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 evening coat is one of a number of items donated to the Fashion 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. Coral coloured, satin full length lined evening coat.australian fashion - 1960s, evening wear, evening coats, mcintyre collection

Linda Britten is a fashion designer who graduated from RMIT in 1968. Following her graduation she worked in the design house of Noleen King and freelanced for Kenneth Pirrie. She opened a shop in Hampton, Melbourne in the mid 1970s, and then another in Chapel Street. She first used the ‘Linda Britten’ label in 1978, designing and selling ‘up-market couture and eveningwear. Later, from 1980 she was to specialise in bridal wear. In 1980, she was awarded the Australian Fashion Designer of the Year. Three quarter length peacock-blue polyester taffeta dress with black collar. The fabric is gathered at the sleeves and at the waist to provide fullness to the design.Label: Linda Brittenlinda britten, women's clothing, australian fashion

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 item was owned and worn 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 1980s. 1920s style red coloured dress of Indian cotton, tucked, and embroidered with beading.mcintyre collection, australian fashion - 1980s, women's clothing, day wear, dione mcintyre

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 was worn by Kew resident 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 1980s. Cream-coloured drop waisted handmade dress, using machine made lace and added lace trim. The dress is missing its underdress.women's clothing, australian fashion - 1930s, lace dressses, mcintyre collection

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 skirt is one of a number of items donated to the Fashion 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 1980s. Long A-line cream coloured skirt.australian fashion -- 1970s, a-line skirts, mcintyre collection, dione mcintyre

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 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. Long white raw silk dress with beading and sequins applied to a high neck and short sleeves.women's clothing, australian fashion - 1960s, evening wear, mcintyre collection, dione mcintyre

Minnie Mary Fimmel (1880-1965) was born at Kewell, near Minyip and married carpenter John Thomas Francis Moroney in 1897. His death left her a widow with two children. Minnie re-invented herself as Marie Minnie Dalley and commenced menial work in Melbourne. Known as ‘Ma’, she became a financially successful businesswoman, eventually owning various properties around Victoria including a ‘machinery factory’. She was much ‘talked about’ in the newspapers for her benevolent actions, particularly towards women. For this community service she received an O.B.E. in 1949. Aged 74, she became the first female mayor of Kew. Ma Dalley refused to accept a formal presentation of the honour at a ‘return ball’, insisting that the money be donated to St George’s Hospital, Kew. She continued to financially donate to various charitable organisations. Her piéce de résistance was a staggering £250,000 personal donation to further the building of St George’s Hospital. She died at Kew and is buried at Miniyip Cemetery. Framed large oil painting on canvas. Cr Marie Dalley in her mayoral robes. Painted inscription on reverse of canvas: ‘Ma Dally [sic]. 1st lady Mayer [sic] of Kew Vic. Pinxit Govett 1951". [Cr Dalley was Mayor of Kew in 1954-55, so the date given by the artist on the reverse is incorrect.]marie (ma) dalley, james william govett, ma dalley, minnie mary fimmel, mayoral portraits

A set of architectural drawings of additions to Goathland (originally Byram, and later Goathland and Lowan). The drawings, by the architect William Pitt represent additions to the size of Goathland. Pitt had previously worked with the original architect of the house, Edward George Kilburn, of Ellerker & Kilburn, who had designed Byram for the industrialist George Ramsden in 1888. 'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author.Six black and white architectural drawings by the architect William Pitt for additions to the home of Sir Malcolm McEacharn in Studley Park Road. The original is in the collection of the State Library of Victoria."Sir Malcolm D. McEacharn, Kew"william pitt, malcolm mceacharn, architects -- melbourne (vic.) -- william pitt, architectural drawings, byram, tara hall, goathland

Born in Bendigo and trained as a nurse in the 1950s, Sonia Jill O’Brien devoted a lifetime to social and environmental issues at both the state and local level. From her work in the 1960s with the Family Planning Association of Victoria, of which she was a founding member, through to the 1990s as a member of the Ethics Committee of the Department of Health, she supported efforts to improve women’s health and reproductive rights. At the local level she was most active on committees that worked to save the natural and built environment. The Power-line Action Group, the Studley Park Conservation Society, and the Yarra Bend Park Trust all benefitted from her indefatigable endeavours as well her vision. In 1980, Jill O’Brien successfully stood for the Kew City Council and served as Mayor in 1983 and 1984. With an eye to preserving the past as well as guarding the future, she had the Mayoral robes restored and in 1980 and 1981 was president of the Kew Historical Society. The preservation and restoration of Villa Alba in Walmer Street owes much to her determined efforts throughout the 1980s. On Council, she chaired a number of committees involved in the saving of the Kew River Parklands from the proposed transmission line of the SEC. To this end, she was the Council representative on the Merri Yarra Municipal Protection Committee.Rare colour photograph, used as the official mayoral portrait of Cr Jill O'Brien.Formal civic portrait of Cr Jill O'Brien in red mayoral robes wearing lace jabot and cuffs. The portrait is part of the larger Jill O'Brien Collection donated by her daughters.cr jill o'brien, city of kew -- mayors, mayoral portraits -- city of kew

