W.P. Fairlam Auction Rooms was located on Charman Road, Cheltenham, Victoria. The Fairlam family were a prominent family among early settlers in the Cheltenham area. While William Percy Fairlam ran the auction rooms, his son Richard William Percy Fairlam ran a photography business next door. Many of the photographs in our collection from the early 20th Century are the work of Richard William Percy Fairlam.Black and white image of a man with a moustache, dressed in a three piece suit and wearing a cap, standing outside the W.P. Fairlam Auction Rooms in Cheltenham, Victoria. Standing beside him is a girl and between them a dog is sitting on the ground. The man is William Percy Fairlam and the girl is his daughter Addie Fairlam.Handwritten in blue ink on reverse: 73 Handwritten in red ink on reverse: 51%fairlam, commerce, cheltenham, family

A photo of senior girls in a scene from an annual demonstration. The girls were dressed as native American girls, some are in a kayak and others stand near totem poles. One of these two photos was used in the July 1954 newsletter to highlight the work of the girls classes. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association. Miss Enez Domec-Carre was the supervisor of girls classes and instrumental in the Annual Demonstration for many years. She joined Melbourne Legacy in 1932 and became the chief instructor of girls' physical education until she retired aged 65 in 1970.A record of the set and costumes used at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo of junior legatees in native American costume in a mock kayak on stage at an Annual Demonstration. There are two copies of different sizes.annual demonstration, junior legatee, costume, totem pole

A photo of senior girls in performing their health exercises from an annual demonstration. The girls were dressed in their physical exercise kit which was provided by Legacy to the junior legatees. The photo was featured in the July 1954 newsletter so was from the year before. The article showcased the work of the Legacy girls. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association. A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo of junior legatees dancing in a line on stage at the 1953 Annual Demonstration.In pencil on the reverse " Senior Girls - 'Health Exercises' ". Stamped with '4825' in blue ink.annual demonstration, junior legatee, girls' classes

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photos show passengers on the deck of the Ceramic dressed in life jackets. It shows the type of life preservers and clothing worn at the time. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of passengers on deck of the Ceramic dressed in life jackets glued to black cardboard in an album of photos from 1920.Handwritten caption 'Life boat drill from children' in white ink.souvenir, world war one, jb mclean, ship, ceramic, passengers

Two articles that relate to the annual demonstration in 1977. The demonstration was called 'Legacy on Parade' for a number of years. The junior legatees were dressed in costumes, for the production of 'My Fair Lady'. They were Leanne Johnston and Terri Cott in long dressed, and Roseanne Whitehead as Eliza Doolittle and John Fiedler as her father Alfred. The articles were cut from the newspaper and pasted into a scrapbook. For many years Legacy kept scrapbooks of press clippings that related to their work and publicity. Not all pages have been listed individually but some are listed from 02164 to 02176.A record of publicity about the Annual Demonstration in 1977.Newspaper article x 2 about the Annual Demonstration in 1977 pasted in a scrapbook.Stamped '2 SEP 1977' in purple ink.annual demonstration, junior legatees

For many years Legacy was invited to bring junior legatees to Government House for for an enjoyable Legacy Christmas party. There were entertainers, carousels and often a train ride. And the joy of a Christmas present for each child. This photo was published in the March 1945 newsletter so was from the party in December 1944. The caption says 'Oscar the bull was a great success with the children at the Junior Legacy Club's Christmas party in Government House grounds. The fact that Oscar wore boots did not in the least detract from his popularity, judging by the expressions of glee.' The governor at the time was His Excellency Sir Frederick Mann. This photo shows an entertainer dressed as a cow and the children on the lawn of Government House. It is from 1944 and was part of a photo album of many photos from the 1940s.An important photographic record of the work of Legacy in the 1940s.Black and white photo of an entertainer dressed as a cow and children at a Government House, part of a photo album with blue leather look back and front cover. From one of 20 pages with black and white photos.junior legatees, christmas, junior legatee outing

A photo of senior girls performing their exercises in a class. The girls were dressed in their physical exercise kit which was provided by Legacy to the junior legatees. The photo appears professional and may have been taken by a newspaper as part of them publicising the work of Legacy. The photo is dated 6 February 1945. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.An important photographic record of the work of Legacy in the 1940s.Black and white photo senior girls in their exercise class, part of a photo album with blue leather look back and front cover. One of 20 pages with black and white photos attached to the majority of both sides of the pages.junior legatees, girls classes, dance, exercise

A photo of senior girls performing their exercises in a class. The girls were dressed in their physical exercise kit which was provided by Legacy to the junior legatees. The photo appears professional and may have been taken by a newspaper as part of them publicising the work of Legacy. The photo is dated 6 February 1945. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.An important photographic record of the work of Legacy in the 1940s.Black and white photo senior girls in their exercise class, part of a photo album with blue leather look back and front cover. One of 20 pages with black and white photos.girls classes, dance, exercise

The women in the photograph were members of the Sunbury Red Cross in 1915 and was taken during the years of World War 1 at 'Rupertswood Mansion' one of the Clarke family's homes. Over those four years the local people supported the war effort in many ways. School children knitted garments for the soldiers, Food parcels were sent away to the Front. Local events were held to raise money for the war effort. Many events supporting the war effort took place at Rupertswood and the Sunbury Red Cross frequently gathered at the mansion.On the Homefront members of the Sunbury community worked tirelessly to support the war effort and leading this movement was the local Red Cross.A non-digital sepia photograph with a narrow cream border of a group of well-dressed women posing for a photograph in front of a large mansion. A note on the back states that it is an original photograph which was taken in 1915. sunbury red cross, red cross, world war 1, rupertswood mansion, sir william clarke

Worn by Dame Marie Breen DBE OBE, Federal Senator for Victoria and Brighton resident. A passionate member (and founder) of many community organisations and charities, Marie Freda Breen (nee Chamberlin, 1902-1993) had her first experience of public life when her husband Robert became Mayor of Brighton in 1940. She became involved in the fledgeling Liberal Party, and Robert encouraged her to run for office. Marie because Victoria's first female Federal Senator in 1962. In Parliament, she was a vocal advocate for women and families and supported building a stronger relationship between Australia and Asia. In 1965 she became the first woman to chair a Senate committee. Marie retired from politics in 1968, after Robert was badly injured in a car accident. He died shortly after and she re-dedicated herself to community service, raising funds for UNICEF and serving on the Victorian Consultative Committee on Social Development and the Australian Advisory Council of Elders. In 1959 she was appointed an Officer of the British Empire for her work in the role of State President of the National Council of Women (Victoria) and in 1979 she was appointed Dame Commander of the Order of the British Empire. Marie and Robert had three daughters, one of whom, Jeannette Patrick, was the Liberal Member for Brighton (1976-1985) and Parliamentary Secretary of the Liberal Party, (1979-82).Sleeveless black cotton voile dress printed with large cream and apricot coloured roses. Dropped waist; bias-cut triangular draping applied to back neck; two horizontal bands of black voile inserted into skirt.dame marie breen, 1920s, liberal party of australia, australian senate, politics, robert breen

"26th March 2019 In contribution to the historical account of the Mission to Seafarers, Melbourne. To whom it may concern, In 2005, the Mission to Seafarers’ Padre Bevil Lunson assigned an upgrade to the existing bar and gift shop. The brief outlined alignment with health code and liquor licence regulations, rethink of stock display and aesthetic upgrade of white peg-board and fluorescent-lit display-case. Two students of architecture answered the call and provided pro bono design, building and installation services. Beyond the updated flooring, work surfaces and new hand-wash point their ethos of sustainable design presented a strategy of redressing the existing on a shoe-string; helping minimise trades and protect the heritage substrate. A new standing-bar was proposed to envelope the display case and re-orient the hall back toward the stage. Punters were directed to the seated-bar for purchases. The chosen palette aimed to anchor the bar below the hall’s half-timbered dado-line utilising the muted tones of recycled materials. Glass bottles set in resin diffusing panels and timbers sourced from throw-outs were dressed and composed to suggest the multiple approaches to a calling of the sea. This flotsam and jetsam was intended to provide a shifting background that is representative of the many walks of life that support and are supported by the mission. Two uninstalled elements further accented the design: -the flying angel logo was to appear hovering within the bar’s archway and also inverted by the dado-line in the bar’s rear mirror (refer attached sketch), -and the two lampshades, referencing the inverted form of nautical beacons, were to shepherd clientele to the bar (refer attached sketch). Where are they now? Derek Stevenson – Turner Townsend Thinc Stuart Webber – ARM Architecture The bar was dismantled during the renovation mid 2019 and replace by another bar.These documents provide insight into an early 21st C refurbishment to the interior of the MTSV and Mission club operations in the early 21st Century and provides names and details of both the consideration of the need to: protect heritage components, provide a functional service point, incorporate recycled materials that related to aspects of the sea and environment, the flotsam and jetsam that is found where the sea, and those from the sea meets the land. Also provides an example of early career designs by two practising 21st C Australian architects and designers. During the renovations in winter 2019, the decision was made to demolish to make space to another more convenient one brought from a cafe, along with new chairs and tables for the club.Digital copy files sent in March 2019 by architect Stuart Webber after a visit to the Mission. Along with two sketches he submitted, he sent a document telling how the bar came to life in 2005.bar, stuart webber, derek stevenson, mts club, mts interior, bevil lunson

Sephia-toned photograph of May D. Harrison from the shoulders upwards. Nameplate at base of photograph reads 'May D. Harrison / First / Hon. Secretary & Librarian / 1894-1912'. Mrs Harrison looks to the right of the frame, and is wearing a dress with gathered bodice, puffed sleeves and lace neckline. Her small drop earrings are visible, as her hair is swept up, with two brooches on the bodice and neckline. A length of chain is worn around her neck, although its base remains out of shot. May Harrison was one of the first Braille transcribers trained by Tilly Aston and undertook the position of Honorary Secretary at the formation of the Victorian Association of Braille Writers (VABW) in 1894. Offering use of a room in her home in St Kilda for the storage of Braille books, she became the first librarian for the VABW. Mrs Harrison also taught Braille to other participants and her house became a meeting point for readers and transcribers alike. Her death in 1912 was greatly mourned, and a Memorial Fund set up in her honour, as well as a grave marker and tablet at the Braille library. Her niece Minnie Crabb, who assisted her work, assumed the role of librarian after Mrs Harrison's death. Inscribed in the lower right 'J O'S & Co, Melbourne'.Photograph in frame of woman in 19th century dressvictorian association of braille writers, may harrison

Ann Dale (nee Lees) was given this frame by her younger brother Thomas Chamberlain Lees, who was eighteen at that time. Thomas was the youngest son and seventh child of Lees and Sarah (nee Chamberlain) Lees. Ann loved her little brother’s artistic talents, which are demonstrated in this frame he designed and carefully carved for her. Thomas had cleverly finished the back with timber pieces around the images, and a section of a 1904 calendar. His “GOOD LUCK” is below the image of Ann, her husband Ellis Dale and their five children, c 1900. Sadly, Thomas died in 1911, aged 25. Ellis Dale’s father, William, was a quarryman who sailed from Yorkshire to Australia in 1852. He later bought land for Dale’s Quarries on the edge of Warrnambool in the area of Dale and Aberline roads. From the age of about eleven, Ellis and his brother worked in the quarry beside their father. In 1890 Ellis Dale married Ann Lees. Ann had lived nearby at Wangoom with her parents, Lees and Sarah Lees, who had had her photograph taken when she was a little girl, wearing her black dress. Ellis built a bluestone cottage for himself and Ann on his father’s land in Dales Road. He later added weatherboard rooms, and they named their finished home “Latrigg”. Early in their marriage Ellis recycled some empty dynamite boxes from their quarry to build a cupboard with drawers for Ann’s flat irons and other ironing equipment. The cupboard was used by future generations until recently, when Ann’s granddaughter, Betty Stone, donated it as part of the Chamberlain Dale Lees Collection. It is now in the kitchen of the Port Medical Office. Chamberlain Dale Lees family – local Colonial Pioneers Centre: Ellis Dale and Ann (nee Lees) and their five children - c 1900. Sons lvor William, Robert Ellis, Alfred John, and daughters - Elsie Mary Dale, and Daisy Elvena Dale. Top Left: Ann Lees - c 1868, (the little girl in the black dress) Top Right: William Dale Jnr. and Ellis Dale - c 1871 Lower Left: Ellis Dale and Ann (nee Lees), married 22 Jan. 1890 Lower Right: William Dale Jnr. and Agnes (nee Gillies), married 1883 Oval Photographs: unidentified but presumed to be family members [NB Spelling of Ann Dale – The spelling of Ann’s name has been confirmed by Betty Stone as being “Ann” (Not Anne), by phone conversation with Flagstaff Hill Maritime Village, K P 14th April 2014] (Note: For additional information please refer to Betty Stone’s book “Pioneers and Places - A History of three Warrnambool Pioneering Families” ie. Chamberlain, Dale and Lees Families)This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The handmade frame is a unique example of clever craftsmanship and carving skills used by early pioneers with limited access to materials.Family photographs, nine, set into carved, solid wood frame, stained and lacquered. Carving includes leaves, flowers, a horseshoe and a ribbon with the words "GOOD LUCK" Photographs are of the Lees family of Wangoom, from the 'Chamberlain Dale Lees Collection’ Made by Thomas Lees for his sister, Ann. The little girl with black boots on is Betty Stone's grandmother. The back of the frame has a London calendar dated 1904.Words in carved ribbon "GOOD LUCK" Calendar for the year 1904flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, thomas lees, wangoom, ann dale, ellis dale, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, thomas lees, wangoom, ann dale, ellis dale, thomas chamberlain lees, handmade photograph frame, carved photograph frame, dynamite

CEMA Art Collection Previously located in History HousePortrait of Queen Victoria depicting her torso and head. She looks to her right and is shown in an almost profile view. Dressed in black with a white collar, she wears a blue and white band in her hair. She wears a small gold earring, black choker with gold locket and a brooch with a man's portrait. The work has a gilded frame with some decoration and exposed canvas.Front: J.A.BRIGGS Queen Victoria, 1838-1901 Back: Painted by J A Briggs 1897queen victoria, 1800s, portrait, portrait painting, female, female portrait

Five men in suits with high collars and bow ties pose with three ladies in evening dress. To the far left are Aaron Solomon and Annie Rose Drummond, and to the far right is John Irwin. Aaron Solomon (1870-1936) was enrolled at the RVIB school in 1878, after losing his sight at 6 years of age. He first began participating in concerts in September 1884, at an exhibition of talent that was held by the Institute and the Deaf, Dumb and Blind Institute, to raise awareness of their work and achievements. He then became a regular performer with the entertainment troupe and travelled around Victoria singing and playing piano, even after his discharge from the Institute in 1892. In 1894 he formed his own troop of players and toured around Victoria, Tasmania and New Zealand. This consisted of two females (Tilly Aston and Maggie Mulvogue) and three males (Charles Bartlett, John Irwin and himself). In 1896, Annie Drummond, Nellie Andrew and William Snell replaced the Aston, Mulvogue and Bartlett, and W.W. Spicer was appointed as manager with his wife acting as an assistant to the ladies of the group. In 1897-1898, H Forder replaced William Snell. On a return tour to New Zealand in late 1898, Thomas Andrews - brother to Nellie - joined the troop and Fred Hunter replaced H Forder. This was the first time the troop numbered eight people, who were also present when Annie Drummond married Aaron Solomon in Hamilton, New Zealand on Feb 3, 1899. This image could have been taken in 1898 before they left as a promotional card, or in 1899 when they returned, as a memento of the happy occasion.1 cardboard postcard size image with silver writingA. Marks & Co Elgin Street Carltonaaron solomon, annie rose drummond, w.w. spicer, nellie andrews, thomas andrews, fred hunter, john irwin, a. marks & co

In 1896 Ada Bersey, a daughter of William Thomas and Sarah Bersey (née Godden) married George Garnsworthy Bennett, a son of William Garnsworthy and Susan Bennett (née Williams). They had three sons, Gordon, born 1897, Harold, born 1902 and Stan, born 1904. George Bennett initially worked for his father W G Bennett, but around the time he married he bought Fraser's butchery shop in Sussex Street (next to the bakery) and established his own butchery business.Sepia photograph of a gentleman wearing three-piece suit with fob watch and lapel emblem, with right hand resting on lap, seated behind a child wearing dress with large white collar sitting on balustrade, his left arm held by woman wearing long sleeved long outfit, white blouse, seated in chair beside him. George and Ada Bennett (nee Bersey), and their son Gordon."Geo Bennett Ada Bennett and myself".george bennett, ada bennett, ada bersey, gordon bennett

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

This striking pool party ensemble from Australian swimwear company Watersun was designed by Carmela DiBernado, nee Savino, for the opening of the Sydney Opera House in 1973. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Pool party ensemble consisting of a swimsuit (.1) and robe dress (.2), both black with silver trim. Dress has a crossover front, fastening at side waist, with v-neck at front and plunging back. Swimsuit has a v-neck, with silver trim extending forming an X-shape across the body.Label (identical in both items), blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s, carmela savino, carmela dibernardo, sydney opera house

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s

Marina Couture was a luxe swimwear line produced by Watersun in the 1960s. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Silver lamé swimsuit featuring delicate brocade embellishment, an inbuilt underwire bra, a zippered back and elasticised edging on the legs and back.Label in bra, blue with gold crown logo and text: “MARINA COUTURE / 32”.swimwear, watersun, david waters, ada productions, melbourne designers, marina couture

Art collection Previously located in History House. Previous Exhibition:"In a picture land over the sea ...Agnes Goodsir 1864-1939." Exhibition developed by Bendigo Art Gallery and toured from May 1998 to June 1999. Item of the Month, exhibited in Portland Foyer April 2005.Portrait of a woman dressed in black. The woman appears to be seated and is facing the viewer. She wears a black overcoat with a blue, red and white scarf. She also wears a black hat with a gold clasp. The plain background is predominately grey. The work is framed in a gilded, moulded frame and has an exposed canvas.Front: Agnes Goodsir Back: A clear plasstic pocket is attached to the backing board and contains: a fragment of an old French label and a small fragment of paper with the signature "R.D...." on it.female artists, female artist, agnes goodsir, women artist, female portrait, portrait painting, portrait, cherry

Gold chain and medallion purchased by the donor from Myer Melbourne in the late 1960s with a Norma Tullo woollen long-sleeve mini-dress.Ornate medallion featuring a profile of a woman surrounded by ornate scroll work. The medallion is fixed to a double chain. Before it was assembled, the medallion could be used as a broochnorma tullo, costume jewellery, fashion & design - 1960s, accessories

CEMA Art Collection Winner of Portland Artists' Society Prize for category Oil.The painting portrays a standing female figure. She has straight black hair which sits just above shoulder length. she has a short fringe. She wears a blue and green dress with orange markings. She is depicted as looking at the observer and holds something in her right hand which is held across her body. The background is a mixture of purple, green and blue. The work has a thick wooden frame and exposed canvas.Front: - 63 AMOR (lower right, black paint) Back: ELMA AMOR HERBST "GIRL" (1963) (lower left, typed label)cema, portland artists society, female artist, women, female artists, female portrait, portrait painting, portrait

Polyester shirts plus a green tie and epaulets were the only form of dress unform issued to FCV staff. In later years a brown tie was available. Blue work overalls and safety boots were issued for bushfire work. These were replaced with the now familiar bright green overalls in about 1984. There were no dress pants, jumpers, jackets or shoes issued. This led to a long running dispute between the staff association and the Commission over departmental uniform policy at the time. David Parnaby was a District Forester and accomplished cartoonist who provided insightful and humorous commentary on uniforms through the Victorian State Forester’s Association Newsletter.Example of early staff uniform.Green polyester tie with yellow stripe and round FCV logo. Green FCV epaulet to be worn on polyester shirt as dress uniform. uniforms, forests commission victoria (fcv)