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Dandenong/Cranbourne RSL Sub Branch
Heliograph. MkV, Circa 1914
http://www.prc68.com/I/MkVHeliograph.shtml Brass heliograph.Helios. MkV . No:3075. 1914. Made by Siemens Brothers. -
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 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B/W Laminated of August Rietman Family c 1918, c1918
August Rietmann 1877-1951 and his wife Frieda 1878-1942 leased the Box Cottage in 1917 and raised 2 children Stefanie 1918-2006, and William 1920– 1997. August was a Monumental Mason / Potter / Sculptor and he was employed at Corbens Ltd Clifton Hill, to make the War Memorials for many towns post WW1. August purchased the property 1935,and established a pressed concrete business using the cottage as a workshop and storeroom After August died in 1951, William, his son, continued to work in the business from the site until the land was sold to Lewis Co. Ltd Timber Merchants in 1970. Rietman's Landscaping Ltd , managed by William's family, moved to Bay Road Highett 1953 and later to Carrum. The original small, pioneer cottage was built in the late 1840s to early1850s, by an unknown pioneer. It was located on part of a 30 Acre allotment that was originally part of Dendy’s Special Survey granted in 1841. The doors and window sashes, (made of red deal joinery timber), as well as the brass locks and fittings, are from the original cottage, and were imported from England. The fire-place bricks are from the original cottage, and are sun-dried, (not kiln fired), and are hand-made. Convict marks can be seen on two bricks. There is a small display of external cladding shingles from the original pioneer cottage. These shingles were hand-split, and most likely made from locally collected timber The nails included in this display were used to fasten the shingles on the original cottage, and are also hand-made. The cottage was occupied by William Box and family from 1865 until 1914 when it was sold to August Rietman . The enamel nameplate, “Colonial”, on the wall of the cottage, was the name chosen for the original pioneer cottage by Mr August Rietman, when he purchased the property in around 1915, for 1200 Pounds approximately. In 1974 Mr Lewis, a timber specialist, found the dilapidated building on property he had recently purchased in Jasper Rd and suggested it be reconstructed and relocated. Moorabbin Council agreed and the cottage was rebuilt just about 250 metres from its original site. The cost of the rebuild was met by 'Victoria's 150th Committee, plus a small grant from the City of Moorabbin, and Mr Laurie Lewis donated much of the timber for the reconstruction. The re-constructed cottage plan has followed faithfully the original dimensions, and plan of the original pioneer cottage, and as many original items from that cottage’s long occupation have been incorporated. The photographs in Album 1 record the progress of the reconstruction from February 1984 to the First Public Open Day November 18th 1984After the death of Elisa Box in 1914 the house was leased to August Rietmann, a potter / sculptor who with his wife Fieda raised their family there 1917 - 1951. Stefanie Rennick nee Rietman lived at the house until she left to study teaching 1937. August's son, William Rietman and family managed Rietman's Landscaping Ltd after moving to Bay Road Highett 1953 and later to Carrum. The Lewis Timber Company Ltd purchased the land with The Cottage c1970. i) A laminated, black and white, photograph of August Rietmann and Family c1918 at Box Cottage, Ormond, Molly the house cow is in foreground ii) Colour photograph of Rietman's Landscaping Ltd. Bay Road Highett c 1990brighton, moorabbin, cottages, pioneers, ormond, colonial, mckinnon, dendy henry, box william, box elizabeth, reitman august, convicts lewis timber co. ltd., deam h, museums, box alonzo, smith a, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, dendy, rietman agust, convicts, macrobertson, war memorial -
Federation University Historical Collection
Photograph - black and white, Frank Wright at a viewing spot, mid 1900s
Frank Wright was a renoun 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. He died on 16 November 1970.Black and white photograph of a man standing against a railing near a terrestrial telescope at a viewing spot overlooking a pine tree clad terrain. The man who is dressed i a suit, with a briefcase beside him is Frank Wright. frank wright, terrestrial telescope, composer, musician, adjudicator -
Bendigo Military Museum
Work on paper - CARD, MEDICAL RECORD, Last entry 15.2.1945
Item relates to Reginald Charles ALLARDICE NO 418577 RAAF. Refer Cat No 3627.5 for his service history.Officers medical record card RAF form I 417, blue folded Royal Air Force re RC ALLARDICE No Aus/418577. Inside written in blue pen details re nature and number of vaccinations.On front “ALLARDICE REGINALD CHARLES AUS/418577”vaccinations, medical, officer -
Frankston RSL Sub Branch
Postcard (one of six)
An embroidered postcard which was sent to an Australian family during World War I. The postcard is intricately and colourfully embroidered on silk framed with a cardboard backing. The design is of flowers, foliage and a butterfly with the words "from your soldier boy". -
University of Melbourne, Burnley Campus Archives
Negative - Colour negatives, Plant Materials, 1998
Plants. Negatives for Plant Materials I Week 2, Week 4 18/3/98, Week 5 2/4/98, Weeks 6, 9, Week 10 13/5/98, Week 12.plants, plant materials, 1998, diploma i -
Orbost & District Historical Society
shakers, after WW11 (?)