Wooden framed wash board with zinc coated corrugated steel board insert. Wooden frame consists of two legs three supporting wooden rods on back side of tin board and top and bottom wooden slates. Tin board has small holes all throughout. On wooden top the "Advantages of the board" are printed.Printed on wood on top of back side of board. "Advantages of this board. 1. No "Protector" is Needed. The water goes through the holes and never wets the apron of the operator. 2. The holes enable you to rapidly force both air and suds through the fabric, and so hasten the cleaning process. 3. The nicely "arched" surface is much easier to wash on than the orsinary flat surface. 4. Is, light, strong, durable, always retains its shape and never sags. 5. Has no board back to retain moisture and corrode the zinc. 6. Is very easy on the clothes. Do not have to rub them all to pieces to get them clean. Soon pays for itself on this count alone. 7. Is not only THE FASTEST WORKER IN USE, but is already coming into more general demand than any other wash board in the world. 8. If the saving of a womens strength is worth anything the labour saving qualities of this board would make it well worth $1.00. Always RUB LIGHTLY and find how easily the board itself will do a part of the work. TAYLOR, SCdomestic items, laundering, advantages of this wash board, wash board, laundry, cleaning, clothes, taylor, scoot and co., toronto, canada, washing.

White cotton short sleeve short top. Button up front with extensive crochet work and pink lace detailing.No visible markingscostume, female, top, clothing, white, cotton, crochet, lace.

White cotton short sleeve short top. Button up front with extensive crochet work.No visible markingscostume, female, top, clothing, white, cotton, crochet, lace.

This Book celebrates the history of the first 100 years of the Adult Deaf Society of Victoria, and was written by John Flynn who in his introduction states "This book attempts to trace the story of the men and women, both deaf and not deaf, who worked and planned so that deaf people should have a caring Organisation available to them on leaving school".This Book celebrates the history of the first 100 years of the Adult Deaf Society of Victoria. The work is significant as it brings together material from a number of different collections into an accessible and comprehensive volume detailing the Society's history spanning the years 1884 to 1984. The book is no-longer in print.Crimson Cover iv, 185 p. : ill., facsims., ports. ; 26 cm. (missing pages 92-100)adult deaf society of victoria, flynn, rose, victorian deaf and dumb institution, muir, newbigin, lewis, moss, samuel johnson, lucy lewis, hannah martin, luke, peter holt, leslie newbigin, frewin, robert patterson, matthew miller, eugene salas, robert luff, abraham, knutsford, cornelius reynolds, ernest reynolds, george mortimer, john paul, blackburn, south australia, william dean, okorita, nunawading shire, lacrosse, mckirdy, martin fraser, lakeside lodge, george newnham, jolimont square, horace bedggood, cricket, football, tabletennis, hockey, gymnastics, geelong, ballarat, pengilly, australasian deaf and dumb association, chadwick, parkinson, mcconnan, jennings, macbain, sargood, gillott, grimwade, felsted, mcbeath, mckeddie, peacock, cleveland, bruche, samderson, wignay, driver, smiley, sholl, lovett

Colour photograph. First floor corridor. Looking south to the women's lounge and what is the Fitted or Work office in 2015. The left door entrance was into the former matron's office of the hospital. Man in blue shirt sanding the floor faces away from the camera. Taken during restoration inspection.building construction, historic buildings

A flyer used to announce exhibition opening. Colour example of work on left of flyer.art exhibitions, shows and exhibitions, paintings, pictures

Enba was a newsletter produced by the Melbourne Executive of the YCW (Girls) distributed to members in the Melbourne Diocese in 1963 - 1965.Throughout its history, the YCW movement produced numerous publications for members and for the wider community. Some of these were regular papers or newsletters with high production values. Others were short lived efforts, produced 'in house' on low budgets. Reading across the collections, these public expressions of YCW communication provide insight into the movement's methods, the concerns of young women and men of the period, and how these shifted over time and across location. Enba contains references to campaigns on work; reports from branches in the city of Melbourne including sport and social events; profiles of Diocesan Executive Members and Presidents; letters from Chaplains including a report from Fr Brian Burke; dates regarding Pre-Cana Seminars and Summer Schools. Five editions of newsletter

Dr Rose was a member of the Surrey Hills Medical Centre for approximately 50 years. Norman was the son of Maurice Rose (1889-1963) and Gertrude nee Gordon (1891-1972) and was born in Birkenhead, Cheshire, UK, on 15 September 1916. Norman had an older sister, Irene. As with many migrant families, Maurice departed from London for Melbourne on 27 October 1927 on the ‘Ballarat’ ahead of his family, who sailed on the ‘Bendigo’ on 8 May, 1928. Norman was 12 years old. The family lived in a number of locations including St Kilda, Balaclava and later Elwood. Norman attended Wesley College, following which he enrolled at the University of Melbourne, where he studied medicine, graduating MB BS in 1939. For unknown reasons, post-graduation Norman moved to Perth in March 1940. It was at the Fremantle General Hospital that he met his future wife, Helen Beatrice (Betty) Mackie, and began training in anaesthetics. When World War 2 was declared, Norman enlisted in the army. He was attached to the 2/13th Field Ambulance (AIF). He served in the Middle East and Borneo. Upon their return to Melbourne after the end of the war, Norman completed hospital rotations as a Resident Medical Officer at the Alfred Hospital (1946-1947) and at the Royal Women’s Hospital in 1948. Norman was a close friend of Dr Bill Vorrath, which probably explains how he came to join the Surrey Hills Medical Centre in either 1948 or 1949. Although technically a General Practitioner, Dr Rose focused on Anaesthetics. He was often on call for the Emergency Department at Box Hill Hospital and he also taught many students how to administer an epidural. In 1972, under the so-called ‘Grandfather Clause’, he was registered as a Specialist Practitioner in Anaesthesia. Dr Rose’s long service to Box Hill Hospital was recognised with the award of Life Governorship of the Hospital in 1978. Dr Rose married for a second time after his first wife Betty died in 1997. He retired in 1998 or 1999 and died in 2010 in his 94th year. Dr Norman Rose worked at Surrey Hills Medical Centre as a General Practitioner / Anaesthetist for 50 years, and thus had a significant role in and influence on this community.A formal head and shoulders portrait photo of a man with greying hair, wearing glasses and jacket and striped tie.norman rose, general practitioner, doctor, anaesthetist, surrey hills medical centre, box hill hospital, fremantle general hospital, 2/13th field ambulance aif, alfred hospital, royal women's hospital, bill vorrath, helen beatrice mackie, betty mackie, betty rose

This report was prepared by historian Robin da Costa-Adams to assess the cultural heritage significance of "Enniskillen" at 14 Balwyn Road, Canterbury. It includes some family history on a number of prominent families - the McAlpin family, the Hindson family and the architect, Arthur William Plaisted who designed 'Enniskillen' for the McAlpin family. McAlpin's was a major Victorian flour company in the nineteenth and early twentieth centuries. Owned and operated by J. McAlpin and Sons, the company sold its flour products across Australia and overseas. McAlpin's developed a successful marketing campaign which was pitched directly at housewives. One innovation was the publishing of a free cookbook which had recipes in it that used McAlpin's products. These free cookbooks were published successively from the 1930s through to the 1960s in Australia. Arthur Plaisted also designed the Surrey Hills Medical Centre in Union Road c1911. Some of his work is featured on the State Library of Victoria Collection. Robin da Costa-Adams has researched and written many publications including 'Blackburn a picturesque history, 1978'; 'Land of Gold: Gwlad yr Aur: James Tipping and a Mining Heritage'; 'Address (with signatories) from the women of Ballarat & Ballarat East to the women of England 1864 : against transportation of convicts', compiled and indexed by Robin; and 'Connie's Story : commemorating the Life of Mrs Edward (Plorn) Dickens'. Robin has been a tireless campaigner for heritage protection in Canterbury. This document on 'Enniskillen' was included with Robin's submission for 2 VCAT hearings regarding possible development of the property. Both resulted in a judgement against the proposed developments. In the recent (2021) hearing the document was specifically mentioned in the judgement.A report prepared by Robin da Costa-Adams in 2009 to assess the cultural heritage significance of "Enniskillen" at 14 Balwyn Road, Canterbury. It includes some family history on the McAlpin family, the Hindson family and the architect Arthur WIlliam Plaisted family.(mr) arthur plaisted, (mr) walter plaisted, enniskillen, shrublands, house names, (mr) francis henty, (mrs) mary henty, (mr) ernest carter, heathfield, (mr) john hindson, (mrs) alice hindson, (mr) william hindson, (mrs) annie west mcalpin, (mr) john mcalpin, mcalpin bakery, (mr) keith matthies, dental surgeon, (mr) william wolf, architects, (miss) mary beacon, robin ca costa-adams

Dr Unice (Una) Beatrice Porter, OBE, CBE (1900 - 1996) Una Porter was the youngest daughter of Frederick John Cato and his wife Fanny (née Bethune). She had 3 sisters and 4 brothers. Her father was of course the prominent businessman and co-founder of the Moran & Cato grocery company who was known for his generosity and commitment to the Methodist Church. Given this background it is not surprising that Una inherited a deep and lasting Christian faith that would become the driving force behind her own career and philanthropic activities. Una was educated at Methodist Ladies College and the English boarding school "Farringtons" however her formal education ended at the age of 14 due to ill health. By the outbreak of the First World War her sisters were married and her brothers enlisted. Una became very close to her father and assisted him in establishing hospitals and missions in Arnhem Land, Fiji and India. Una returned to formal study and matriculated at the age of 30. A niece with diabetes was the catalyst which led Una to study medicine. She enrolled at the University of Melbourne in 1933 and subsequently specialised in psychiatry with training at Prince Henry's Hospital, the Royal Park Mental Hospital and the Children's Hospital. In 1946 she took a post at the Ballarat Mental Hospital. Here she was the first female member of staff, overseeing 512 female patients. She later worked in private practice and was instrumental in the establishment of a psychiatric clinic at the Queen Victoria Hospital. Throughout her life, Una maintained a strong link with the Young Women's Christian Association (YWCA) and in 1963 was elected as the World President of this organisation and in 1964 she was elected Woman of the Year. Una's philanthropic work was extensive. In addition to administering the F.J. Cato Charitable and Benevolent Trust and later the James and Una Porter Trust Fund, she made substantial personal donations to hospitals, universities and community organisations including the University of Melbourne, Monash University, Epworth Hospital, Methodist Ladies College, Cato College, Queen Victoria Hospital and the YWCA. It is estimated that she gave over $1 million to various hospitals and institutions. Some of her projects included establishing a scholarship for rural female students to attend university, a Chair in Psychiatry, and extensive research into early childhood development. Una B. Porter was appointed O.B.E. (1961) and C.B.E. (1968) in recognition of her services to the community. At the age of 46 Una married James Roland Porter, an ex-RAAF squadron leader and a lifelong friend. Until this time, Dr Porter had lived at the Cato family home, ‘Kawarau’ at 192-198 Tooronga Road, Hawthorn (later Stephanie’s restaurant). In spite of having qualified as a doctor and with all her philanthropic activities, at age 43 the electoral rolls give her status as ‘home duties’! Dr Porter’s connection with Surrey Hills came after her marriage. In 1948 she and her husband bought 8 Kent Road. A black and white photograph of a screened image of a lady sitting in a winged-back chair. She is wearing a knee length dress with three-quarter length sleeves, and beads around her neck and wrist.psychiatrist, philanthropist, queen victoria hospital, mont albert, surrey hills, 8 kent road, dr una porter, mr james porter, dr unice beatrice porter, mr frederick cato, miss unice beatrice cato, mrs fanny cato, miss fanny bethune, young women's christian association, fj cato charitable and benevolent trust, james and una porter trust fund, methodist ladies college

Lyons family history: From 1907 a cab service operated from near the railway gates in Union Road. It was established and maintained by Mr C Fraser until c1916. George Rea either took over then or set up in opposition. Fred Lyons initially worked for George until he set up his own business. In time he changed over to a motor vehicle and continued his service until 1960. Frederick Adolphus Lyons (1891-1980) was born in Surrey Hills, son of Thomas and Catherine Lyons. He married Elizabeth Ruby Hall in 1918. They lived just around the corner at 55 Sunbury Crescent. The Lyons’ home in Sunbury Crescent was called ‘Knopshambury’ - this was probably a misspelling of Knockshanbally in Co Kilkenny, the birth place of Fred’s father, Thomas Edmund Josias Lyons (1846-1915). Arthur Lyons was born in Surrey Hills on 12 Jun 1920. He became a motor mechanic / welder and lived at 55 Sunbury Crescent. Empire Day celebrations were held in Surrey Hills from 1906-1911 and revitalised from 1933-1938 by the Surrey Hills Progress Association. