Believed to have been made by Tilly Aston, this tray cloth is an example of the type of skills the Royal Victorian Institute for the Blind school taught its female students. Handicrafts was a possible method of income, and the emphasis was on producing usable pieces rather than highly decorative ones. It is a rectangular shaped tray cloth made from cotton and silk thread. The centre piece is cream coloured and consists of 2 layers of pulled thread work The cloth is edged with a beige coloured lace border. Linen cloth with crocheted edgingtilly aston, royal victorian institute for the blind

Often given at Chinese New Year, it was gifted to the Mission in 2012 by Ren Ban of the ship ‘Theresa’ from Micronesia. The red Chinese knot is a particular kind of knot unique to China, usually a gift as a symbol of good fortune for a home, a business or an organisation and the one strand ties people together. The object was presented to acknowledge the work done by the Mission for the seafarers of the world. Red and gold Chinese good fortune symbol made of synthetic, silk-like material with woven diamond hanging section and a long double hanging tassel with gold trim .symbol, ms theresa, seafarer gifts, chinese knot, chinese tassel, pan chang knot, red, handicraft

This teacosy provides an example of handmade, domestic objects held within the collection and was constructed in 1930 by Miss Beatrice Symons of Creswick and Ararat. The lining is of newspaper enclosed in cotton, with each part handstitched including the joining of the hexagonal patches. The templates for the hexagonal-shaped patches were made of metal. Handstitched teacosy, featuring hexagon patchwork in multi-patterned cotton. Padded, pink lining with mauve flowered frill over the top of joining seam. Loop sewn to inside.handicraft, patchwork, sewing, teacosy, beatrice symons, creswick, ararat, 1930

The Country Women’s Association of Victoria was formed 12 March 1928 and today has over 5,600 members. Its original aim was to improve conditions by community service, more especially as they affect the welfare of women and children. The Wodonga CWA branch was formed in 1934 and has been an active group in the community until the present day. The CWA provided gathering opportunities for rural women and quickly became renowned for their street stalls, catering at Agricultural Shows and social events including debutante balls, handicraft classes and cooking demonstrations. Today they have become even more than that, participating in and organising a wide range of activities and initiatives in the community, always with the focus of service to others. The CWA is of significance on a local, state and national level as a critical service group. They conduct a range of social, educational and services throughout Australia with an initial focus on the support of rural women and children. This role has evolved over time to incorporate a wide range of initiatives, government advisory bodies and organisations.A wine glass decorated with a gold rim and gold logo of the CWA Victoria produced to celebrate the golden jubilee of the Wodonga BranchAbove the CWA logo "GOLDEN JUBILEE" Beneath the logo "WODONGA/1934 - 1984"country women's association, wodonga cwa, service groups, community organisations

This dress was hand crocheted by Miss Muriel 'Dolly' Williamson, who was noted for her skill at handicrafts and her sense of fashion. Throughout her life she hand made many of her own clothes and enjoyed wearing them to local social events. She had a large collection of hand knitted and crocheted clothes, most of which were dispersed amongst her friends when she finally went into a nursing home. The donation of this dress was facilitated by Ms Julia Fry from Community Options Barwon who is Miss Williamson's case worker. This dress is typical of the style of the 1960s, with its bright colours and long line. Miss Williamson called it her 'Carmen Miranda' dress.Dress, hand crocheted by Miss Muriel Williamson in bands of mid green, light green and white wool, c.1960s. Detail of dress hand crocheted by Miss Muriel Williamson, c.1960s.fashion handicrafts crochet, williamson, miss muriel blanche, fashion, handicrafts, crochet

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including an increase of membership to 150, the unfortunate illness of Mr Holgate, that attendance at meetings has improved due to the possible transfer of them into the city, the Secretary is now paid for their work due to the amount required, a number of goods designed for the blind have been imported by the Association from England and are being sold, some of which (the embossed music) has formed the beginning of a small music braille library, instruction in light handicrafts in the homes of the blind is continuing and now includes a knitting machine, concerts are still being undertaken with the focus on publicity for the Association and covering performing fees rather than as a fundraiser, and there are plans to create a fund scheme for sick workers.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including the continued support for Country Concert Parties, the addition of the Brunswick and Coburg Tramway Trust to the Railways Pass concession scheme, appointment of two lady collectors in lieu of a single male collector with very gratifying results, the Association wishes to compile statistics on the sources of blindness with the aid of its visitors, a committee has been formed to inquire on the possibilities of cigarette and cigar making as a light handicraft, a garden party was held to celebrate the 'coming of age' of the Association since it was formed 21 years ago, and the passing of Mr W Hall, who was a vice-president of the Society and placed his devotion to the cause above his physical disabilities, and will remembered by a lasting memorial at the Home.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book

