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Bendigo Historical Society Inc.Document - Invitations to the Amy Huxtable Memorial Lunches and History Awards, 1994-1997
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Invitations to the Amy Huxtable Memorial Lunches and presentation of the Memorial History Awards - three invitations from the Bendigo Historical Society to attend the luncheons at Dudley House, 60 View Street Bendigo.history, amy huxtable, bendigo, amy huxtable memorial history awards -
Bendigo Historical Society Inc.
Document - Amy Huxtable Memorial History Prize Winners, 1992-93
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial History Prize Winners for 1992 as announced in 1993 by the Bendigo Historical Society, Dudley House, View Street, Bendigo. * First Prize - Michael Jaeger. Paper: A reconstruction of the landscape of a portion of the Parish of Runnymede, Northern Plains, Victoria. * Highly Commended - Mrs Jeanette Margison. Paper: A review of pre-federation and post federation education, and the transitional changes that took place.history, amy huxtable, bendigo, amy huxtable memorial history awards -
Bendigo Historical Society Inc.
Document - Amy Huxtable Memorial History Prize Winner as awarded by the Latrobe University Bendigo Campus, 1999
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial History Prize Winner as awarded by the Latrobe University Bendigo Campus, thank you letter from the Bendigo Historical Society to the University and also an enclosed letter to Ms Maree Edwards, the winner of the prize.history, amy huxtable, bendigo, amy huxtable memorial history awards -
Bendigo Historical Society Inc.Document - Catalogue for an Exhibition of Watercolors by Thomas H. Bone, 1941
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Catalogue for an Exhibition of Watercolors by Thomas H. Bone. Held in the Advertiser Lounge, View point, Bendigo Sept 10th to the 13th, 10am to 5pm. A list of 31 watercolours.history, amy huxtable, bendigo, watercolour exhibition bendigo -
Bendigo Historical Society Inc.Document - Invitation to a Presentation of Works by Ola Cohn from the Bendigo Art Gallery on behalf of the Amy Huxtable Memorial Committee, 25 Oct 1993
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Invitation to a Presentation of Works by Ola Cohn from the President, Committee of Management and the Director of the Bendigo Art Gallery and the Amy Huxtable Memorial Committee. Two copies of a printed formal invitation to a reception to celebrate the presentation by Miss Norma Young A.M., Chairman of the Committee at 7.30 pm at the Bendigo Art Gallery.history, amy huxtable, bendigo, ola cohn, norma young bendigo, bendigo art gallery -
Bendigo Historical Society Inc.Document - Amy Huxtable Memorial Committee Receipts, 1980 to 1983
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee Receipts for 1980 to 1983. ANZ passbook included and breakdown of the costs and donations for the Amy Huxtable memorial seat which is opposite the former Bendigo Advertiser office in Pall Mall, Bendigo.history, amy huxtable, bendigo, amy huxtable memorial committee -
Bendigo Historical Society Inc.Document - Amy Huxtable Memorial Committee Receipts, 1980
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet a Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee Receipts for 1980. Envelope included and breakdown of the costs and donations for the Amy Huxtable memorial seat which is opposite the former Bendigo Advertiser office in Pall Mall, Bendigo.history, amy huxtable, bendigo, amy huxtable memorial committee -
Bendigo Historical Society Inc.Article - Amy Huxtable Memorial Committee - Newspaper Articles, 1980-81
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Seat - Bendigo Conservatory Gardens. Four Newspaper articles from the Bendigo Advertiser: 2808.7a Article entitled " Committee of 9 for Huxtable Memorial 1/4/1980". Describes how the Mayor of Bendigo called for a committee to consider a suitable memorial to Amy, the former Bendigo Advertiser women's editor. Also mentions a portrait to be painted and hung in a prominent location, perhaps the Advertiser Office. There were a number of other suggestions to honour her including a book to be produced containg Miss Huxtable's numerous history articles. 2808.7b A public notice 21/11/1981 from Miss N Young, President, Amy Huxtable Memorial Committee, inviting people to the presentation of the Amy Huxtable Memorial Seat to the City of Bendigo at the Conservatory Gardens on Sunday Nov 22 1981 2808.7c Article contains a photo of the seat being installed by the Superintendant of Bendigo Parks and Gardens Andrew Taylor, and the deisgner, President of the Memorial Committee Bill Delecca. It acknowledges the seat was bought by the Committee and the Business and Professional Women's Club. 2808.7d Article advising that the Bendigo City Council had granted approval for the seat.history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo professional women's club, bendigo conservatory gardens -
Bendigo Historical Society Inc.
Document - Amy Huxtable Memorial Committee - Letters to the State Library Victoria and the City of Bendigo, 1984
Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on November 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Ten pages of correspondence - Letters to the State Library Victoria and the City of Bendigo, along with invitations to attend the opening of the new City of Bendigo Library. * Letter to the Chief Librarian Latrobe St Library, Melbourne 16/8/1984 advising of thanks for the microfilms of historical articles by the late Miss Amy Huxtable, now complete. * Letter to the Executive Officer City of Bendigo 16/8/1984 advising that the committee would like to present the microfilm's to the new city library about to be opened. * Letter from the Town Clerk and Chief Executive Officer 7/9/1984 advising that the Council had resolved to accept the microfilm's at the opening. * Letter from the Town Clerk and Chief Executive Officer 1/10/1984 advising hat provision would be made at the opening of the library for the presentation of the microfilms. * Letter from the Town Clerk and Chief Executive Officer 1/10/1984 contains an invitation to Miss Norma Young and Guest to attend the opening. * Letter from the Committee to the council 8/10/84 advising the Miss Yound and her gues Mrs V. Cattanach accept the invitation. * Letter from the Town Clerk and Chief Executive Officer 8/10/1984 advising the time of the presentation. * Letter from Norma Young to her committee 8/10/84 advising of presentation. * Notice 30/10/84 from the committee advising that a microfilm of over 350 of Amy's historical articles from the Bendigo Advertiser will be presented to the Library on 3/11/1984. * Library opening programme 2/11/84 history, amy huxtable, bendigo, amy huxtable memorial committee, amy huxtable microfilms, amy huxtable historical articles -
Bendigo Historical Society Inc.Article - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO NEWSPAPER ARTICLES, 1997
MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO NEWSPAPER ARTICLES 3858.9a Young boy holding a board of mosaic tiles probably at a workshop. Article begins: A unique mosaic pavement is to become part of the tapestry of the restored Rosalind Park. Students from three of Bendigo's central primary schools are taking part in the project. Photo Caption reads ART at work: preparing to create the unique mosaic pavement in Bendigo's Rosaling Park is eight year old St Killians Primary School student, David Nicholds. 3858.9b A newspaper coloured photo from the poppet head of two young people standing on and looking down on the mosaic at the lookout. Caption reads: Passing students take a keen interest in the new-look base of the Rosaling Park poppet head. The mosaic was created through an Art Bendigo project. LEAP workers helped install the five sections using stone tiles made by local primary school students. Depicting the saddle reef formations in the area the work has been designed and created by Bendigo artise Maery Hall. Picture: Peter Hyett. 3858.9c A photo from the poppet head lookout looking down at a worker with a broom, sweeping the mosaic. 3858.9d Two women crouching on the ground viewing the work done on the mosaic. One woman holds books and papers; in the far background over the car-park is the Sacred Heart Cathedral, the Bendigo Art Gallery and the Capital Theatre. 3858.9e Newspaper article along with coloured photo of the poppet head lookout in Bendigo's Rosalind Park. In the foreground are two young people arranging the mosaics. The article begins: Mosaic pavements began taking shape at the base of the Rosaling Park poppet head lookout yesterday. The pavement will cover about 130 square metres, in five sections, and have been designed as a memorial to Bendigo's mining history and traditions. 3858.9f Newspaper article July 29, 1997 entitled 'Bendigo Paving the Way' - photo of artist Maery Gabriel at the official opening of the heritage mosaic. Pictures: Tania Bond. Photo of Maery taken from the poppet head looking down on the mosaic. Als a smaller photo with details of the mosaic design. Opening paragraphs of the artical: Arts Bendigo and the City of Greater Bendigo are paving the way to an improved Rosalind Park with the official opening of the 'Bendigo Heritage Mosaic'. The mosaic is more than 100 square metres of decorated pavement sections surrounding the poppet head lookout at the park. The paving was designed by mosaic artist Mary Gabriel and depicts Bendigo's mining history and colour throughout. -
Ballarat Tramway MuseumNewspaper, The Courier Ballarat, City Honored by six Royal Visits, Mar. 1938
Yields information about Ballarat and its locations or environs late 1938.Pages 11,12, 19 and 20 of the centenary of settlement in the Ballarat district by the Ballarat Courier - March 1938. See also items 186, 198 and 199. Page 11 Royal visits, banking in Ballarat, photos - NW section of Ballarat, railway station in foreground. Ads for J.McKay and Son, Roy Reeds (Men's store) and Ballarat Gas Co. Also photo of "The Corner" in Sturt St. - old Mining Exchange. Page 12 - full page ad for Morseheads, women's store. Page 19 - articles - Ballarat Lighting and Power, ESCo, SEC, electric trams. photos of the Arch of Victory, first electric tram, Lake Wendouree. Advertisements for Austin Spears (cycles), McDougall and Chisholm (drapers), W.E. Longhurst (bread) and the ES&A bank. Also article on South St. Society - music and elocution. Page 20 - articles - Ballarat Gas Co., horse and electric trams, agriculture in district and Ballarat's war record (WWI). Photos of work at Gong Gong Reservoir and Committeemen of the Ballarat Horticultural Society - 1859 to 1885. Ads for Ballarat College, Clarendon, Queens (girls) and Ballarat Grammar schools, Ern Craig Motors (Vauxhall) and Snows men's wear. Record reviewed and images of pages added 7-9-2013 and 10-9-2013trams, tramways, ballarat electricity, centenary, banking, transport, trams, esco -
Ararat Gallery TAMAMixed media, Inga Hunter, Irusaq Robemaster's Robe, 1986-1989
“The Robemaster is the designer of all robes of office. Each one is individually made for its wearer, and is regarded as the personal portrait of the office-bearer. Each one is replicated in miniature for the archives, a record left behind when the original is destroyed on the office-bearer’s death, or when she in some other way relinquishes her (or his) position. Robemasters are usually women. Most positions on lrusaq are theoretically held by men or women equally, but some seem to separate out, for instance, the Master of the Mines, by the very nature of the requirements of office, is nearly always held by a man. Robemaster is the opposite. It seems that the particular type of creativity needed is more frequently found in lrusaqi females, so that the office has come to be an exclusive prerogative of women. Robemasters are very highly regarded, and the position has come to hold great power, not directly, but because of the influence the officer can wield. Robemasters deal with everyone, go everywhere and know everything. Traditionally a Robemaster is always one of the three Imperium heads of office and acts as the major figurehead and spokesman in Irusaqui affairs. The last Robe designed by any retiring Robemaster is that of her successor, and the only symbolism required by law is the representation of a Robe somewhere on the work, otherwise the designer has complete freedom.” -Inga Hunter -
Kew Historical Society IncVehicle, Kew Flyer, Women's Roadster, c.1920
In 1903, an article in the Box Hill 'Reporter' noted that the Kew Flyer Cycle business had been started in 1893 by Harry F. Cooper, and that he was "the oldest cycle maker in the district". By 1903, the Kew Flyer business was located at 8 (later 14) Cotham Road where it was to remain an institution until its closure. In 1910, W.D. Vaughan, in his 'Jubilee History of Kew, Victoria' wrote that: "Several cycling clubs have been born and died, suffering chiefly from the migration of the leading spirits in the organisations, but since 1900 the ‘Kew Flyer’ road race, instituted by Mr. H. F. Cooper, has been the cycling event of the year among local riders. It is run on the White Horse Road at Blackburn." Early newspaper reports recorded the distance of the race as initially 10 miles but by 1906, the event extended to 15 miles, starting from the Travellers' Rest Hotel in Blackburn. Cooper's Kew Flyer business in Cotham Road introduced new technologies and models throughout its 56-years of operation. By 1908, it was claimed that the shop had been enlarged with new "workshops and [the] latest lathes and cycle building tools. [it] Is now one of the most up-to-date Cycle Works in Victoria". By the First World War, Cooper had expanded his business to include motorbikes with "Precision Engines". The Kew Flyer business and the annual road races continued through the War, even though a number of its staff left for the front. One of these was [Pte] Robert Charles Field Richardson, who joined the 6th Battalion, fought and was wounded at Gallipoli, and died of wounds in Alexandria, Egypt in 1915. In 1917, the death of Private H.S. Herbert was announced. He had been the winner of the Kew Flyer Cycle Road Race in 1913. He died in action in France, having fought at Gallipoli and at the Battle of Pozieres. The majority of bicycles advertised by Cooper were designed for men, although bikes for women and 'juveniles' were advertised as early as 1918, so they were probably manufactured throughout the period. Harry Cooper was to sell his Kew Flyer business in 1936, after 39 years of trading. The business he began continued until 1949.This is an historically significant and rare 1920s Kew Flyer Cycle in intact condition, with most of the original paintwork preserved on the frame. Harry F Cooper, who was the manufacturer of the cycle had a retail business and a factory in Kew. He promoted the Kew Flyer Road Race which was the most important trader-run cycle event in Victoria from 1900 to his retirement in 1936.An unrestored Kew Flyer Women's Roadster ca 1920, donated to the Kew Historical Society by John Wyatt in 2017. Original paint work and logo on the loop frame in navy blue, blue and gold, featuring Egyptian influences in the painted design . The rubber sprung saddle was made by Dunlop and has a serial number on a plate at the rear. The loop frame is original. Most of the cycle, on an initial evaluation following the donation were judged to be original, but with the addition of a later mudguard, reflector and chain guard. These have now been removed.Kew Flyerwomen's roadster, kew flyer, harry f cooper, businesses - kew, cycling -
Kew Historical Society IncFootwear - Pair of Black Satin & Velvet Shoes, Enrico Coveri, 1985
The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. These shoes were owned, worn and donated to the collection by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Black satin and velvet evening shoes, by Enrico Coveri. The shoes were purchased by Annie McIntyre and worn with her Martin Grant outfit in 1985 at her 21st birthday party. The shoes, donated by Annie McIntyre, form part of the McIntyre family collection.A note by Dione McIntyre, describing the outfit, of which this item is a part reads: "Martin Grant outfit, including black satin and velvet shoes. Martin Grant was originally from Melbourne, now internationally and renowned and designing and living in Paris. The outfit was worn by Annie McIntyre on her 21st birthday, 1985"mcintyre collection, enrico coveri, international fashion - footwear - 1980s, women's shoes -
Kew Historical Society IncFootwear - Pair of Black Rubber Overshoes
The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. These shoes were owned, worn and donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Pair of black rubber overshoes, owned and worn by Dione McIntyre. The Flarta shoes protected vulnerable shoes from mud or rain. footwear, shoes, overshoes, flarta shoes, mcintyre collection -
Kew Historical Society IncClothing, Ecstasy, Pink Silk Beaded Dress & Coat, 1960s
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Dione McIntyre. It belonged to her mother Lilian Cohen.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Two-piece pink silk outfit comprised of a round necked, knee length dress and plain matching silk coat. The dress is scalloped at the waist and bordered with pink glass beads. The dress has the label “Ecstasy Creation : a fine fabric”.“Ecstasy Creation : a fine fabric”.women's clothing, mcintyre collection, australian fashion - 1960s, cocktail dresses -
Kew Historical Society IncHeadwear - Wide-Brimmed High Crown Brown Straw Hat, Frank S Tisdale, 1960s
"Calvert Model" hats were designed by Frank Tisdale. A Government Gazette of the State of New South Wales on Friday 7 September 1973 (No.117), page 3941, recorded that: "CALVERT MILLINERY PTY LIMITED (In Liquidation), formerly trading as Frank S. Tisdale.—A first and final dividend is intended to be declared in the above matter. If persons claiming to be creditors have not proved their debts or had their debts admitted by the liquidator by 24th September, 1973, they will be excluded from this dividend.—Dated this 3rd day of September, 1973. P. J. WOODWARD, Liquidator, 32 York Street, Sydney." Therefore the hat must predate 1973, and given that it is in the style favoured by the actress Audrey Hepburn (the style of the hat has been called an "Audrey") the hat probably dates to the 1960s.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned brown straw hat with a downward sloping rim. The design includes brown ribbon at the base of the crown. A label on the inside back rim identifiies the hat as "a Calvert Model".Label: "a Calvert Model"milliners, women's clothing, frank tisdale, calvert model -
Kew Historical Society IncHeadwear - Wool Felt & Jersey Hat, Ann Austin of Melbourne, 1960s
Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni -
Kew Historical Society IncHeadwear - Maroon Velvet Hat, Anne Harrison of Kew, 1960s
Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections. This hat was worn by Kathleen Gervasoni, long term resident and former Mayoress of Kew, who purchased it from Anne Harrison.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned, taffeta lined, maroon velvet hat, designed and made by Anne Harrison of Kew. The hat features a narrow stiffened peak of the same fabric at the front and highlighting at the rear of the peak and on the crown in pale pink grosgrain braid. The back of the hat features grosgrain pink braid. Label, inside centre crown, woven in black on white polyester: *WM 9906 /Anne linHarrison OF KEW"anne harrison of kew, kathleen gervasoni, milliners - kew (vic), women's clothing, costume accessories - hats, cloche hats -
Kew Historical Society IncHeadwear - Faux Leopard Skin Hat, Anne Harrison of Kew, 1960s
Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections. This hat was purchased and worn by Kathleen Gervasoni, a long-term resident and former Mayoress of Kew.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Faux leopard skin brimmed hat, lined in black, trimmed with two pom poms at back. Designed and made by milliner Anne Harrison of Kew. Anne Harrison designed hats to order for clients, or you could choose a style and have it trimmed to taste.Label, inside centre crown, woven in black on white polyester: "WM 9906 / Anne Harrison OF KEW"anne harrison of kew, kathleen gervasoni, milliners - kew (vic), women's clothing, costume accessories - hats -
Kew Historical Society IncHeadwear - Silk & Velvet on Net Floral Hat, Anne Harrison of Kew, 1950s
Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Cream and green silk floral hat on net designed by the Kew milliner Anne Harrison.Label: Anne Harrison of Kew, WA 9906anne harrison of kew, milliners - kew (vic), women's clothing, costume accesories - hats, fashion and textiles collection - kew historical society -
Kew Historical Society IncClothing - Black Crepe Evening Jacket with Cream Silk Embroidery, 1930s
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Black crepe jacket with heavy cream embroidery. The jacket is believed to have been purchased by an aunt of the donor in the 1930s on a trip to the ‘Orient’mcintyre collection, women's clothing, international fashion - 1930s, evening wear, eveing jackets -
Kew Historical Society IncClothing, Jinoel of Melbourne, Silver Lamé Evening Dress & Pants, 1960s
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. Jinoel of Melbourne was a evening company founded by Jill and Noel Kemelfield in 1957. The company won Gown of the Year in 1968. This outfit is one of a number of items donated by Dione McIntyre The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s.Round-necked and sleeveless floor-length silver Lamé evening dress and pants by Jinoel of Melbourne. The loose dress features a long split up the side, through which the pants can be seen. Label: JINOEL OF MELBOURNEaustralian fashion - melbourne - 1960s, jinoel of melbourne (vic), mcintyre collection, evening wear, women's clothing, dione mcintyre -
Kew Historical Society IncClothing - Blue Wool Twin Set with Embroidered Logo, Vivienne Westwood, 1980s
This Item is part of an outfit owned, worn and donated by Annie McIntyre. Worn in 1986 it was part of a major collection designed by Vivienne Westwood. The V&A includes information about the minicrini collection that Westwood launched in Spring/Summer 1985 which "...marked what Westwood described as a "cardinal change" – a shift towards tailoring and "things that fitted" – and a more deliberate focus on reworking ideas taken from historical dress. The stand-out garment of Mini-Crini was Westwood's short, bell-shaped skirt – another cheekily sexual garment that combined the outline of a child's party frock with an abbreviated version of the Victorian crinoline."The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Navy blue woollen twin set designed by Vivienne Westwood. The twin set was worn with a wool minicrini by the same designer.A note written by Dione McIntyre accompanying the item describes its relevance and use: "Vivienne Westwood 3-piece ensemble purchased in London in the 1980s - consisting of navy 'twin set' and balloon skirt - worn with long white socks and dark flat shoes. Donated by Annie McIntyre."mcintyre collection, womens clothing, international fashion - london - 1980s, annie mcintyre, vivienne westwood, minicrini -
Kew Historical Society IncClothing - Blue Wool Mini-crini, Vivienne Westwood, 1980s
This Item is part of an outfit owned, worn and donated by Annie McIntyre. Worn in 1986 it was part of a major collection designed by Vivienne Westwood. The V&A includes information about the minicrini collection that Westwood launched in Spring/Summer 1985 which "...marked what Westwood described as a "cardinal change" – a shift towards tailoring and "things that fitted" – and a more deliberate focus on reworking ideas taken from historical dress. The stand-out garment of Mini-Crini was Westwood's short, bell-shaped skirt – another cheekily sexual garment that combined the outline of a child's party frock with an abbreviated version of the Victorian crinoline."The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Blue woollen 'minicrini' by the British designer Vivienne Westwood.A note written by Dione McIntyre accompanying the item describes its relevance and use: "Vivienne Westwood 3-piece ensemble purchased in London in the 1980s - consisting of navy 'twin set' and balloon skirt - worn with long white socks and dark flat shoes. Donated by Annie McIntyre."mcintyre collection, womens clothing, international fashion - 1980s, vivienne westwood, annie mcintyre -
Kew Historical Society IncDecorative object - Cotton chintz applique on linen wall hanging [Broderie Perse], 19th Century
... . On another level, the wall hanging is a fine example of 'women's work ...This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration -
Kew Historical Society IncClothing - Cream Silk Evening Dress, 1970s
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. The dress was owned and worn by Kew resident, Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s.Cream silk evening dress with applied ribbon and flowers. The dress has a high round neck and buttoned sleeves and cuffs. It has a zip at the back with hooks and eyes at the neck.mcintyre collection, women's clothing, evening wear, australian fashion - 1970s, evening dresses, dione mcintyre -
Kew Historical Society IncClothing - Coat, Jump, 1990s
The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. The coat was donated by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Black matt straight-cut women's black coat with maroon lining manufactured by Jump. The coat is buttoned at front and has a manufacturer's label on inside neck.JUMP SIZE 16 MADE IN AUSTRALIAcostumes - coats, women's clothing, jump -- australia -- fashion house, fashion design, fashion -- 1990s -
Kew Historical Society IncAccessory - Silver Chain Mesh Handbag, 19th Century
The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. The handbag was donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Square silver chain pursehandbags, evening bags, bags, fashion accessories, silver mesh bags, mcintyre collection -
Kew Historical Society IncClothing - Embroidered Chemisette, 1900-1910
Coffee coloured chemisette with lace. Machine sewn with two layers of netting applied by hand. Pink and green bullion knots worked on top net layer which is of machine made lace already embroidered and assembledlace, women's clothing, australian fashion
