'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 17 Cambridge Street, Hawthorn East by Margaret Picken.17 Cambridge Street, E Haw, Margaret Picken '89, Woodards.artist - margaret picken 1950-

A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Colour photograph of display in foyer of Theatre at special screening of " The Lighthorsemen " 11 September 1987.military, cinema, light horse, film, legacy

An original painting of s soldier holding a torch looking down in a tunnelpainting, vietnam lest we forget, tunnel rats

Negative No. N343 and black and white print made by a laser printer (stored in folder ) of the front of MMTB bus No. 556, Registration AT 056 with run number N74. Last bus from Spencer St. to Northcote 25/6/1955. See Reg items 680 and 493 for more details. Negative scanned hi res and imaged updated 22/5/2020.trams, tramways, melbourne, bourke st, spencer st, last bus, tram mmtb bus 56

Neville Mirvane BUNNING (1902-1990) During World War Two he served with the RAAF. He was an Art Teacher at the Ballarat School of Mines from 05 February 1946 to 22 September 1964. Neville Bunning formed the Ballarat Artist's Society (later the Ballarat Society of Artists), a group that sponsored art and which invited modernist artists to speak to students and to the public of Ballarat. He also wrote a weekly column in the Ballarat Courier. Bunning produced a bust of Australian Prime Minister, The Right Honourable J.A. Lyons from Tasmania, who died in office. Bunning died in Subiaco, Western Australia on 29 April 1990. 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 painting of horses in a scrub yard.LR Neville M Bunning signature in pencilhorses, neville bunning, available

Sandra JOHNSTONE (1936-1991) Worked California, USARaku-fired wheelthrown salt-glazed stoneware.ceramics, jan feder memorial ceramics collection, sandra johnstone, gippsland campus, churchill

non-fictionA history of Victoria from the time of the discovery of Australia through until 1888.melbourne, victoria, exploration, settlement, john batman, john pascoe fawkner, pioneers, colonisation, aboriginals, discovery of gold, democracy, burke and wills, agriculture, manufacturing, literature, art, music, drama, education, science, churches, history, ballarat, eureka

The Bendigo Branch of the National Servicemen's Association was established Post 2000 and held their meetings at the Bendigo District RSL Sub Branch Havilah Rd.National Servicemen's Association Logo framed, square shape, blue and white colours with central map of Australia with crossed swords over with crown, eagle and anchor representing Navy, Army and Airforce. The frame has a brass inscribed plaque at the bottom.On the small brass plaque, "Presented to Bendigo RSL by NSAA Bendigo Sub Branch"brsl, smirsl, nsaa,

A property illustration by Margaret Picken Commissioned by a real estate agency for the purpose of advertising 444 Mitcham Rd., Mitcham. This property is listed as having sold for $78,000 in 1985 Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 444 Mitcham Rd., Mitcham depicting a black and white line drawing of a single story brickhouse, viewed from the gated driveway, which leads to a separate garage at the end of the driveway. on the left is a front lawn enclosed by the brick fence. There are two holepunch holes centred just under the upper edge.444 Mitcham Rd., Mitcham Marg. Picken '87 Woodards - boxhillwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, real estate, mitcham

artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses

The Cat No 8290 pre this is the Minute book related to "The Kangaroo Flat Soldiers Memorial fund project". These letters, documents, name lists, sketches, quotes all revolve around the project to build a Memorial. They are dated from 31.10.1917 to 12.4.1921. This also includes documentation to have a "War Trophy(s)" on the site. At this time in history Kangaroo Flat was part of the Marong Shire not Bendigo. .1) 1917. These two letters are addressed to Roderick Coutts who was the Secretary of the Memorial Committee. .2) 1918.These letters & documents are broken up into 14 groups (a - n) all re the Kangaroo Flat Memorial. (a) Shire of Marong x two dated 7.6.1918 & 4.10.1918. (b) J.B. Wilson Monumental Sculptures x three dated 2.5.1918 to 9.10.1918. (c) J. Harris Monumental and General Masons dated 6.5.1918. (d) P Finn & Co General Masons dated 21.5.1918. (e) W & R Quinn General Masons dated 21.5.1918. (f) A. M. Irwin Builder & Contractors x two dated 10.11.1918 & 18.11.1918. (g) Herbert Keck & Sons Nurseryman and Orchardist dated 18.9.1918. (h) Department of Public Works x three dated 13.5.1918 - 24.9.1918 - 27.9.1918. (i) Education Department Melbourne x six re State School No 981 Kangaroo Flat dated 6 .3.1918 to 29.8. 1918. (j) Letters x two re R Coutts dated 6.2.1918 & 4.3.1918. (k) Kangaroo Flat & District Soldiers Memorial Fund x one Coutts to Okey. (l) McColl, Rankin & Stanistreet Legal Managers & Accountants x one dated 5.12.1918. (m) Snowden, Neave & Demaine Solicitors & Co x two dated 24.1.1918 & 7.8.1918. (n) Auditors report x one dated 16.12.1918. .3) 1919. Letters x two from "Myr - Nong" Elsternwick to Mr Okey dated 19.3.1919 & 31.3.1919. .4) 1920. Letters x two from the "Prime Ministers Department & Australian Military Forces 3rd Military District" dated 4.3.1920 & 8.3.1920. .5) Six miscellaneous items, only one has a date. (a) Short note re a donation to the Memorial. (b)Price list for Soldiers Memorial works. (c) Sketch in pencil re "Cyclone Spring coil". (d) Letter in Pencil, has a date "Wed April 10th" regarding the final site of the Memorial either, a block of ground in front of the Methodist Church or a block of ground in front of State School. Both fronted the Main Road. Mrs Allen donated the block in front of the School, this offer was accepted. (e) Sketch plan in pencil and red ink showing a proposal of how the site would look with the Memorial on. (f) Two sections of paper pinned together, one in ink, one in pencil. The ink piece is name listed 1 - 65 and some names have notations written next to and is double sided. The notations are "Returned or Killed". The pencil listing has a list of 18 names with "Killed" next to. The other part has 45 names. On the rear of this one is some pencil notes, a sketch and re a meeting on "June 5th". .6) Newspaper cuttings x 2. one relates the site chosen for the Kangaroo Flat Soldiers Memorial being the block in front of the school and donated by Mrs Allen. The other relates to the Repatriation Commission and the costing of local Memorials. .7) War trophy documents & correspondence. (a & b) Dated 10th & 17th December 1918 re application for War trophies replied by the State Parliament House Melbourne. (c) Dated 24 the October 1919. From the Australian War Museum - Wool Exchange King Street Melbourne. (d & e) Dated 22.10.1919 & 8.10.1920. From the Victorian State Trophy Committee and State Parliament. (f) Dated 17th April 1921. From the Victorian State Trophy Committee re allotment of a War trophy. (g) Double sided correspondence with "V98a" at top details the process of allotting War trophies, the Committee, conditions, town size and what is allotted per size. Stamped in purple is "One Machinegun". .1) 1917.Two letters, white paper, ruled lines with black ink hand writing, dated 31.10.1917 & 5.12.1917, the October letter has pencil notes on the rear. .2) 1918. Twenty six letters, documents, quotes either hand written in black pen, pencil, black & purple typed, Business names re letter heads some with images dating from 24.1.1918 ot 30.12.1918. .3) 1919. Two letters all in black pen, one has two pages, both letters have same heading stamp at the top in purple. Dated 19.3.1919 & 31.3.1919. .4) 1920. Two letters typed in black, both have a letter head, dated 4.3.1920 & 8.3.1920. .5) Items. Six miscellaneous items, letter, lists, prices, sketches of the proposed memorial site. .6) Articles. Two Newspaper clippings, yellowed black print, one has been found being 18.4.1918. .7) War trophies. Seven letters and documents, six have a date relating to "War Trophies", black and purple print, dates are 17.2.1918 to 12.4.1921. Sizes vary from note pad size to Foolscap.brsl, smirsl, kfsmf, letters

AquatintSigned l.r

Clare GERVASONI (1962- ) Born Melbourne A trained secondary Art educator, Clare Gervasoni studied Ceramics at Melbourne College of Advanced Education, and taught for number of years before retrainign as a Museum Curator. Photograph of three ceramic blackware eggs of various sizesblackfire, blackware, ceramics, eggs, clare gervasoni

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Drawings of cutting and flower heads with brown stem and green foliage and white start-shaped flowers with pink and green centres. Six drawings include cutting with flowers, flower bud details and flower details from above and side. The work is on white paper, mounted in a double matt (grey on dark pink), unframed.Front: CEW/82 (signature, lower left in image, next to stem) (green pencil) Snow Beard-heath - Leucopogon montanus (lower centre) (pencil) Back: 32 (upper left) (pen) Snow Beard-Heath $80 (Leucopogon montanus) CE Woolcockcema, botanical, collin woolcock, woolcock collection, botanical drawings

Good quality dress front/plastron. Fashion itemBobbin lace - Dress front

HandcraftsRectangle crochet doiley cream in colour.crochet, handcrafts

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Built in 1891 for Captain Murray to his own design, ‘Shenval’ originally stood on five acres fronting Bluff Road, Black Rock.Annette Meikle, Shenval 1977, ink and watercolour, 33 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock, architecture, historic house, shenval, captain murray, bluff road, verandah

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 91 Wills Street, Kew by Margaret Picken.91 WILLS ST., KEW / MARGARET PICKEN '89 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 91 wills street - kew (vic)

Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. " Queen sized brown, green and blue checked blanketEagley Blanket, Pure Woolblanket, blanket fever, wool, eagley woollen mills, victoria

Donated through the Australian Government's Cultural Gifts Program by Greg Mallyon, 2024

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Children’s moss green knitted jumper with a peter pan collar, centre back zip and raglan sleeves.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of standing female figure dressed in black and holding a red umbrella. The figure is wearing a red glove and a pink item in her hair. The background is a floral wallpaper print in blues and greens.Front: 8/ 37 A Gee Back: 19

The drawing is an artist's impression of Flagstaff Hill, Warrnambool, in 1855. It was presented to Flagstaff Hill Maritime Village by Mr R A Ramsay.The drawing is significant for its subject, a local maritime village and port. It is significant as a depiction of what the young town of Warrnambool could have looked like in 1855. Drawing in colour within an oval, with typed inscription below it. Mounted behind glass in a black rectangular frame with a cream matte. Artist's impression of Flagstaff Hill, town buildings of Warrnambool, Lady Bay with jetty, sailing ships in the bay, and Middle Island in the year 1855. Title; "Flag-Staff Hill", Artist; H. H. Ramsay It was presented to Flagstaff Hill by Mr R A Ramsay. Typed below the drawing; Left: "FLAG-STAFF HILL". Centre: "Drawn by Mr H. H. Ramsay - Presented by Mr R. A. Ramsay." Right: "WARRNAMBOOL IN 1855" On the back in pen "REC / 359A" (sighted before reframing)flag-staff hill, warrnambool 1855, drawing, local history, flagstaff hill maritime museum and village, great ocean road, shipwreck coast, h h ramsay, r a ramsay, flagstaff hill, warrnambool, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, lady bay, middle island, coloured drawing, oval drawing

aireys inlet, aireys, rebirth, bush fire, vegetation, tree, max sherlock

thelma Wieland went to live in Queensland with her daughter ,Pat , and son-in-law Don Talbot. They started a pig farm but there was some friction between the families and Thelma left and returned to live in Ballarat. Her son Ray lived with her in Queensland.3 lined pages of hand written poetry, by Thelma Wieland.