President's overview of the year including: discussion about the government investigation and those who gave negative testimony, withdrawal of Government's case and clearance of accusations, full disclosure of Terms of Settlement, inaccurate comparisons made with Kew facility, reflection on how investigations were conducted, resignation of Greg Cooper due to harassment by investigators, opening of a handicraft and rehabilitation centre in Annerley, article on Alf Kemmel and his involvement with the breeding program, mini profiles of some people with their dogs, 12 people graduated this year, request for more homes for breeding dogs, enlargement of day centre, and purchase of goodwill of St Leeor Nursing Home (freehold bought in 1985) to extend nursing home facilities to blind and visually impaired. Annual Report for Guide Dog Owners and Friends Association is also included with list of committee members, net surplus, auditor's report, biographical notes of Executive Director and Facts about Lady Nell Seeing Eye Dog School and Rehabilitation Centre.1 volume with text and illustrationsannual reports, lady nell seeing eye dog school, phyllis gration

A box covered with decorative paper containing articles taken from 'Home Beautiful' 1932 - 1952.Home Beautiful 1932 onwardshouse, private, renovation, lydia chancellor, collection, gardens, gates, building, building extensions, craft, handicraft, furniture, home renovations, antiques, architecture, house plans, england, australian homes, english homes, fireplaces

Commissioned by George W. Bell, designed by Anthony Harvey. An old gold mining and wine growing district eighteen miles from Melbourne, now notable for its arts, crafts, good food and historic buildings. On the reverse side (of one copy only) is printed in 8 panels (3 half-folds) advertising for Montsalvat, Eltham; Setel Downs Coffee Kitchen Art Gallery, Kangaroo Ground; Country Art Store, Eltham; Alfred's Homestead, Warrandyte; Neville F Emmerson Estate Agent, Lower Plenty; Eltham Crafts. Monstsalvat, Eltham; Tantoon native plants and culinary herbs, Eltham; Flavour of Eltham, Shillinglaw Coattage Preservation Society; The Eltham Barrel; Potters Cottage, Warrandyte. In addition is provided by cateogory listing: POTTERY AND CRAFTS Country Art Store, Eltham Diamond Creek Handicrafts, Diamond Creek Eltham Crafts, Eltham John Mills, Eltham Potters Cottage, Warrandyte Setel Downs, Kangaroo Ground The Claypot, Warrandyte Warrandyte Quarries and Pottery, Warrandyte GOOD FOOD AND DRINK Alfred's Homestead, Warrandyte Geranium Parlour,. Research Inglenook, Warrandyte La Ronde, Eltham The Barrel, Research The Potters Restaurant, Warrandyte Setel Downs, Kangaroo Ground GALLERIES Hassall's Gallery, Research Lodge Gallery, Warrandyte The Bird Gallery, Eltham Royalat Gallery, Panton Hill PLANTYS, TREES AND SHRUBS Danson's Gardens, Research Dean's Orchids & Dahlias, Templestowe Diamond Vlley Trees & Shrubs, Warrandyte Jum Jum, Diamond Creek Parson's, Research Tantoon, Eltham Warran Glen, Warrandyte44..8 x 57.5 cm (Two copies) On the reverse side (of one copy only) is printed in 8 panels (3 half-folds) advertisingeltham, warrandyte, map, country art store, diamond creek handicrafts, eltham crafts, john mills, potters cottage, setel downs, the claypot, warrandyte quarries and pottery, alfred's homestead, geranium parlour, inglenook, la ronde, the barrel, the potters restaurant, hassall's gallery, lodge gallery, the bird gallery, royalat gallery, danson's gardens, dean's orchids & dahlias, diamond vlley trees & shrubs, jum jum, parson's, tantoon, warran glen, advertising, eltham barrel

From 1944-1996, Edna Barrie was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Recipes from the members of the Bradvale Branchlocal significant events, local identities

In 1944-1996 Edna Barrie was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Items celebrating 80 years of Country Women's Association and the closure of the Melton branchlocal significant groups, local identities, local special interest groups

The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Cylindrical drinking glass with stepped relief around lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Moulded patterned glass butter dish. Base has been broken.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass, kitchen item, butter

These photographs of a presentation to a charity organisation were taken in the grounds of Fortuna Villa, Army Survey Regiment in 1984. SPR Tracy (Parker) Ash was the unit’s Miss Golden North section entrant in the Miss Australia Quest. MAJ Bob Roche, RSM Bob Mason and SPR Parker presented a fundraising cheque to the unidentified representative from the Spastic Society. The the newspaper article is from the Bendigo Advertiser. The following wording is taken from the article: ‘Tracy Parker is a sapper in the Army, and a cartographic technician stationed at Fortuna, Bendigo. Originally from Melbourne, Tracy, 23, is the latest entrant in the Miss Golden North segment of the Miss Australia Quest. The highlight of Tracy’s quest will be an open day at Fortuna, once the magnificent home of Bendigo’s Quartz King, George Lansell. This open day at Fortuna, on Sunday, August 26, between 10 am and 4 pm, will give district residents a rare opportunity of inspecting this magnificent building and its gardens. Tracy said there will be handicrafts, rides, competitions and refreshments available at the open day. The main attraction, apart from the building and gardens, would be a hot air balloon. Admission to the open day would be: Adults $2, children and pensioners $1, family party $5. All proceeds from the open day at Fortuna will go to the Spastic Society. Tracy, like all other Miss Australia candidates work hard for the Spastic Society in fundraising activities. Getting further involved in fundraising, Tracy and her strong committee have organised a 6km fun run for Sunday August 19. Entry forms are available at Bendigo sports stores, and at the end of the fun run will be a barbecue. Apart from her vocation in the Army, and fundraising for the Spastic Society, Tracy Parker has a great love of horses, and associated activities of riding, jumping and showing her horses. Tracy is keen to do well in her fundraising, and with the Australian Army, or more particularly, the ranks of Fortuna behind her, Tracy looks like succeeding.’The first three items are photographs of a presentation to a charity organisation at the Army Survey Regiment, Bendigo in 1984. The fourth item is an article from the Bendigo Advertiser describing Army Survey Regiment’s fund-raising activities. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographic proof prints were scanned at 600 dpi. The newspaper article was scanned at 762 dpi. .1) to .2P) - Photo, black & white, 1984, L to R: RSM WO1 Bob Mason, SPR Tracy (Parker) Ash, unidentified charity organisation representative, MAJ Bob Roche. .3) - Photo, black & white, 1984, L to R: MAJ Bob Roche, unidentified charity organisation representative, SPR Tracy (Parker) Ash, RSM WO1 Bob Mason. .4) – Bendigo Advertiser newspaper article with photo, black & white, 1984, SPR Tracy (Parker) Ash. .1P to .3P – No personnel identified. .4P – SPR Tracy Parker named in newspaper article.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

Gladys REYNELL (04/091881 - 16/11/1956) Born Glenelg, South Australia Gladys Reynell was South Australia's first studio potter and the first Australian artist to apply modernist principles to the crafts. For four years she worked from Ballarat. Osrey Pottery Ballarat operated between 1922 and 1926 by Gladys Reynell and George Osborne. The name of the pottery was an acronym formed from their surnames. Gladys Reynell, her sister Emily and brothers Rupert and Carew supported the war effort during World War One. Rupert Reynell was a neurologist who valued handicrafts in the rehabilitation of shell-shocked soldiers. He influenced Gladys and Margaret Rose (Rose) McPherson (later known as Margaret Preston) to learn pottery at the Camberwell School of Arts and Crafts, London, in 1916. Next year a friend sent Gladys some Kangaroo Island clay which excited her: 'I thought then that it could be the most delightful thing on earth to make pots in Australia from virgin clay'. In 1918 Gladys and Rose began teaching pottery to soldiers at Seale Hayne Neurological Hospital, Devon. In September 1919 Gladys Reynell came home in September due to her father's illness. She established the Reynella Pottery and became responsible for all stages of pottery production. Using a seasoned dump of buff-coloured clay from a well at nearby McLaren Vale Gladys Reynell built and fired her own kiln; threw simple, robust forms based on early European folk pottery; and decorated them with designs inspired by both Aboriginal art—one of the earliest to use this as a source. Gladys Reynell decorated her earthenware pottery with the characteristic rich 'Reynella blue' slip. On 14 August 1922 at St Mary's Church, Edwardstown, Gladys married George Samuel Osborne, an ex-serviceman and gardener at Reynella; they had no children. Between 1922 and 1926 they set up Osrey Pottery In Ballarat. Gladys produced pottery for sale at fairs with George as her assistant. She would throw her pots in the street, causing a sensation. In 1926 George contracted lead poisoning from lead in the glazes. They moved to rural Curdievale where Gladys resumed painting and making woodcuts. From 1939 Gladys and George lived in Melbourne. In World War II she worked in the army pay corps, in the Taxation Office, and as a translator of French. Gladys died of cancer on 16 November 1956; her husband scattered her ashes at Reynella. Her ceramics, the work of one of Australia's earliest studio potters, have been avidly collected since the late 1960s and are in most major art galleries. Small blue glazed ceramic bowl incised around the top with a decorative frieze. Incised on the base "(Dam Clay) Ballarat 1923, Osrey"gladys reynell, osrey pottery, blue bowl, incised bowl, australian studio pottery, ceramics, native clay

Ponsonby Carew Smyth, A.R.C.A. London, was Victorian Art Inspector of Technical Schools. "Ponsonby May Carew-Smyth (1860-1939), educationist, was born on 7 August 1860 at Cork, Ireland, son of Emmanuel Uniacke Smyth, gentleman, and his wife Catherine Giles, née Carew. Carew-Smyth's initial art training and teaching was at the Belfast Government School of Art and Design. In 1885 he entered the National Art Training School at South Kensington, London, where he remained as student and teacher for five years. He also taught at Rugby School, studied at the Royal School of Wood Carving and the Guild School of Handicrafts, London, and was sent by the Department of Science and Art to study art, art education and museum procedures in Paris. Testimonials to his career in England affirm his ability and dedication as an educationist and his integrity as a man. On 23 December 1890 Carew-Smyth married Marie Reynolds of Brixton; they migrated to Australia next January. In September Carew-Smyth applied from Melbourne for the position of master of the school of art and design, established under the auspices of the Ballarat Fine Art Gallery. Opening in November, the school offered day classes and a broad curriculum, and under Carew-Smyth's guidance, established a sound reputation. In November 1899 he was appointed inspector of drawing in the Department of Education. Carew-Smyth saw drawing as a crucial link between primary and technical education, insisting on it as a 'mental process quite as much as a manual'; he believed strongly in the utilitarian value of drawing to the artisan class and of art as 'craftmanship'. By his emphasis on teacher-training, by his role in the Teachers' Training College, and by his constant travels, writing and lecturing, he upgraded both the standard and importance of drawing early in the century. His meticulous mind formulated the Austral Drawing Books which provided the basis of instruction in the subject in Victoria until 1927. Although he gave his occupation as 'artist', Carew-Smyth was primarily an educationist. He was actively involved in the early years of Prahran and Swinburne Technical colleges, and especially the Working Men's College which held his interest even after his retirement. In 1906 he was appointed chairman of the Victorian State Schools' Equipment and Decoration Society, and he was important in the organization of the state schools' exhibition that year. He designed the commemorative wall plaques installed in state schools after World War I, and the art teachers' certificate. He was prominent in bringing about the 1922 Jubilee Exhibition, and the 1926 showing of work of overseas schools, and especially the 1934 Melbourne centenary 'Early Victorian Art' exhibition. In the 1930s he wrote wide-ranging, informative and sometimes humorous articles for the Argus on various aspects of the decorative arts. In mid-1936 he was acting director of the National Gallery of Victoria. To students his single-mindedness sometimes suggested sternness, but Carew-Smyth was always held in the highest regard both professionally and personally. His colleagues recalled a man of kindness, unstinting devotion to work, and humour; he was considered quite a raconteur. Survived by his wife, a son and a daughter, he died in his home at South Yarra on 9 October 1939, and was cremated." (Margot Lethlean, 'Carew-Smyth, Ponsonby May (1860–1939)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/carew-smyth-ponsonby-may-5501/text9359, accessed 4 June 2013.)Image of the face and shoulders of a bearded man - Ponsonby Carew Smyth. The image was originally published from the State Schools Exhibition Catalogue, 1906. (Cat. No. 401)carew smyth, inspector, technical schools, art.

SUMMARY - Edna (Myers) Barrie, 1918 – 2018, Profile Early Life Edna was born at Melton and delivered by Hannah Watts. Her mother Martha walked in the dark at night with her basket under her arm to the bridge over the Toolern Creek Bridge and into Sherwin Street to the corner of Yuille Street to Hannah’s house Lynch Cottage. Martha’s husband was away shearing and eventually heard the news of the birth of their blue eyed third child and second daughter. She was born into a family that was surrounded by music; her father played the “squeeze box” and mother the mouth organ. From an early age the family were aware of the great composers, a framed picture of Beethoven, Chopin, Schubert and Wagner hung above the door to the lounge room of their 4 roomed cottage, the room where the piano stood. Her life on stage started as a singer aged 6 years at the Melton Mechanics Institute Hall. Edna was born with a natural ear for music learning piano and singing from her older sister Marjorie who became an accomplished pianist and soloist and renowned music teacher in Melton and district. In the 1920s and 1930s concerts at the Melton Mechanics Institute were regular events were the local talent was fostered. The Myers children, like other children of Melton and Rockbank, studied singing, piano and elocution, sat examinations, entered in competitions in South Street Ballarat, Footscray and Melbourne. In 1929 a Sacred Concert was broadcast by 3AR from the Hall as part of the Back to Melton Celebrations. Marjorie Myers performed two of the items on the piano. Edna attended Melton State School 430 from 1924 – 1933. Her father Fred had also attended the same school. In 1924 the School staged Cinderella at the Melton Mechanics Institute Hall with a cast of 33 students. After completing her education a Melton she boarded in South Melbourne and attending Melbourne Girls High School (MacRobertson Girls High School), a school which recognized her musical attributes. She travelled home on the train on the weekends, sometimes getting off at Rockbank to save a few pennies in fares. Working life The early 1930s the Depression was a difficult time for a young woman to find work. Jobs were often menial and given to the youngest and therefore cheapest applicant. She worked as sales assistant at Polonskis and Myer in the city, and Irvines Modes in Footscray. Working to 1pm on Saturday, and when held up by a customer meant missing the train home. While at Myer Department store she lived at home and rode her bike to the Melton railway station. On one occasion she had a nasty fall when a part of her bicycle came loose causing the bike to crash rendering her concussed and injuring her nose. During the 1930s she was given a camera “a little snap” by Mrs Kelly her landlady. This began her interest in photography documenting family life at their “Burnbank” home. Musically, while at Myers she participated in annual performances held at The Kings Hall and the Myer Mural Hall. Working in the basement at Myers she was often embarrassed when her name was called, customers assuming she belonged to the Myer Family. Ken Myer worked in the basement at the same time handling the ‘Wheeler’, a wicker basket used for moving goods around the store. The family philosophy was for the children to start at the bottom and work their way up. Social life Social life in her teenage years was connected also with Scots Presbyterian Church. She attended Sunday School classes and received book prizes for attendance. She loved to read and welcomed the times when she received new book. She took part in the Sunday School Anniversaries and was presented with a Bible from the Superintendent, Henry Robinson for her assistance with the music. Marriage and War years In 1941 Edna married Ernest “Bonnie” Barrie. War in the Pacific was soon to break out. While in Sydney on their honeymoon they met up with Jim Barrie who was on his way to Canada via Hawaii just missing Pearl Harbour by two days. Jim became a Spitfire Pilot and joined the RAF and was based in England. He returned to Australia later in RAAF to fight the Japanese off the coast of New Guinea. The three eldest Barrie brothers were farmers and food producers and were thus except from military service. Edna and Bon were members of the VAOC- Volunteer Air Observers Corp entailing being rostered on duty as plane spotters. The women took shifts during the day and the men at night which involved staying overnight in the Shire Offices. Later the spotting tower was built in the plantation opposite the Post Office. Edna and Bon carried on with this from their home in Ferris Rd when the threat of invasion had ceased Community life Community life in Melton revolved around fund raising events for the Melton Mechanics Institute for the War effort and keeping up with maintenance for the Hall. In 1944 the Minister for Health gave approval for the Shire of Melton to open and Infant Welfare Centre inviting Edna to form part of the Committee with seven other women. In 1948 she was President of Melton Branch of the Victorian Health Centres Association. She volunteered this use of her car driving the person in charge, Sister Smith to visit mothers and their babies. In 1963, along with Betty Jones and Isabel Snell, Edna was instrumental in forming the 1st Melton Cub Pack and later supported the formation of the 1st Melton Scouts. During 1963 – 1968 she completed the Australian Boy Scout Association Cub Pack Preliminary Training and achieved her Wood Badge. Country Women’s Association In 1944-1996 she was a member of the Melton Branch Country Women’s Association (CWA), Melton Branch, Secretary of the Branch in 1945 – 1946 and Branch International Secretary 1970-1971. She worked with choir, music and drama interest groups within the branch attaining both first and second place in 1959, second place in 1952 Exhibition and second in Music in 1960 in the state. She was involved in their handicraft craft events, fund raising and musical events and singing competitions. During the 1950s she trained Trios and Quartets in part singing for the CWA competitions in Ballarat and Melbourne. It was at this time that she developed her skill as a conductor and trainer of choirs. She later auditioned for the Victorian Choir for alto parts believing she would stand a better chance of being chosen, because of her ability to sing in natural harmony. In 1962 she participated in the Tenth Australian Country Women of the World (ACWW) Triennial Conference “Australia Presents: CWA Massed Choir” in the Melbourne Town Hall. This event was recorded by Super Sound Spotlight on 45 extended play vinyl record. The songs were Australian music and words, for example The Silver Stars are in the Sky, The Graceful Swaying Wattle and Kookaburra. Edna continued with her interest in the Victorian Choir regularly meeting at the CWA Headquarters in Toorak for rehearsals. In 1974 she took part in the Australian Choir at the fourteenth Triennial conference of the ACWW Interfaith Service held at the Perth Concert Hall on the 13th of October. Arts and Culture Edna was also in the Choir of 3KZ Carols by Candlelight at the Myer Music Bowl in 1963 and 1964. Melton Choral Society. Edna was Director and Conductor in the 1970s performing at many community events such as Carols by Candle Light, Church Services, Easter and Palm Sunday services, Mothers Union and the 1976 Community Services Week Combined Church Service. The October – November 1978 Program covered the following: songs from the Musicals, Choral and Solo with Narratives, Guest Instrumental Item, Recitation Negro Spirituals and Australian Songs. Her involvement with church choirs included the Scots Presbyterian Church Choir Easter and Christmas performances and the 1967 Centenary Service. In 1980s the Melton Uniting Church Sacred Music Performances included The Crucifixion by Stainer, The Olivet to Calvary and other church Hymns. Edna was Musical Director of the Melton Amateur Theatrical Society and worked on performances in collaboration with Mabel Rogers on script and musical interpretation. Melton and District Historical Society Annual Art and Craft Show. First held in Melton Mechanics Institute Hall in 1973, it later took place in the in the Melton Community Hall. The Art Show was also run in conjunction with other community organizations such as Rotary and Girl Guides. Community history and research Melton streetscape and society Over 20 years commencing in the 1970s, Edna undertook extensive photographing of the changing streetscape of Melton’s High Street. She anticipated the impact of change on the community during the time of Melton’s rapid transition from a small farming district to a large urban community and this led to her extensively document and photograph many of the structures and landscape features of the township that have since been lost. She also meticulously recorded much of the contemporary life of the town and has left a significant legacy of archival material. Melton State School 100 Years Celebration, October 1970 Co-author with Mabel Rogers “The First 100 Years, 1870 – 1970” Assembled a collection of School Class Photograph and identified and compiled lists of names for future school history. She also assembled a photographic display for the 125th anniversary in 1995. Melton and District Historical Society (M&DHS) Foundation Member, 1968 Held President and Secretary positions from its inception Research associated with the classification of Heritage buildings Christ Church Classification C Scots’ Presbyterian Church Classification D Set up the storage and Catalogue system in the Office at the Willows Organised society visits to Heritage sites in and beyond the Shire of Melton, including Stathtulloh, Eynesbury, Deanside, ToolernVale sites including Merrywood (now demolished) Staughton Vale, Chirnside, Point Cook, Shwerkolts Cottage. 1970 – 1983 Melton and District Historical Society Letterhead. Staughton Memorial Light from early newspaper cutting in its location before restoration to present location. Sketch by Wendy Barrie. Designing and printing pamphlets, stationery, and other sale items with Willows title. M&DHS street naming research for new housing developments (1970 – 2000). Collaborated with Mary Tolhurst to research the names of early landowners and pioneer families connected to the first settlers. Researched Aboriginal names for inclusion on lists submitted to developers. An early example is the naming of Kuranjang and the street names associated with the McPherson family. Plains of Promise (Shire of Melton history) by Joan Starr (1985). Edna assisted with Historical Society materials and contributed her own research and photographs. Contacted and organised for Hubert Opperman to launch the book. (She was also present at his last bike ride at Rochester in 1995.) Western Metropolitan Groups of Historical Societies. Member attending meetings and representing Melton, also hosted the Group at Melton The Willows Member of the Committee of Management for the restoration of the “Willows” house the establishment of The Willows Park 1982 March - Official Opening of the Willows Park- Preparation and planning for the event. Involved in the collecting of items in the furnishing of the display rooms in the Willows house. Donated items and furniture from the Myers and Daley family houses. (19th century) Machinery Shed Establishment. Involved with Jeff Robinson in the construction and collection of machinery display Other significant sites Championed and participated in the restoration and preservation significant sites in Melton, including: restoration of the Staughton Memorial Light and its return to its present site restoration of the Pykes Grave (using EW Barrie earthmoving equipment) restoration and reconstruction of Dunvegan restoration and reconstruction of Macs Cottage, the management and Caretakers residence Melton State School War Memorial Gates removed from Unitt Street entrance and relocated to the Willows Park Donated the Barrie family single furrow plough which was standing at the Court House Plaza. It removed and to Council Depot and later missing. The plaque was taken to the Willows. Jimmy Melrose (aviator) cairn restoration at crash site in Melton South Donald Mackintosh (Olympic gold medallist marksman) grave site at the Melton Cemetery (Historical items held by the Myers family collection.) Houdini first flight at Diggers Rest. Edna’s father was shearing at Diggers Rest at the time and witnessed the flight. She attended the 90 year anniversary of the event at the site in 2000. Radio and electronics Edna’s husband Bon interest in wireless communication dates in the 1920s with the building of a crystal set in the early days of public broadcasting. At the Back to Melton Celebrations in 1929, 3AR broadcast a concert from the Melton Mechanics Institute on the 20th February at 8pm featuring Footscray City Band, James Hill baritone, Vera Carew Soprano, James Foran Tenor, Marjorie Myers Piano, and James Williamson Entertainer. Accompanists: Miss Agnes Ross and Mrs James Hill. The Myers children had recordings of their piano playing made onto the aluminium records, Martha Myers’ voice can be heard introducing an item. These were made in a studio in Melbourne. Marjorie was given a upright Gramophone by Donald Mackintosh in recognition of her talent and her contribution to the cultural life of Melton. The family were then able to listen to 78rpm recordings of the famous classical recordings. The turntable was hand wound metal stylus needles had to be regularly replaced. The aluminium disk needed a bamboo needle to prevent damage to the surface. Before electricity was introduced to Melton in 1939 the Mechanics Hall relied on generators to produce electricity. Bon Barrie, being mechanically minded, built a public address system for be used a community functions at the Hall and Recreational Park. By 1939 this was up and running and used for over three decades. A large Collection of 78rpm records provided music for dances, marching, parades and any public event needing music and microphones. The early system was portable and worked on batteries. CFA Radio Communication In the 1950s with the introduction two-way HF and later VHF very high frequency radio sets. Melton Rural Fire Brigade was part of the Bacchus Marsh Group. Radio sets where located in the Melton Fire Truck, and in the house of the Barrie family at Ferris Road. This was an ideal location to observe a 360 degree view in all directions when smoke appeared on the horizon. An antenna was erected beside the house. The set OX 7 was located in the kitchen and monitored 24 hours by the family. When an electrical fire occurred at the junction of the electricity to the house there was time to radio the fire station and summons the men working in the paddocks, thus saving the house from possible destruction. With the introduction of UHF – ultra high frequency Vinten Radios the signal was clearer and static and interference lessened and radio traffic became easier to read, and reduced noise levels in the household. VL3 LY Radio Base became the Group Headquarters was established in 1967. By 1970 the Brigades were: Melton, Rockbank, Sydenham, Toolern Vale, Diggers Rest, Truganina, and Werribee. In 1974 when the family moved to First Avenue, another antenna and a small building were erected adjacent to the residence and used to house the equipment, maps. Radio traffic consisted of regular schedule times and communication with adjoining groups of brigades such as Bacchus Marsh, Mt Macedon and Little River Groups. Many of the brigade and group base radios were situated in private residences and operated primarily by fire fighters wives who held the position of Communications Officer, either registered as a brigade member or informally. Edna was never registered as an operational brigade member but operated informally as an assistant to her husband Bon. She was however a member of the Melton Fire Brigade Ladies Auxiliary from its inception in 1968, a non-operational position. Edna kept up to date with radio procedure following the 1967 handbook; preparing maps, plotting compass points and taking notes on weather forecasts from the SA Border and Western District. Daily notes were taken in anticipation of fire warnings. These log books and daily radio traffic were incidental to the regular radio schedules. Emergency turnouts noted, burning off times and predicted location of smoke. In the summer fire season all TBF (total fire ban days were recorded.) In times of emergency the Barrie family assisted Bon the base radio operator to plot the position and location of fire trucks and to help clarify garbled radio traffic, keep notes and make telephone calls. These log books are held in the EE and EW Family Archive. Melton Uniting Church Edna founded the Church Opportunity with Maisie Robinson in 1975 in the Melton South Methodist Church building. Methodist and Presbyterian Churches of Melton had combined severing their long held connection with Bacchus Marsh. A Manse had been recently built for the Melton Minister. At a Parish Committee meeting at the Melton South Church it was suggested to use the building as an Opportunity Shop. It opened in July 1975, and it raised $1,600 contribution to the church budget in 1976. In 1977 The Uniting Church in Australia was formed and the Melton South Uniting Church Opportunity shop continued to go from strength to strength expanding the buildings providing the welfare needs of the community. Archive Set up by Edna Catalogued items dating from 1857 Minute Book and set ongoing system and storage of items of heritage. Melton Un Awards and recognition of service to the Melton community Rotary Award for Community Service, 1980 Victoria 150th Anniversary Celebrations contributions, 1985 Life Membership of the Melton and District Historical Society (M&DHS), 1989 Extra-Ordinary Contribution for years of service to M&DHS, 1992 Long Service for Exceptional Service MD&HS, 1993 Royal Historical Society of Victoria Award of Merit, 1997 Shire of Melton Certificate of Appreciation for continued support and dedication as a member of MD&HS to the preservation of Melton’s History, 1998 Centenary of Federation Peoplescape (Canberra) Melton Shire nomination, 2001 Uniting Church Melton Life Membership of the Opportunity Shop Uniting Church in Australia Commission for Mission for 30 years of hard work and dedications to the Uniting Church, 2007 Uniting Church Adult Fellowship Certificate appreciation in recognition of valuable support through the “Sammy” Stamp Fund Neighbourhood Watch 5 year award Photographs of Edna at different ageslocal identities

The darning mushroom would have been an essential tool in an era when women were constantly repairing worn socks.Before the common use of synthetic materials, socks and other items of clothing were in constant need of repair. Darning would have been considered a necessary skill for girls and young women, part of their education as future wives and mothers. The mushroom was used to make repairs to clothing and bed linen.This darning tool was an essential item in 19th and early 20th century household as self-reliant women often had to make and repair all their clothing.A mushroom-shaped piece of smooth wood used to stretch and support material being darned.darning-mushroom needlework handicraft domestic

This hanging rack has been made out of used horse shoes. It may have been used separately or as part of a longer rack attached to a wooden backing.This item shows the skill and craftmanship of self-reliant rural families.A home-made coat hook made from two small horseshoes which have been bent and welded together to make a hook for hanging coats. It has been painted black.horse-shoes handicraft hanging-rack

The Shillinglaw Cottage Preservation Committee, also known as The Shillinglaw Cottage Preservation Society, also known as the Friends of the Shillinglaw Cottage collated and published a community cookbook "Flavour of Eltham", first published in 1964 to raise funds for the preservation and re-location of this historical cottage in Eltham. This folders includes photocopies from the book, a letter requesting advertsing space and an article from The Australian Women's Weekly, December 23, 1964 (unable to locate via digitised AWW on Trove) Shillinglaw Cottage is of social significance as an important local landmark since the 1960s, once used as a handicraft and tourist centre, now a restaurant, and as an example of an early local community conservation project which led to the accurate reconstruction of the cottage close to its original site. - Victorian Heritage Database.6 photocopiesharry gilham collection, flavour of eltham, community cookbook, shillinglaw cottage preservation society, shillinglaw cottage preservation committee, friends of the shillinglaw cottage

This knitting pattern leaflet was published by Patons and Baldwins and contains knitting patterns for women's garments. Patons & Baldwin began as two separate companies: J & J Baldwin and Partners, founded in the late 1770s by James Baldwin of Halifax, West Yorkshire, England, and John Paton Son and Co., founded in 1814 by John Paton of Alloa, Scotland. Both men had formed their businesses using the spinning mule developed by Samuel Crompton. They mainly produced yarns for commercial knitting machines. Patons established itself in Australia with its first mill built in Tasmania in 1923. For decades, Patons was the leading hand knitting yarn brand but due to the market conditions in the mid 1980's, Patons felt the decline and eventually amalgamated with Alliance Textiles, New Zealand in 1996. Patons Australia was acquired by Australian Country Spinners in 2000.Knitting has always had a great appeal to women, as it needs few tools. Companies which manufactured yarn often produced instruction guides and patterns. This pattern book is typical of the knitting pattern books commonly used in the mid 20th century. The patterns contained are for garments worn at that time.A seven page stapled booklet of knitting patterns. It is titled Patons Knitting Book No. 444, Ladies' and Girls' Gloves and Hats. It has a price 1/3.On the front cover are photos of the garments for which the patterns are provided.knitting handicrafts patons-and-baldwins

An item of Local significance for women in use of decorating their Domestic life in the mid 1920's. Usually these items were constructed with the use of their own handicrafts. The 'Sunday Best' status helped to present a civilised look to the one day of No work and Church in a family's weekly life.A lady's linen, hand embroidered full apron. Orange Flowers(Button hole stitch), green leaves (satin stitch) Featherstitch on pockets and edges of the garment.1 Tie is missing meaning that the apron cannot be worn.embroidery, hand, domestic, linen, silk, crafted, apron, sunday best, stranded, ties

A small green soft covered book titled, 'Scouting in Bendigo District. Official Year Book 1964.' Arthur Hocking Print, Bendigo. 60 pgs. Photos, illustrations, advertisements.Arther Hocking Print, Bendigoclubs, social, scouts, lydia chancellor, collection, scouting, boy scouts, australian boy scouts association victorian branch, bendigo district scouting, boys, male, recreation, handicrafts, clubs, clubs and associations

The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline.