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Artwork, other (1294)
Ceramic (766)
Decorative object (719)
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Print (1665)
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Work on paper (2085)
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Charlton RSL Sub Branch
Decorative object - Souvenir saucer, Souvenir saucer to commemorate the sinking of the German Cruiser Emden
Porcelain saucer issued to commemorate the destruction of the German Light Cruiser Emden by HMAS Sydney .Hmas Sydney destroyed the "Emden" at Keeling Cocos Island Nov 9. 1914 -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 13 Woodlands Avenue, Camberwell, 1998
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
National Wool Museum
Textile - Textile fragment, c.1797
Woollen fabric fragment from the wreck of ship "Sydney Cove" found underwater after many years.Small fragment of woven woollen fabric, brown colour. with some white fibres through it. The fragment is frayed and coming apart. It is boxed in a circular clear plastic lidded container, taped and with a typed paper label on the lid.Wording: Fabric scrap from/wreck of ship "Sydney Cove"/ NWM 940112";Method: typed;Location: on label on lidwool - history textile history textile mills textile mills, wool - history, textile history, textile mills -
Hawthorn Historical Society
Drawing - Property Illustration, 1/ 6 Clifton Road, Hawthorn East, 1989
'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 1/6 Clifton Road, Hawthorn East by Margaret Picken.1/ 6 Clifton Road, Haw East, Margaret Picken '89. Woodards. artist - margaret picken 1950- -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 34 Pine Avenue, Camberwell, 1992
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 27 Munro Street, Kew East, 1988
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 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 27 Munro Street, Kew East by Margaret Picken.27 MUNRO ST., KEW / MARGARET PICKEN '88 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 27 munro street - kew east (vic) -
Bendigo Historical Society Inc.
Textile - NEWCASTLE DISTRICT BOWLING ASSOCIATION BANNER
Newcastle District Bowling Association Banner -Official Goodwill Tour to Victoria 1952 / silk screen banner on yellow silk to commemorate the Official Goodwill Tour to Victoria 1952/ showing bowling balls , city hall & 'Nobbys' , gold fringe on bottom and painted wooden ends on hanger.flags, events, newcastle district bowling association -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 61 Glen Iris Road, Glen Iris, 1990
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Whitehorse Historical Society Inc.
Decorative object - St. Christopher's Medal
Collection of Margaret ScarlettReligious MedallionPossibly Aluminium Alloy with shank to hold ribbon or chain. St. Christopher's Medal engraved.St. Christopher's Medalreligion, christian -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 5 O'Shaughnessy Street, Kew, 1993
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 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 5 O'Shaughnessy Street, Kew by Margaret Picken.5 O'SHAUGHNASSY ST., KEW / MARGARET PICKEN '93 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 5 o'shaughnessy street -- kew (vic.) -
Melbourne Tram Museum
Drawing, Melbourne & Metropolitan Tramways Board (MMTB), "Seating Plan 48 passenger box car (Hopper Windows)", Aug. 1937
Print of drawing R4661, "Seating Plan 48 passenger box car (Hopper Windows)", showing a side elevation and floor plan of a tramcar like a SW6 but with two large central sliding doors.trams, tramways, sw6 class, bogie trams, new tramcars, tramcar construction, proposals -
Flagstaff Hill Maritime Museum and Village
Painting - Landscape, H M Ward (Harold Morse Ward), Early to mid-20th century
This framed watercolour was created by 20th-century landscape painter Harold Morse Ward. He was born in Brooklyn New York in 1889 and died in Sacramento, California, in 1973. Ward graduated from the Pratt Institute in Brooklyn and furthered his studies in Paris. He was a high school art teacher for many years, later establishing the art department at the Sacramento Junior College in 1923. In 1949 he won a Carnegie Grant for further research in fine arts. He wrote and illustrated the book ‘The Thing Called Art’. His subjects were often taken from the Sacramento area.This is the only example of artwork by early-to-mid 20th-century recognised artist H M Ward in our collection. It is representative of the artwork displayed in homes during that era. Harold Morse Ward received a Carnegie Grant for research in art. He was a descendant of the inventor of the telegraph, Samuel Morse.Painting; the timber framed watercolour painting behind glass depicts a cottage on a hill beside a winding creek with trees and bushes. Artist is H M Ward. Signed "H M Ward"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, watercolour, landscape, h m ward, harold morse ward, 20th century art, sacramento artist, the things called art -
