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Bendigo Historical Society Inc.
Textile - MILK JUG COVER
Textiles, cotton lace milk jug cover. Word 'MILK' woven into pattern. Two 5 mm round white beads tied into one corner. Open loops of cotton around edges.textiles, domestic, milk jug cover -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 29 Cecil Street, Kew, 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 range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 29 Cecil Street, Kew by Margaret Picken.29 CECIL ST., KEW / MARG PICKEN ~88 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 29 cecil street -- kew (vic.) -
Gippsland Art Gallery
Painting, Wallace-Crabbe, Robin, Darlimurla, 1971
Purchased, 2019Oil on canvasgippsland, artwork, permanent collection -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 190 Brougham Street, Kew, 1992
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 range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020An inter-War double-fronted brick villa, subsequently colour rendered circa 2000. The pen and ink architectural drawing on drafting film of 190 Brougham Street was made by Margaret Picken in 1992.190 BROUGHAM ST., KEW / MARGARET PICKEN '92 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 190 brougham street -- kew (vic.) -
Moorabbin Air Museum
Drawing (item) - Details of Forming Tool For Spacer MS 243
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Federation University Art Collection
Painting, James Gleeson, 'Bellerophon Entreats the Aid of Poseidon' by James Gleeson, 1956 /1959
James GLEESON (21 November 1915-20 October 2008) Born Hornsby, Sydney, New South Wales The paintings of James Gleeson reveal powerful and complex relationships between the human psyche and human experience - between myth and reality. 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.Australian Surrealismartwork, art, james gleeson, surrealism, australian surrealism -
Wangaratta Art Gallery
Painting, Elaine Burge, Forest Ferns At Healseville, 1983
Rural City of Wangaratta Collection. Purchased with funds from the Wangaratta Arts Council.A rectangular landscape of forest ferns painted in oil using shades of green, brown, and blue.Obverse: Elaine Burge/ (bottom right corner)wangaratta art gallery, elaine burge, landscape, forest, healesville, painting -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Late 1800s to early 1900s
This bottle was recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer often stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, discolouration above base.Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, artefact, stoneware, ironstone, pottery, bottle, antique bottle -
Kensington Neighbourhood House
Work on paper - Annual Report, Kensington Neighbourhood House Annual Report 2020
Stapled colour printed paper -
Friends of Ballarat Botanical Gardens History Group
Work on paper - The Maze, Ballarat Botanical Gardens, Victoria, A Brief History of the Maze
john garner collection, ballarat botanical gardens, gardens, ballarat, maze -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 2 Regency Grove, 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 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 2 Regency Grove, Kew by Margaret Picken.2 REGENCY GVE., KEW / MARGARET PICKEN ~93 / WOODARDS ~ C'WELLartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 2 regency grove -- kew (vic.) -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 15 Wimba Avenue, 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 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 15 Wimba Avenue, Kew by Margaret Picken.15 WIMBA AVE., KEW / MARGARET PICKEN ~93 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 15 wimba avenue - kew (vic) -
Federation University Art Collection
Work on paper - Artwork, Cuthbertson, Archibald, 'Phoenix' by Arch Cuthbertson, 1961
Arch CUTHBERTSON (1 December 1924-2000) Born Geelong, Victoria Archibald Frederick Cuthbertson was a painter, sculptor, printmaker and mural painter. He lreceived a Diploma of Fine Art from Royal Melbourn Institute of Technology in 1951. He lectured in Art at the Ballarat Teachers' College. 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.ModernistFramed silkscreen Purchased by the Ballarat Teachers' College , 1961 Signed in yellow, lower right side, 'A. Cuthbertson 1961'art, artwork, arch cuthbertson, printmaking, silkscreen, ballarat teachers college, ballarat teachers' college art collection -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Banksia Tree Cloak (water and fire business), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 22 Lister Street, Kew East, 1990
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 real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 22 Lister Street, Kew East by Margaret Picken.22 LISTER ST., E. KEW / MARGARET PICKEN '90 / WOODARDS ~ artist -- margaret picken 1950-, property illustrations — buildings — kew east (vic.), 22 lister street - kew east (vic) -
Federation University Bookplate Collection
Work on paper - Bookplate
After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Open matchbox with image of bicycle with two crossed matches left above. Matchbox labelled 100 SUPER DELUXE MATCHES EX LIBRIS LIAM ROBERTSON.Pencilled beneath image 4/4 L Robertson 20' -
Bendigo Historical Society Inc.
Painting - CAROL HOLSWORTH COLLECTION: 1970 NATIONAL BANK PAINTING 'THE MYERS CREEK RUSH' - NEAR SANDHURST
1970 National Bank painting reproduction The Myers Creek Rush - Near Sandhurst , Victoria Below the picture title the words - Reproduced by the National Bank in 1970 from the watercolour in the Rex Nan Kivell Collection , National Library of Australia , by permission of the Trustees .A hut in the foreground has a sign Tuck & Sons Branch Store. Centre left appears to be a National Colonial flag on a high flag pole .There are a number of buildings throughout the scene , horses and carts , mine windlasses .A Blacksmith in the foreground is talking to two men .Six men are examining the results of gold panningpainting, watercolour, gold diggers -
Eltham District Historical Society Inc
Work on paper (Sub-Item) - Aerial Photograph, Diamond Creek from Yarra River to Wattletree Road, Eltham
Black and white aerial photograph witrh key features around the central place of Eltham township marked inluding Yarra River, Main Road, Bridge Street and Ryans Road, Eltham North land development, real estate, aerial view, eltham, eltham north -
Bendigo Historical Society Inc.
Painting - OIL PAINTING: GOLDEN MILE EAGLEHAWK
Oil painting by J.B.Perry of Golden Mile Eaglehawk. Poppett Heads. Mining sheds. Duchess Tribute. G.M.Co. Painted in grey and brown oil colours. Markings on back: Golden Mile Eaglehawk. An original in oils from an early black & white photo by John. B. Perry. DR 277. Num 21.J.B. Perryplace, building, gold mining site -
The WAMA Project : The National Centre for Environmental Art
Painting, Marianne Wehl (1867 - 1926), Untitled (Daviesia brevifolia - Leafless Bitter Pea), c1887 to 1924
The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this particular plant as Daviesia brevifolia - Leafless Bitter Pea - a widespread but very showy plant in the heathlands. "It's very difficult to propagate, but due to its extremely showy nature, we have plants ready to plant in our Grampians Endemic Garden as ‘filler plants’." NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife art, Wildflowers, Marianne Wehl, Marrianna Wehl, Flower painter, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henriette D'Alton, WAMA, Halls Gap, painter, gouache, Wildlife Art Museum Australia, Wild Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanUnframed pinky orange pea flower painted in gouache on smoother side of brown cardLL ' MW' (underlined)wildflowers, flowers -
Wangaratta Art Gallery
Textile, Paul Yore, Map, 2012
I see my work with textiles as always a negotiation of both the poetic and the political. A medium often relegated to the realm of ‘craft’, I see working with wool as a subtly subversive methodology, and an opportunity to engage in socio-political critique. As a laborious yet cathartic craft, the delicately feminine familiarity and domestic warmth of my hand-sewn tapestries allows me to open up and question traditional notions of masculinity through the enactment of a highly personalized queer ritual. Furthermore, wool carries with it frontier pastoral associations of early colonial expansion, and it is in this context that the work Map, which is based on the ethnographic mapping of indigenous language groups, was envisioned.contemporaryWangaratta Art Gallery Collection. Work acquired as winner of 2013 Wangaratta Contemporary Textile Award. Digital reproduction courtesy of the artist, Neo Parc Melbourne and Hugo Michell Gallery Adelaide.A rectangular wool needlepoint textile work that features a multi-coloured map of Australia on a black and white checkered background. textile, wcta, wangaratta art gallery, paul yore, wool needlepoint -
Gippsland Art Gallery
Ceramic, Hughan, Harold, Dinner Plate with Blue Cobalt and Circles and Flowers Decoration, Undated
Donated by Mrs Pam Weaver OAM & Dr Hugh Weaver through the Australian Government Cultural Gifts Program, 2019gippsland, artwork, permanent collection -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Chinese Elm - Corner Beach Road and Hampton Street, 1977
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. The Chinese Elm tree illustrated here marks the site of ‘Esmeralda’ which stood at at 312-314 Hampton Street, Hampton. It was a rambling house built in 1872 by Alfred William Harston and demolished in the 1970s. The elm is thought to be over 150 years old and was preserved by Council when flats were built on the site. It is recognised in the Significant Tree Register of Bayside City Council.Annette Meikle, Chinese Elm - Corner Beach Road and Hampton Street 1977, ink and watercolour, 33.8 x 23.7 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, chinese elm, esmeralda, alfred william harston, significant tree, historic house, hampton, hampton street -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 411 Camberwell Road, Camberwell, 1993
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 8 Nicholsdale Road, Camberwell, 1993
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
National Wool Museum
Textile - Skirt, 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. Teal knitted skirt shaped with darts and with a back vent. Skirt has a silky lining in slightly darker green with an elastic waistband. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
Federation University Historical Collection
Work on paper - Image, Ballarat School of Mines featuring the former Ballarat Circuit Courthouse
The former Ballarat Circuit Court was demolished in 1913 to make way for the Ballarat Technical Art School. A lithograph of the Ballarat School of Mines, showing the former Ballarat Circuit Court House, brick chimney, and gauge towerballarat school of mines, ballarat court house, ballarat circuit court, niven, f.w. niven, gauge tower, caselli, hnery richards caselli, courthouse -
Swan Hill Regional Art Gallery
Painting, WIDDOWS, Peg, The old forest - winter, the Grampians, 1983
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Eltham District Historical Society Inc
Work on paper (Sub-Item) - Photograph, Main Road Bridge, Eltham low flow of Diamond Creek, June 1979
Colour photograph.Main Road Bridge, Eltham low flow of Diamond Creek with wooden pedestrain bridge constructed over the creek as a continuation of the walking and biking trail, June 1979diamond creek, eltham, bridge, main road, pedestrain bridge, trail -
Gippsland Art Gallery
Painting, Piggott, Owen, Flooding Light, 2008
Donated from the estate of the artist, 2016Oil on canvasgippsland, artwork, permanent collection