These items were owned and used by Alice Pow (nee McWilliam), known as Maccie. Maccie was a nurse who came to Orbost in 1936. She was highly respected in Orbost for her nursing skills particularly during the 1938 outbreak of polio, Most patients were cared for in their homes and Miss McWilliam was sent out to care for them. Over 14 months she travelled 9560 miles supervising their treatments. She eventually married Mr Hec Pow who had been left to bring up his three daughters after his wife died.. The Pows lived in Orbost where Hec Pow was worked with his father Fred at the saw mill in Cabbage Tree. Maccie Pow was a member of the Orbost Bowling Club, Red Cross and Orbost Golf Club.Three vase shaped pottery shakers. Each has a cork stopper i n the base and sprinkle holes on the top. They are pale green coloured to half way and the rest is pale green with pink flowers. The surface is dimpled. On the base : ANDOVER Made in Japanchina tableware shakers pow-maccie mcwilliam-alice -
Warrnambool and District Historical Society Inc.
Document - Invitation, Heatherlie Homes opening 1979, Circa August 1979
"Heatherlie " homes have been extended and are still operated under the auspices of the Uniting Church Australia. Invitation retained by Absalom family members for 44 years. "Heatherlie" name originated from owners of wooden house built by EB Phillips, furniture store owner. Name taken from mrs Annie Phillips (nee Bone) family home in Stawell.Original document, invitation to dedication of "Heatherlie" by Mrs Ethel Mitchell, Moderator of Uniting Church in Victoria and the official opening By the R Hon Malcolm Fraser, PM of Australia and Member of Wannon. Significant as "Heatherlie" was a community and government funded building programRectangular white card with rounded corners. Black print with black and red logo, Uniting Church. Typewritten name, Mr. & Mrs. I. Absalom. Varied size print, copperplate, capital letters and typewritten name inserted.Logo of Uniting Churchmr archie graham, mr & mrs i absalom, uniting church, warrnambool, mrs ethel mitchell-moderator, malcolm fraser pm, of australia, koroit street, heatherlie council -
Tarnagulla History Archive
Telegram, circa 1862
A large lot of papers, including this and many other telegrams, were apparently found in the ceiling cavity of the Sandy Creek/Tarnagulla Post and Telegraph Office in the later 20th Century, during building works. Donald Clark Collection. Telegram sent from Sandy Creek/Tarnagulla Telegraph Office from William Harper and H. Manton to Joshua Thomas, Dunolly. Text reads 'He called. I have not seen him since 10 o'clock'. -
Bendigo Military Museum
Book - BOOK, WW1, The Times - History of the War 1914, 1914
Vol I . Hard cardboard cover, red buckram, gold print on front & spine. Gold print round seal on front. 516 cut, plain, white, slightly glossy pages. Black / white photos & maps. Bookshop sticker on front end paper, title page: “D Hope, Bookseller, Devonport, Tas” Handwritten in black ink on front end paper: “Henry J Curwen Devonport Feb 27 1915” Handwritten in blue ink on title page: “Mary P Clancy”book, the times, 1914 -
National Vietnam Veterans Museum (NVVM)
Memorabilia, Person collection of Peter Stainthorpe, 2006
Contains 1 copy of the magazine, The Big Issue, 24 April - 9 May 2006. There is an article titled, Frankie's War which discusses Frank Hunt, a Vietnam Veteran, who is featured in the song, I Was Only 19.vietnam war, 1961-1975 - veterans - australia, popular music - australia, 6 rar -
Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: WEDDED BLISS
Bendigo Advertiser ''The way we were'' from 2003. Wedded bliss: a World War I wedding photo of Jack and Maude Strawhair (centre). Other members of the bridal party are unknown, circa 1920. The clip is in a folder.newspaper, bendigo advertiser, the way we were -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING. DIGGERS AND MINERS, c1850s
Diggers & Mining. Diggers and miners. . . . In the deep leads, or buried valleys of ancient streams . . . (a) Existing water course (b) Buried river valley (c) Washdirt Markings: 22 994:LIF I. Used as a teaching aid.hanimounteducation, tertiary, goldfields -
Bendigo Historical Society Inc.
Slide - DIGGERS AND MINERS. DIGGERS AND MINERS, c1858
Diggers and miners. Diggers and Miners. R. W. I. L. S. R. Ck. Y. D H. W.P. New fields established 1858-1861. Markings: 4 994.5 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields -
Bendigo Historical Society Inc.
Photograph - ENGINE HOUSE: GARDEN GULLY MINE, Ca 1914
Black and white postcard of engine house, Garden Gully United mine after fire. James Lerk ' Engine house fire at the Garden Gully Mine ' Back, written I ' Garden Gully Mine after fire'organization, business, garden gully mine -
Bendigo Historical Society Inc.
Document - JOHN WILLIAMS COLLECTION: GIRTON COLLEGE CLOSURE, 13 August 1992
Document. From the Bishop of Bendigo, The Right Reverend Ben Wright, Dear Parents, it is with much sorrow and regret that I write to inform you that Girton College must close at the end of this academic year. 13 August 1992.document, memo, girton college closure -
Bendigo Historical Society Inc.
Photograph - BASIL WATSON COLLECTION: PHOTOS RE 50TH ANNIVERSARY OF BASIL WATSON'S AIRMAIL FLIGHT, 1967
Collection of 6 photos re 50th Anniversary of Basil Watson's airmail flight, Mt Gambier to Melbourne. Handwritten notes on reverse of each photo - photos taken by Mrs V I Perkin, sister of Basil Watson.person, individual, basil watson -
Mission to Seafarers Victoria
Letter - Correspondence, Letter to Lillie from Howard, 29 August 1925
The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925. Page 1 S/S City of Norwich Port Said My Dear Old Lillie, Well, I never got so much of a shock in my life, when your postcard turned up 2 days before my birthday, wishing me many happy returns, for which I thank you sincerely, and am sorry to say I had forgotten yours, or being very quiet about your various qualities, you would not tell me. Well to get on with the news, the next day I had a telegram to report at the Line head office, on the 15th Aug. early, imagine how I swore, as a little do was to [be] held at night, they immediately shored me on this ship S/S City of Norwich to go to Port Said, then join the City of Corinth bound for Boston & New-York so I may come out to “little Aussie” again from there with a little luck, any way we ought to be in New-York about the 19th Sept to stay a month, I will write you more in detail from there, if you feel inclined and have forgiven me for being so long about answering your last letter, could you write to S/S City of Corinth, C/o Norton Lilly & Co, New-York. U.S.A. I would jump like L”l Page 2 how is the cow milking going on, but still that joke is as unfair as the small joke about my age now, both afflictions being cured by now I hope. Well really I am no letter writer and can find very little to interest you on paper Lillie, and my photo, I hate being taken as much as you, but will do my best, if you can wait a little please, hoping you are getting one that awfully exciting week with the mission as you call it. You must be A.1 actresses to amuse such a motley crew. Hoping you are all well at home, give Mr & Mrs Duncan my kind regards, sending my best love to you dear. Hoping you will recognize me if I can come along. with tons of love, Howard. P.S. I hope to be a little more sophisticated when I come next time [-] you may be able to tell me. Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in three parts: Part 1.1 (0007.1) Envelope Part 1.2 (0007.2) First page of letter Part 1.3 (0007.3) Second page of letter The pages, as is the envelope, are a creamy yellow colour with black cursive writing on one side of the page. Page 1 of the letter begins with the salutation "My Dear Old Lillie...". Page 2 of the letter concludes with "...you may be able to tell me".The envelope is torn across the top for access to its contents. It has two stamps on the top right hand corner both with the text "Port Said 23AU25.4.5P".lillie duncan, howard, port said, lhlg, ss city of norwich -
Federation University Art Collection
Oil, Jacqueline Slaymaker, Untitled Nude by Jacqueline Slaymaker, 1993
Jacqueline SLAYMAKER This work was undertaken in 1992 when Jacqueline Slaymaker was a 3rd Year student at Ballarat University College. The catalogue for the End of Year exhibition in 1992 states "The figures importance is purposeful. The strong sculptural form of the torso, tensions of the skin and volume are the aspects I focus on. Drawing is vital to my painting. The heavily layered works that I sand, scratch and rub back into eventually resolve some of the problems associated with painting. I believe this constant re-addressing creates a sense of history and building a texture creates a sense of history and build up of texture illustrates the concrete solid way I see the figure. I draw resource from ancient sculpture in particular Etruscan coffins and tomb wall painting. More recently I am interested in the draftsmanship of Jim Dine and monoprints of May Frank.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed life painting of a female nude. art, artwork, jacqueline slaymaker, nude, life study, oil on canvas, alumni, end of year exhibition -
Marysville & District Historical Society
Postcard (item) - Novelty postcard, Valentine Publishing Co. Pty. Ltd, FOR LUCK from MARYSVILLE, 1940's-1960's
A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.FOR LUCK from/ MARYSVILLE 1852 VALENTINE'S/ MAILING NOVELTY From VALENTINE'S "MAILING NOVELTY" POSTCARD. COPYRIGHT. Postal Rates/ within Australia Enclosed in/ Envelope 2 1/2"/ Sent Open/ with only/ Name and/ Address of/ Sender 1 1/2 Mt Kitchener House/ Marysville/ 31.1.51 Dear Nancy & Albert/ Well I thought that while I had a/ chance I would drop you a few lines to/ let you know that we are having a good/ time. I read in the Herald last night about/ Uncle Will's death, but he had suffered such/ a lot, that I guess he is better off. When/ Dad & I went to see him last Tues week/ he really looked dreadful. This is a very/ nice place to stay the meals and accommod-/ ation is very nice & they are a very nice/ crowd staying here. Beryl & I went to Alexander/ yesterday with some friends of Beryl's and tomorrow/ we are going the Reefton Spur trip, ? and the Eildon Weir/ trip and then Frid the Cumberland Valley Trip./ Well I must close so for the present lots of Love/ Violetmarysville, victoria, souvenir, postcard, valentine publishing co, cumberland valley road (image 1), taggerty river (image 2), acheron way (image 3), the old ford marysville (image 4), nicholl's lookout (image 5), main street marysville (image 6), mount margaret (image 7), stevenson falls (image 8), cumberland falls (image 9) -
National Wool Museum
Photograph, Squatter
Associated letter from Mr R Lloyd provides information the original playing boardNWM 99.107 PHOTOGRAPH OF THE ORIGINAL "SQUATTER" PLAYING BOARD./ SHIRT BUTTONS WERE USED AS SHEEP TOKENS./ (THE SALESLADY IN THE LOCAL HABERDASHERY SHOP EXPRESSED SURPRISE WHEN I SAID I WOULD LIKE/ TO BUY 180 SHIRT BUTTONS!)sheep stations - management wool growing squatters, lloyd, mr robert, australia, sheep stations - management, wool growing, squatters -
Ringwood and District Historical Society
Photograph, Ringwood Bowling Club- Ladies Section, No 6 side, Section winners, Division E, Section 3. 1988-89
Black and white photograph"Attached to photograph" Players names: Back Row- L to R: K. Carlton, M. Williams, B. Cleator, S. Norton. Front Row- L to R: I. Bryan, K. Vickers-Willis, I. Francis, N. Broadway. -
Bendigo Military Museum
Booklet - COLLECTION OF PHOTOS AFTER PEARL HARBOUR BOMBING, 1941
Item is part of the BCOF Association collection, refer Cat No 7625.This is a compendium of ground level and aerial photos of bomb damaged Pearl Harbour. Each photo, black and white, size about 14.5 x 18.5. They are contained in a plastic folder.Typed on top of first photo is:- "Received these photos from an old shipmate on the USS QUAPAW ATF-110. Interesting as I have never seen them anywhere else. I think they are spectacular." Pearl Harbour December 7th 1941.ww2, pearl harbour, copes of photographs -
Eltham District Historical Society Inc
Photograph, Kangaroo Ground Hotel, c.1890
Source: Allan Marshall "I think short man with bowler hat is Sammy Cracknell, the famous jockey who once won the Melbourne Cup. I boarded at this pub. It is the setting of 'This Is The Grass'." - Alan Marshall, June 1969.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagehotels, kangaroo ground, kangaroo ground hotel, sammy cracknell, sepp, shire of eltham pioneers photograph collection -
Federation University Historical Collection
Correspondence, Thomas Stephen Hart, Thomas Hart writes to Frederick Martell of the Ballarat School of Mines, 1891, 25/11/2015
Thomas S. Hart was a member of the Ballarat Field Naturalists.Daylesford Nov 25th 91 Dear Mr Martell I have been out at the Stony ck Basin this afternoon and have obtained several good specimens well worth coming for. Leaves at least 5 species. Eucalyptus - another [Dicohptreter?) apparently a monocotyledon perhaps [illegible] than one species + 2 or 3 [illegible] (small) insects. At least 4 species of beetles [illegible} very good specimen insects other more doubtful [illegible] of insects - Also some plant stems layer that I had noticed before. I intend going out again tomorrow morning and getting more specimens. There is nothing of my subjects on till Saturday. I will be at the school first thing on Saturday. Thompson has, I think enough to keep him busy. I intend to exhibit the [illegible] at one one of the societies so as to have them recorded even if I cannot get a short [illegible] written for the meeting. Yours sincerely Thomas S. Hartfield naturalist, thomas hart, t.s. hart, daylesford -
Eltham District Historical Society Inc
Photograph, Classic Photos, Form 3A, Eltham High School, 1960
Dr Gary Presland advised the following in October 2020: "In 1959 my parents bought a house in Church Street, Panton Hill. For about three and a half years previously, they had farmed a property 15 km south of Echuca, before moving, briefly to Melbourne. After moving to Panton Hill, I was enrolled at Eltham HS, in Form 2 (Year 8). I completed that year, and in 1960 was in Form 3A (at which time the photograph was taken). To reach the school, I caught a bus each day, from Panton Hill. Early in 1960, my parents decided to separate. My mother left with the youngest two of my three siblings, leaving me and a younger brother with our father in Panton Hill. My brother was in Year 7 at the High School. After a few months, my father and I had a falling out and my brother and I left home to join our mother in South Melbourne. For the remainder of the 1960 school year we travelled each day by train from Melbourne to Eltham. In 1961 I was enrolled at Melbourne Boys High School, which was the nearest secondary school to where I was then living."Written in pencil on back: "Gary Presland - 4th from left, back row Eltham HS, 1960" Also stamped in purple ink on back "Classic Photos"1960, class photo, eltham high school, gary presland -
Dandenong/Cranbourne RSL Sub Branch
Parliamentary letter, Unknown
Contains the original signature of Robert Menzies, then opposition leader. Later to be Prime Minister of Australia.Document addressed to Mr. Knyvett Signed by R.J. Menzies.House of Representatives, The Parliament of the Commonwealth. Leader of the Opposition, Canberra, A.C.T., Dated 28th March, 1946. Dear Mr. Knyvett, Thank you for your letter of the 25th instant. I will give consideration to the proposals you have put before me and I appreciate your very real interest. With all good wishes to you, I am yours sincerely, signed (R.J. Menzies). -
Unions Ballarat
The story of conscription in Australia, Jauncey, Leslie Cyril, 1935
An account of World War I conscription conflicts. Relevant to history of World War I and opposition to military conscription.Paper; book; 365 pagesbtlc, ballarat trades hall, ballarat trades and labour council, world war i, conscription, military, anti-conscriptionism