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

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

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Handmade apron created out of a blue and white dress fabric that has a pattern of leaves. The apron is highlighted with red braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different coloursprotective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pink and white cotton apron highted with blue braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Olive green and white pinafore decorated on the bodice with yellow braid. protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Linen table cloth with printed images of birds of Australia with a two-tone green borderlisa sylvan, household linen, table cloths, australiana, australian birds

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. The apron is hemmed with a pleated fabric of a different colouraprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Simple blue and white apron embroidered with a border in cross stitch, the same stitch used to create a repeated pattern of dogs and balls in profile.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pleated pink and white striped cotton apron interspersed with bands of a separate blue and white fabric.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.One of three single piece commercialy produced pinafores, each in a different size.protective clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen hand towel and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Cream linen hand towel, bordered at each end with bands of mustrad yellow linen. The towel is embroidered with a picture of a woman in period dress collecting flowers from a garden.lisa sylvan, household linen, supper cloths, fancy work

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Navy blue and white pinafore picked out with sections of plain blue fabric on the pocket, waist and bodice.Label: "Taniwha / Quality Will Tell"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pinafore using a fabric coverd with an abstract design in bue, pink and yellow. A plain pink cotton fabric is used to decorate the pocket and the shoulders.Label: "Admiration / All Cotton"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

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

Photograph is part of Old Lintonians collection ; No. 138. Inscribed on back: "Portrait as promised, Frank Smiley President of Cobb and Co's Old Drivers association. Lived as a boy in Linton 75 years age, my father drove the coach from there to Hamilton - then we shifted to Skipton and when I was 14 came back to work for Mr J Shepherd, Storekeeper 5/- a week and tucker - hours 8 till 8 - and to 11 Saturday night. F Smiley Jan 9/40".Black and white postcard photograph of a man dressed in suit and hat, standing in a street other people and cars in background, photo taken 1940s."Post card Kodak". frank smiley, old lintonians collection

Daisy Livingstone Smith was born in Linton in 1903, a daughter of Shire Secretary Alfred John Smith (Alf J Smith) and Ada Smith née Watson. After first being privately educated, she attended Linton State School from 1911, and went on to Queen's College in Ballarat (a Church of England grammar school for girls), where she was Dux in 1918. After leaving school she worked as Linton librarian, and then as a financial officer for the Shire of Grenville. In 1941 she married Roy Brown. Daisy died in 1945, and a lectern dedicated to her memory is in St Paul's Church of England, Linton.Black and white copy of original photograph shows head and shoulders of a young woman with dark hair cut fairly short. She is wearing a collarless plain dress or blouse, with slightly puffed sleeves and large buttons. Daisy Livingstone Smith, afterwards Brown.daisy livingstone smith, daisy brown

Pat Ryan, born 1919, was a daughter of Jim Ryan, hairdresser and tobacconist. She moved to Linton as a child in 1926 when her father bought the former Bennett/Todd shop in 1926. Katherine Veronica Cunningham was born at Cape Clear in 1907. Pat Ryan and Kath Cunningham were members of the Linton Amateur Dramatic Society in the 1930s and 1940s. (See programmes in LDHS for Amateur Dramatic Society productions.) Kath Cunningham worked at the Railway Hotel. She was on the committee which organised Linton's centenary celebrations in 1939.Enlarged black and white copy of original photograph, which shows two young women dressed stylishly, wearing hats and dress shoes. The woman on the left has a purse or small clutch bag in her hand, and the woman on the right has a handbag tucked under her arm. The photograph was taken in an outdoor setting, possibly near Linton Reservoir.pat (patricia) ryan, kath (kathleen) cunningham

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

The Dixon family lived at 42 Essex Road for decades from 1890s to 1940s. Herbert William Dixon was a civil servant. The family frequently hosted World War 1 veterans. Nursing care and hospitality were also offered in a number of other Surrey Hills homes. His son Hugh Banks Dixon embarked from Adelaide on board HMAT A7 Medic on 12 January 1916. He was an motor mechanic / engineer and was assigned to the 4th Motor Transport Section as a transport driver. Herbert died in 1936.Black and white photo of 2 vehicles transporting invalid soldiers to the home of Mr and Mrs H W Dixon of 42 Essex Road, Surrey Hills. One is parked; the other appears to be moving. Both vehicles have their hoods down. In the first, the driver and one man beside him are in civilian dress; the other four are in army uniform with the 3rd man in the front seat being an officer.1914-1918, essex road, world war 1, returned service people, herbert william dixon