lamp, ship lamp, kempthorne pty ltd -
Orbost & District Historical Society
photograph, H.M.S. Rattlesnake, leaving Port Essington 1846-1849 BY STANLEY, OWEN
"The marine Hydrographers of the British Admiralty wanted desperately to chart a safe passage through the Great Barrier Reef and the gap between the northern tip of Australia and Papua New Guinea, which would open up the new colony to the East Indies trade. They commissioned the Rattlesnake, a 28 gun frigate of the Royal Navy, whose captain was a keen amateur artist and whose name, Owen Stanley, was given to the mountain ranges of PNG. After the passage out, Stanley brought aboard Oswald Brierly, later to be the marine painter to Queen Victoria, and together these men made two voyages through the Great Barrier Reef, painting and sketching all the while. They produced a visual record of 19th century contact between Europeans and the indigenous people of Northern Australia and New Guinea in an album which contains the original of this copy. It is held in the Mitchell Library in Sydney." (ref. State Library New South Wales) Sir Oswald Brierly, a young marine artist, arrived in Sydney in 1842 on the yacht Wanderer. Settling at the whaling station of Boyd Town in Twofold Bay, he painted extensively and left a vivid account of the whaling life during the five years he spent there. However it was the open sea and adventure that lead Brierly to accept a position on the HMS Rattlesnake as shipboard artist. This item is associated with the anchor of the The Rattlesnake. This anchor is in the main street of Orbost in front of what was once the museum.This is a copy of a picture of the H.M.S. Rattlesnake at sea with a canoe of Aborigines rowing towards it.h.m.s.-rattlesnake brierly-oswald stanley-owen -
Orbost & District Historical Society
ticket, 1975
Owen 'Doc' Matthews is remembered for his spectacular Grand Prix dressage exhibitions with his horse Aintree Boy, performed to music under spotlights at Melbourne Royal Show from 1965-1975. He also performed at smaller country shows. Doc Matthews was born in the Melbourne suburb of Fitzroy in 1923, during the Great Depression. He and his brother Paddy were placed in a foster home and then in a Geelong orphanage before being put to work at a dairy farm. Doc was given an elderly piebald mare to ride, which ignited his passion for horses. When he was 16, he enlisted in World War 2 but captured by the Japanese and ended up working on the Burma Railway, spending years as a prisoner of war in the notorious Changi Prison. Doc joined Victoria Police in 1952 and by 1962 was chief horse master and riding instructor in the mounted branch. He drilled teams to perform musical rides and horses and riders were always turned out to perfection. Doc and Aintree Boy became a partnership after the horse had been used in the mounted branch for four years. Doc decided to try his hand at dressage and as there were few instructors, trained Aintree Boy with nothing to go by but a couple of books and film of a single dressage competition. Owen 'Doc' Matthews was truly a pioneer of Grand Prix dressage in Australia. ( ref. TOPHORSE )Agricultural shows are an important part of cultural life in small country towns and the Orbost Show is an integral part of Orbost 's agricultural history.A square shaped ticket for Orbost Show - Monday, March 10th 1975. It is on white card with blue print.Orbost Wonder Horse "Aintree Boy". Monday, March 10th 1975aintree-boy dressage equestrian matthews-owen -
Warrnambool and District Historical Society Inc.
Administrative record (collection) - Bruce & McClure Records, 1901-1945
Private collectionBusiness interestno particular orderbrochures, advertisements, photocopies, illustrations of machineswarrnambool industrieswarrnambool industries -
Warrnambool and District Historical Society Inc.
Pamphlet, Owens of Warrnambool
This is a brochure produced for the Owens of Warrnambool Farm and Workshop Expo. The story of Owens of Warrnambool began in the 1880s when Flett and Hopkins began a plumbing and blacksmith business in Lava Street. In the early 1900s the business was taken over by Bruce and McClure who added a foundry and produced and serviced farm equipment. In 1945 the business was purchased by four Owen brothers. In 1953 the business became known as Owens of Warrnambool. In 1987 the business was purchased by Alan Lane and following his death in 1995 the business became part of the Alan Lane Foundation. In 2000 the business was transferred to Caramut Road. This brochure is of some interest as it contains information on Owens of Warrnambool, a prominent business in Warrnambool today and one with a significant history in the city. This is an Owens of Warrnambool A4- size fold-out brochure of three pages, printed back to back. There is information on the history of Owens of Warrnambool, Owens Water Industries, Owens Rural and Industrial Supplies and associated firms with their logos. There are black and white and colour photographs and the front page features the Owens logo and a photograph of the shop front in Caramut Road, Warrnamboolowens of warrnambool, warrnambool -
Eltham District Historical Society Inc
Newsclipping, Eltham changed, says Garnet, Diamond Valley News, 1987c
Digital file only - Digitised by EDHS from a scrapbook on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.beryl bradbury (nee stokes) collection, blue gum, burges blue gum cafe, commercial bank of australia, eileen owen (nee burges), eltham high school, eltham lower park, eltham shire office, eltham state school, garnet burges, horse racing, ida pender, john wren, lavender park road, main road, opportunity shop, pryor street, race track, robbery, shillinglaw's paddock, squizzy taylor, state school no. 209, tilley's road, william garnet burges -
Eltham District Historical Society Inc
Document, Mary Owen, Mary Owen's speech at the unveiling of the Memorial Plaque to her grandfather, Walter Withers, at Walter Withers Reserve, cnr Arthur and Bible Streets, Eltham, 13 October 1990, 1990
Mary Owen was the granddaughter of Walter WithersA4 cream copy paper, typed, 5 pagesdedication, mary owen (walter withers granddaughter), walter withers rock -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[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 -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers, unveiling the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
[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 -
Eltham District Historical Society Inc
Photograph, Mary Owen, granddaughter of Walter Withers unveils the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
Roll of 35mm colour negative film, 1 stripFuji 100 Nwalter withers rock, walter withers reserve, bible street, arthur street, eltham, plaques -
Eltham District Historical Society Inc
Photograph, From left, Mary Owen and John Withers, grandchildren of Walter Withers and other family members at the unveiling of the commemorative plaque on Walter Withers Rock at the corner of Bible and Arthur Streets, Eltham, 13 Oct 1990, 13/10/1990
Roll of 35mm colour negative film, 1 stripFuji 100 Nwalter withers rock, walter withers reserve, bible street, arthur street, eltham, plaques -
Eltham District Historical Society Inc
Sketch (Concept), Joh Ebeli, Bicentenary Year Walter Withers Rock and Plaque Design by Joh. Ebeli (1988), 1988
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 -
Port Melbourne Historical & Preservation Society
Document - Port Melbourne Council election notices, 28 Jul 1924
Single sheet with three notices of (1) annual election of Councillors; (2) selection of Mayor by ratepayers; (3) extraodinary election of one councillorlocal government - city of port melbourne, edward william cremer, william howe, owen sinclair, george samuel walter, walter robert john mclellan -
Port Melbourne Historical & Preservation Society
Book - Minutes, Electric Light Committee, Town of Port Melbourne, 1912 - 1916
W H Ashman - Electrical EngineerMinutes of Electric Lighting Committee from 05 Mar 1912 - 08 Feb 1916, following Port Melbourne Council's decision of 23 Jan 1912 to consider an electric light and power scheme for the town.local government - town of port melbourne, melbourne harbor trust - port of melbourne authority, joseph hayes morris, james peter crichton, w h ashman, owen sinclair, george samuel walter, william howe, arthur leaverack page, richard henry gill, thomas smith, robert harper & co ltd, albert tucker -
Port Melbourne Historical & Preservation Society
Book, Sandridge Municipality Reports - Fire Committee, 1861 - 1865
Sandridge Fire Committee reports for period July 1861 to June 1865, held in large binder. Twenty leaves only. Reports 26.3.63 and 24.8.63 describe Brigade uniforms (contains signatures of Fire Brigade members 1863)fire and fire services, local government - borough of sandridge, built environment - civic, uniforms, william ramsden holmes, william morley, thomas swallow, andrew plummer, william marsh, james smith, thomas hester, william bacon, thomas owen, john fose (?), j r sayle (?), frederick sanderson, henry mcbride -
Port Melbourne Historical & Preservation Society
Photograph, Williams, Methodist Church Choir, 1932
Graham Street Methodist Church Choir, 1932religion - wesleyan methodist church, ben cross, fred stacey, bert williams, ron seamer, percy thomas, norm kelley, ted benbow, percy scoble, ted mowlam, hazel rosewarne, muriel martin, mary collins, ann cross, mavis wyatt, lorne conway, mrs parkinson, ethel staunton, lily plummer, stella edwards, elma rosewarne, edith owen, lily wilson, florence black, mrs monkhouse, tom hopkins, william seamer, mrs seamer, jessie thomas, ann eager, grace allan, sylvia evans, bonnie stacey, mavis staunton, phyllis black -
Port Melbourne Historical & Preservation Society
Photograph - Port Melbourne Football Club, Swiss Studios, 1909
Capstan Cigarettes photo of Port Melbourne Football side 1909 Back Row; Owen Pamperin (far left), Martin Pash (far right) Centre row; Syd Anderson (fourth from left), then Frank Sinclair (sec), Joolen and John Jackson Front row; Harry Clarke (third from left, then Ted Brown (captain), Rob Franklin and Artie Treglown Received from Library, 1973 Plus names in pencil of players' surnamessport - australian rules football, owen pamperin, sydney sims anderson, joolen, brown, john jackson, rob franklin, treglowen, martin pash, frank sinclair, harry clarke -
Port Melbourne Historical & Preservation Society
Document - Address presented by the Duke and Duchess of York at Federal Government House, 23 Apr 1927
Copy of address presented to T.R.H. the Duke and Duchess of York at Federal Government House April 23rd 1927.local government - city of port melbourne, royal visits and occasions, william howe, edward william cremer, herbert charles edwards, albert tucker, owen sinclair, george samuel walter, patrick francis murphy, james peter crichton, sydney sims anderson, town clerks, mayors -
Port Melbourne Historical & Preservation Society
Document - Ballot paper, Town of Port Melbourne Council election, Aug 1912
Ballot from Town of Port Melbourne Council election of three Councillors from four candidates: HOWE, SINCLAIR, TUCKER and WALTER, 22.8.1912 (TUCKER lost but was elected in 1914; rear used as note paper re dog complaint)On rear in pencil: 'Mrs Ford, Ross St - Mrs Cooper 78 Crockford St. dog belongs to Mrs Ford, Ross St.'local government - town of port melbourne, politics, william howe, owen sinclair, albert tucker, george samuel walter -
Cockatoo History & Heritage Group
Plaque, Cockatoo Kindergarten - Official Opening Plaque
In 1977 residents of Cockatoo built a kindergarten in McBride Street Cockatoo to service the growing population in the area. The building was officially opened on the 22nd of November of that year. Residents formed a Co-op, raised all the money to build the kinder along with lawn bowls and tennis sporting facilities for the town. No small feat, let alone for a town with a population of around 3000. The land was provided by the council for the kinder to use and that was their sole contribution to the building of the kinder. The unique building, was designed by Richard Allen and depicted a children's carousel. The design was to provide a feeling of enjoyment and friendship to the children who used the building. The large glass windows that were installed on the north-eastern side of the building made up 1/3 of the exterior wall. This overlooked the playground of the kinder making it easy to see the children at play from inside. The site of the building is in a dominant position and is highly visible to all who travel through Cockatoo. It was used as a child care facility right up until 2005. The kindergarten has recently been granted heritage listing after Cardinia Council started demolishing the building. The local community were successful in putting a halt to the demolition and saved the building. It will become an integral part of the Cockatoo Ash Wednesday memorial. Details on the fight to save the kinder building can be found at https://sites.google.com/site/cockatoosheritageashwednesday/ Brass Plaque, depicting the opening of the Cockatoo Kindergarten by the Shire of Pakenham Shire President - Cr OwenShire of Pakenham Cockatoo Kindergarten Officially Opened by Cr E A Owen J.P Shire President 22nd November 1977cockatoo, kindergarten opening, -
Moorabbin Air Museum
Document (item) - Convention Papers, Various Papers on Conventions Received from Mr. E.S. Owens
-
Stanley Athenaeum & Public Room
Memorabilia - Wooden board, Tongue and Groove weatherboard
Signature Joseph A Scovell was a Beechworth Builder 1907Object removed from Stanley Athenaeum internal front swinging doors when Greg Owen from Period Restorations worked on the Athenaeum building. Weatherboards had been nailed over the window spaces at the top of the doors, this had then been covered with painted masonite board.Wooden weatherboard painted on one side, rough out on the reverseSignature in pencil Joseph A Scovell 1907 -
Stanley Athenaeum & Public Room
Memorabilia - Wooden board, Tongue and Groove weatherboard
Signature Joseph A Scovell was a Beechworth Builder 1907Object removed from Stanley Athenaeum internal front swinging doors when Greg Owen from Period Restorations worked on the Athenaeum building. Weatherboards had been nailed over the window spaces at the top of the doors, this had then been covered with painted masonite board.Wooden weatherboard painted on one side, rough out on the reverseSignature in pencil Joseph A Scovell 1907 -
Clunes Museum
Photograph
CLUNES CATTLEMARKET HOTEL. BUILT ON THE SOUTH SIDE OF SMEATON ROAD BETWEEN DARLING AND BARKLEY STREETS..1.2 BLACK AND WHITE PHOTOGRAPH OF CLUNES CATTLEMARKET HOTEL, LOCATED ON SMEATON ROAD, CLUNES, MAN AND LADY STANDING IN FRONT .DOG RESTING ON VERANDAH. WOODEN CONSTRUCTION WITH SHINGLE ROOF. ENLARGED PHOTOGRAPHS .3-..6 BLACK AND WHITE PHOTOGRAPHS OF CLUNES CATTLE MARKET HOTEL..1 HANDWRITTEN ON BACKAUNTIE SIS AND UNCLE OWEN. MISS SYMONS AND BROTHER RELATED TO SPARKS . MAYOR - BUTCHER. CATTLE MARKET HOTELlocal history, photography, photographs, hotels - cattle market -
Clunes Museum
Programme, "GUARDIAN" PRINT, CLUNES, Clunes Bible Christian Church Anniversary
Printed notice of the anniversary of the Clunes Bible Christian Church on Sunday next Nov 28th, printed in blackREV P.E. MALLALIEAU (of Ballarat) will preach morning at 11a.m., pleasant Sunday afternoon to 3p.m. Songs and Duets by Misses Perry, M Thomas and Symons and Messrs Barkell, Robins, Harden, Owens and Robinson Address by the Rev. P.E. Mallalieau - Subject, "The Church of tomorrow" Evening at 7p.m. Lantern Service - Subject, "The Prodigal Son" (offering taken at door) Music by the choir under the leadership of Mr F Perryclunes bible christian church, leisure activity -
Melbourne Legacy
Letter, (H22), 1954
These two letters, one to President Owen from James G Gillespie with a donation of a copy of 'Legacy' by Claude Blatchford, and a yellow file copy of a reply letter from President Owen. Legatee Gillespie suggests document called 'Legacy' by Blatchford should be inscribed and handed to succeeding presidents. The reply agrees and that the Board had expressed their appreciation of the fine gesture. The notation H22 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A record of correspondence in the 1950s about Legacy appreciating the work of Blatchford.White quarto letterhead of L/ Gillespie and a buff file copy of a reply from Legacy about Claude Blatchford's book.Handwritten H22 in red pen. 01494.2 handwritten in pencil 'File History of Legacy 1953' in top right corner. Initialed by President C Owen.history, blatchford -
Melbourne Legacy
Document - Document, article, Legatee Don Simonson, President 1970
A cutting from from a Melbourne Legacy President's report showing a photo of Legatee Don Simonson (President of Melbourne Legacy in 1970). It was collected to be a record of a photo of past presidents. Legatee Simonson saw active service as a commissioned officer in the South-West Pacific area and was awarded the Military Cross. He was part of the Owen Stanley Campaign and also served in Bougainville and New Britain. He was inducted into Legacy in 1953. His father was also a Legatee, Paul W Simonson was inducted into Legacy in 1925. The article was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of Legatee Don Simonson a past president of Legacy. The information was collected to record the lives of prominent legatees in a folder.Article with a black and white photo of Legatee Don Simonson - President 1970past presidents, don simonson -
Charlton RSL Sub Branch
Certificate - William Owen discharge certificate, Discharge certificate for William Owen dated 24.12.1918
Paper certificateDetailed certificate giving details of military service.