Gippsland Art Gallery
Mixed Media, Unknown Artist, Brass Gong and Stand with Mallet, Undated
Donated by John Leslie OBE, 1975gippsland, artwork, permanent collection -
Hawthorn Historical Society
Drawing - Property Illustration, 4 Kemsley Court, Hawthorn East, 1993
'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 architectural drawing on drafting film.4 KEMSLEY COURT, E HAW Margaret Picken ~98 WOODARDS - HAWTHORNartist - margaret picken 1950- -
Flagstaff Hill Maritime Museum and Village
Print - Portrait of Queen Victoria, Hoy Art Picture Framing, Original probably painted in 1887 or 1897 to commemorate 50 or 60 years on the throne
Queen Victoria was born at Kensington Palace, London, on 24 May 1819. She was the only daughter of Edward, Duke of Kent, the fourth son of George III. Her father died shortly after her birth and she became heir to the throne because the three uncles who were ahead of her in the succession - George IV, Frederick Duke of York, and William IV - had no legitimate children who survived. Warmhearted and lively, Victoria had a gift for drawing and painting; educated by a governess at home, she was a natural diarist and kept a regular journal throughout her life. On William IV's death in 1837, she became Queen at the age of 18. Queen Victoria is associated with Britain's great age of industrial expansion, economic progress and, especially, empire. At her death, it was said, Britain had a worldwide empire on which the sun never set. In the early part of her reign, she was influenced by two men: her first Prime Minister, Lord Melbourne, and then her husband, Prince Albert, whom she married in 1840. Both men taught her much about how to be a ruler in a 'constitutional monarchy, in which the monarch had very few powers but could use much influence. Albert took an active interest in the arts, science, trade and industry; the project for which he is best remembered was the Great Exhibition of 1851, the profits from which helped to establish the South Kensington museums complex in London. Her marriage to Prince Albert produced nine children between 1840 and 1857. Most of her children married into other Royal families in Europe. Edward VII (born 1841), married Alexandra, daughter of Christian IX of Denmark. Alfred, Duke of Edinburgh and of Saxe-Coburg and Gotha (born 1844) married Marie of Russia. Arthur, Duke of Connaught (born 1850) married Louise Margaret of Prussia. Leopold, Duke of Albany (born 1853) married Helen of Waldeck-Pyrmont. Victoria, Princess Royal (born 1840) married Friedrich III, German Emperor. Alice (born 1843) married Ludwig IV, Grand Duke of Hesse and by Rhine. Helena (born 1846) married Christian of Schleswig-Holstein. Louise (born 1848) married John Campbell, 9th Duke of Argyll. Beatrice (born 1857) married Henry of Battenberg. Victoria bought Osborne House (later presented to the nation by Edward VII) on the Isle of Wight as a family home in 1845, and Albert bought Balmoral in 1852. Victoria was deeply attached to her husband and she sank into depression after he died, aged 42, in 1861. She had lost a devoted husband and her principal trusted adviser in affairs of state. For the rest of her reign she wore black. Until the late 1860s she rarely appeared in public; although she never neglected her official Correspondence, and continued to give audiences to her ministers and official visitors, she was reluctant to resume a full public life. She was persuaded to open Parliament in person in 1866 and 1867, but she was widely criticised for living in seclusion and quite a strong republican movement developed. Seven attempts were made on Victoria's life, between 1840 and 1882 - her courageous attitude towards these attacks greatly strengthened her popularity. With time, the private urgings of her family and the flattering attention of Benjamin Disraeli, Prime Minister in 1868 and from 1874 to 1880, the Queen gradually resumed her public duties. In foreign policy, the Queen's influence during the middle years of her reign was generally used to support peace and reconciliation. In 1864, Victoria pressed her ministers not to intervene in the Prussia-Denmark war, and her letter to the German Emperor (whose son had married her daughter) in 1875 helped to avert a second Franco-German war. On the Eastern Question in the 1870s - the issue of Britain's policy towards the declining Turkish Empire in Europe - Victoria (unlike Gladstone) believed that Britain, while pressing for necessary reforms, ought to uphold Turkish hegemony as a bulwark of stability against Russia, and maintain bi-partisanship at a time when Britain could be involved in war. Victoria's popularity grew with the increasing imperial sentiment from the 1870s onwards. After the Indian Mutiny of 1857, the government of India was transferred from the East India Company to the Crown, with the position of Governor-General upgraded to Viceroy, and in 1877 Victoria became Empress of India under the Royal Titles Act passed by Disraeli's government. During Victoria's long reign, direct political power moved away from the sovereign. A series of Acts broadened the social and economic base of the electorate. These acts included the Second Reform Act of 1867; the introduction of the secret ballot in 1872, which made it impossible to pressurise voters by bribery or intimidation; and the Representation of the Peoples Act of 1884 - all householders and lodgers in accommodation worth at least £10 a year, and occupiers of land worth £10 a year, were entitled to vote. Despite this decline in the Sovereign's power, Victoria showed that a monarch who had a high level of prestige and who was prepared to master the details of political life could exert an important influence. This was demonstrated by her mediation between the Commons and the Lords, during the acrimonious passing of the Irish Church Disestablishment Act of 1869 and the 1884 Reform Act. It was during Victoria's reign that the modern idea of the constitutional monarch, whose role was to remain above political parties, began to evolve. But Victoria herself was not always non-partisan and she took the opportunity to give her opinions, sometimes very forcefully, in private. After the Second Reform Act of 1867, and the growth of the two-party (Liberal and Conservative) system, the Queen's room for manoeuvre decreased. Her freedom to choose which individual should occupy the premiership was increasingly restricted. In 1880, she tried, unsuccessfully, to stop William Gladstone - whom she disliked as much as she admired Disraeli and whose policies she distrusted - from becoming Prime Minister. She much preferred the Marquess of Hartington, another statesman from the Liberal party which had just won the general election. She did not get her way. She was a very strong supporter of the Empire, which brought her closer both to Disraeli and to the Marquess of Salisbury, her last Prime Minister. Although conservative in some respects - like many at the time she opposed giving women the vote - on social issues, she tended to favour measures to improve the lot of the poor, such as the Royal Commission on housing. She also supported many charities involved in education, hospitals and other areas. Victoria and her family travelled and were seen on an unprecedented scale, thanks to transport improvements and other technical changes such as the spread of newspapers and the invention of photography. Victoria was the first reigning monarch to use trains - she made her first train journey in 1842. In her later years, she became the symbol of the British Empire. Both the Golden (1887) and the Diamond (1897) Jubilees, held to celebrate the 50th and 60th anniversaries of the Queen's accession, were marked with great displays and public ceremonies. On both occasions, Colonial Conferences attended by the Prime Ministers of the self-governing colonies were held. Despite her advanced age, Victoria continued her duties to the end - including an official visit to Dublin in 1900. The Boer War in South Africa overshadowed the end of her reign. As in the Crimean War nearly half a century earlier, Victoria reviewed her troops and visited hospitals; she remained undaunted by British reverses during the campaign: 'We are not interested in the possibilities of defeat; they do not exist.' Victoria died at Osborne House on the Isle of Wight, on 22 January 1901 after a reign which lasted almost 64 years, then the longest in British history. Her son, Edward VII succeeded her. She was buried at Windsor beside Prince Albert, in the Frogmore Royal Mausoleum, which she had built for their final resting place. Above the Mausoleum door are inscribed Victoria's words: "Farewell best beloved, here, at last, I shall rest with thee, with thee in Christ I shall rise again." Source: https://www.royal.uk/queen-victoria This picture captures Queen Victoria in her later years. It may well have been painted to commemorate her Golden Anniversary in 1887, or her Diamond Anniversary in 1897.Picture, print, reproduction of a drawing or photograph of Queen Victoria. She is wearing a dark-coloured dress, white headdress and a diamond necklace and earrings. On her left shoulder is the Royal Order of Victoria and Albert, awarded to female members of the British Royal Family and female courtiers. There are four grades or classes of this Royal Order as well as the Sovereign's Badge, which is exclusive to her. Also across her left shoulder, is a blue riband representing the Order of the Garter. The picture is in a medium-coloured timber frame with a white string across the width at the rear. The label says it was framed by Hoy Art, Warrnambool. The signature of the Queen is on the picture but is not obvious since the picture has been re-framed."HOY ART / PICTURE FRAMING / 48 Kepler St, Warrnambool 3280 / Phone (055) 62 8022" Signature (hidden by new framing) "Victoria H.R.S."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, picture of queen victoria, queen victoria, the royal order of victoria and albert, the order of the garter, hoy art -
Federation University Art Collection
Drawing - Pencil ink & Water colour on paper, [Flower Study] by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed sketches of plantsSigned lower left side "Sybil Craig"art, artwork, sybil craig, craig, flora, plants, flowers, available -
Darebin Art Collection
Painting - Katherine Hattam, Katherine Hattam, Powerlines Merri Creek, 2010
"Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement."Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting -
Mont De Lancey
Decorative object - Glassware
A small rectangular Windsor patterned clear glass container for a dressing table, possibly used for hairpins in the 1930's or 40's. It has 4 angled pieces that protrude from each bottom corner. Three rows of hexagonal shapes are part of the pattern on all sides. There are chips and cracks. It may have had a lid.Hexagonal cuts to the pattern on all sides of the container.glassware, domestic object -
Mission to Seafarers Victoria
Drawing, XMAS 1946, 1946
Drawing (0341.C1) by Allan Quinn of South America. Titled 'XMAS 1946'. south america, brazil, argentina, allan quinn, letter, 1946, christmas, sketch, drawing, sailors, seamen, seafarers, tourism -
Federation University Art Collection
Painting - Poster, Gilda Gude, 'Vi-Lactogen' by Gilda Gude, 1935 c
In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. 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.art, artwork, gude, gilda gude, poster, ballarat technical art school -
Kew Historical Society Inc
Print - Subdivision Plan (copy), Plan of Section 79 Parish of Boroondara (Clifton Estate), Nineteenth Century
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A photographic reproduction of a plan in the Vale Collection of the State Library of Victoria. The numbered lots represent the first land sales in Kew in the area north of Studley Park Road.maps (kew), plan of section 79 parish of boroondara -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Ehrenbreitstein, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Moorabbin Air Museum
Drawing (Item) - Airesearch Manufacturing Company Engine Installation Turbo Propellor TOPE331-25D 99193 865912-1D
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National Wool Museum
Textile - Vest, Tina Knitwear, 1980-2000
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. Sleeveless beige vest with four front self covered buttons. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 50 Foley Street, Kew, 1998
This architectural 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 50 Foley Street, Kew by Margaret Picken.50 FOLEY ST., KEW / MARGARET PICKEN '98 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 50 foley street -- kew (vic.) -
Bendigo Historical Society Inc.
Decorative object - HAND PAINTED PLATE
Hand painted china dinner plate with rural scene of Gumtrees, hills, creek & a bunch of wattle and mauve flowers in foreground, gilt edging.Zena Cohn Bendigodomestic equipment, food consumption, plates -
Gippsland Art Gallery
Print, MacFarlane, Stewart, Blind Date, 1992
Artworks Gallery Collection. Donated by Norman & Petah Creighton, 2018Coloured linocut print on papergippsland, artwork, permanent collection -
Glenelg Shire Council Cultural Collection
Print - Linocut - Admella Rescue Series No. 4, Bob Stone, Some valuable horse stock was on board .... the horses were thrown overboard.... SA Advertiser 7th August 1859, 2009
Part of suite of 16 Linocuts created for an exhibition at the Portland Arts centre for the Admella 150th Festival.Linocut print. Fourth in a suit of 16 in the 'Admella Rescue Series'. Depicts the head of one horse, and the head and one forelegg of the second horse, among large waves. Printed in black on white archival paper.Front: Front - Linocut Bob Stone 'Some valuable horse stock was on board .... the horses were thrown overboard.... SA Advertiser 7th August 1859' - hand written, black penadmella, portland lifeboat, shipwreck -
Swan Hill Regional Art Gallery
Painting, SANTRY, John, Above Watson's Bay, unknown
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Camberwell Historical Society
Drawing (series) - Architectural drawing, 26 Cloverdale Close, Burwood, 1994
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses