This ladies suit belonged to an elderly neighbour of the donor, Margot Miller, who lived in Black Street, Brighton in the 1970s. The neighbour had offered Margot a selection of her old clothing, dating from the early 20th century, as she wanted somebody to hold onto and care for the items after she died. Before Margot could take the items the neighbour was moved into a nursing home and, while cleaning out the house, the woman's son took the clothing to the tip with a load of rubbish. Margot happened to see him leave and was able to follow him and retrieve the clothes. They remained in the Miller family for many years; some were worn by Margot's daughters and some were ultimately passed on to others. Based on our research, we believe that the suit's original owner may have been Julia Richards (nee O'Keefe, c. 1882-1976), who lived at 59 Black Street during this time. Born in Ireland, Julia emigrated to Queensland in 1900. She married William Alfred Richards in 1911 and lived with him in Ayr, near Townsville, where they ran a hotel. It is unclear what became of William, but by the mid-1920s Julia and her two children were living in Brighton, where she remained until her death in 1976, aged 94.Cream wool ladies suit consisting of a jacket and skirt. Jacket is partially lined with silk, quilted around shoulders. Fastens with four self-covered buttons, one attached to a belt. Two box pleats at front and back, each featuring four decorative self-covered buttons at the waist. Upturned cuffs, each with two buttons. The skirt features a fabric belt and triangular pockets in each side with decorative self-covered buttons. Hook fastenings at side.1910s, women's suit, julia richards

This dress was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length blue jersey evening dress with round neckline and long sleeves. Cuffs edged with blue-grey ostrich feathers. Zip at back.Label: "Van Roth / REGD". Labels on side of inner zip: "100% POLYESTER" / SIZE 14 / TO FIT / BUST 90cm / WAIST 70cm / HIP 95cm".pearl's boutique, pearl's of brighton, paula folks, van roth, melbourne designers, flinders lane, 1970s

This cape was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length bright pink rayon jersey cape with pink ostrich feathers around the collar.pearl's boutique, pearl's of brighton, paula folks, 1970s

This dress belonged to Brighton local Paula Folks, who wore it to her niece's wedding at St John's, Toorak in 1970. It also bears a second connection to Brighton through the label, Elegance, a Flinders Lane fashion house co-owned by Rudy Brill and Brighton resident Robert Salter. Paula was a longtime manager and owner of Pearl's Boutique, a well-known local fashion boutique established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Cream terylene chiffon dress with all-over daisy appliqués. High band collar with v-shaped scoop at back. Sheer long sleeves with gathered cuffs.Label: "miss Elegance / TERYLENE".pearl's boutique, pearl's of brighton, paula folks, 1970s, flinders lane, melbourne designers, robert salter, rudy brill, miss elegance, elegance

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. The allies established a base at Thessaloniki in 1915. BHS records indicate that this cushion cover was among a collection of items received from the Harkaway studio of Brighton-born artist Jessie Traill following her death in 1967. During the First World War, Jessie served for three and a half years in hospitals in England and France with the Voluntary Aid Detachment. As she did not serve in Thessaloniki, where this item was made, it is unlikely she purchased it herself, but may have received it as a gift.Black velvet cushion cover featuring the embroidered image of a white and yellow dove bearing red, white and blue ribbons along with red and pink flowers. Embroidered in pale yellow are the words "Souvenir de Salonigue / 1916".cushion cover, 1910s, first world war, world war i, thessaloniki, jessie traill

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. The allies established a base at Thessaloniki in 1915. BHS records indicate that this cushion cover was among a collection of items received from the Harkaway studio of Brighton-born artist Jessie Traill following her death in 1967. During the First World War, Jessie served for three and a half years in hospitals in England and France with the Voluntary Aid Detachment. As she did not serve in Thessaloniki, where this item was made, it is unlikely she purchased it herself, but may have received it as a gift.Black velvet cushion cover featuring the embroidered image of a white and yellow dove bearing a draped French flag, alongside a spray of red and pink flowers. Embroidered in pale yellow are the words "Souvenir de Salonigue / 1916".cushion cover, 1910s, first world war, world war i, thessaloniki, jessie traill

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. BHS records indicate that this cushion cover belonged to Mary Crombie, an early Victorian dentist who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. It is likely it was given to her as a gift by a friend of family member who served in Egypt.Pale pink satin cushion cover with pale blue fringe. Embroidered with the words "Souvenir From Egypt / Cairo / 1915", above the image of a crown flanked by crossed Australian and French flags. Below this is embroidered two pyramids and the Great Sphinx of Giza, bordered by flowers, with a red bow at the bottom.Written in blue pen on reverse side: "Memento of World War I / from Mary Crombie".cushion cover, 1910s, first world war, world war i, egypt, cairo

This child's crinoline skirt was donated in 1974 by Mrs Ella Kohn of Were Street, a life member of the Society. According to then-BHS Secretary Rosalind Landells, the skirt was originally made the fit a girl aged 10-12, but had been modified to add length. Mrs Landells reported that Society members had restored the skirt to the original length and that it would be worn at a costume parade at the Southern Cross on 27 March 1974 by Carolyn Scott.Pale yellow silk half-hoop skirt with cotton lining. Layered skirt with ruched top layer.children's clothing, crinoline, 1850s, 1860s, ella kohn

Unknown provenance.Coffee-coloured cotton and chiffon evening gown. Net yoke with vertical pintucks and high neck. Pintucked bodice. Trim of meadering cream cord bordered on either side, around yoke, waist, shoulders, cuffs and down centre of skirt. Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".1900s

Jan SENBERGS (29 Oct 1939 - ) Born Latvia Arrived Australia 1950 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed drawing of Ballarat.art, artwork, jan senbergs, ballarat, arts academy, ballaarat mechanics' institute

A slim brown badly damaged paperback book with the title, Dainty Dishes for Children, Invalids and Convalescents printed in black lettering inside a black lined patterned square shape which has full details of the author and her qualifications as well as other titles available in the series. Price 1/-, 1/1 posted is listed too. There are many advertisements supporting the use of ingredients throughout the book as well as on both sides of the covers. There is a Preface and Index to Recipes. Pp. 46.non-fictionA useful third edition text book for Mothers and Nurses originally compiled by Miss Lucy Drake (Trained Cookery Teacher of the Education Department, Melbourne, Victoria) in the 1920's. Lucy trained as a Cookery teacher in London, England. This edition was revised and enlarged by Dorothy M Giles (Diploma of Domestic Economy, Trained Teacher of Domestic Arts, Melbourne, Victoria) and was used as a text book for Nurses' Cookery Certificate required by The Royal Victorian Trained Nurses' Association in Victoria. Both sometimes Head of Cookery Section of Swinburne Technical College, Glenferrie, Victoria.cooking, recipes, textbooks, mothers

Index, notes, p.454.fictionHSlave, soldier, lover, hero, saint, 'his life mirrored the cataclysmic world into which he was born. His memory will outlast the ages. Born of a noble Welsh family, he is violently torn from his home by Irish raiders at age sixteen and sold as a slave to a brutal wilderness king. Rescued by the king's druids from almost certain death, he learns the arts of healing and song, and the mystical ways of a secretive order whose teachings tantalize with hints at a deeper wisdom. Yet young Succat Morgannwg cannot rest until he sheds the strangling yoke of slavery and returns to his homeland across the sea. He pursues his dream of freedom through horrific war and shattering tragedy'through great love and greater loss'from a dying, decimated Wales to the bloody battlefields of Gaul to the fading majesty of Rome. And in the twilight of a once-supreme empire, he is transformed yet again by divine hand and a passionate vision of "truth against the world," accepting the name that will one day become legendireland - historical fiction, christain saints - fiction

Index, bib, il,, plates, p.193.non-fictionIrish identity as expressed in the visual arts draws attention to her great cultural achievements of the past. A study of the work of collector, Hugh Lane.arts - irish - 20th century, arts - irish - celtic inluence

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This item is from the Haeusler collection. It is a stoneware, urn-shaped vase. The mark "V210" underneath the vase identifies it as an Antique Majolica Green Glazed Victorian Mantle Vase. Majolica is an earthenware pottery decorated with a clear lead glaze. It became very popular during the Victorian era. This item is from the Hauseler Collection which documents social life of early settlers in the Wodonga community.A stoneware, urn-shaped vase. It has a waisted square foot, urn shaped body, trumpet neck and two curved side handles. It is decorated with scrolling leaves on the body and leaves on the foot, glazed with a monochrome dark green glaze.Underneath Base V210household items, decorative arts, ceramics, haeusler collection

A book of 72 pages including plates, maps and illustrations. The cover is blue with white text and an illustration of a sailing sloop. It includes a bibliography.The full title of this publication is "The first tourist: commemorating the bicentenary of Matthew Flinders' voyage in the sloop Norfolk to Bribie Island and Moreton Bay, 1799-1999". It was sponsored by Pacific Harbour, Bribie Island with the assistance of the Regional Arts Development Fund. Although Flinders documented his voyage to Australia in his major work "Voyage to Terra Australia", little mention is made of his voyage to Bribie Island. However this publication claims Matthew Flinders as the first official tourist to Bribie Island. It was published to celebrate the bicentenary of his voyage.matthew flinders, flinders bicentenary, australia - exploration and settlement

non-fictionIntroductory Abstract - "On its instigation in 1973, the Albury-Wodonga Growth Centre experiment was hailed as a novel and imaginative project. It was a "pilot scheme" that was expected to influence the urban settlement pattern in Australia. It was a "bold venture", a "brave attempt" to solve a longstanding problem. It involved three governments embarking on an "exciting adventure". This short book length catalogue essay (51 pages) provides an illustrated guide to the social history and visual arts exhibitions mounted for the 40th anniversary in 2013 of the inauguration of the Albury-Wodonga National Growth Centre experiment. The essay served as rationale and support for two council exhibitions at the Albury Library Museum and the Arts Space Wodonga in October and November 2013. The background story and the exhibitions are about place-making. They ask about the kind of place that has been made at Albury-Wodonga. How was it imagined, promoted, grown? They examine the experiment of developing Albury and Wodonga jointly and rapidly, and ask how that experiment relates to the place now and in the future. It assesses and gives a broad contextual account of the National Growth Centre experiment at Albury-Wodonga and traces important aspects of the story with emphasis on a local point of view. " Bruce Pennayalbury-wodonga, decentralisation, urban settlement australoa

non-fictionMining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition. albury art gallery and museum, museum collection albury, exhibitions albury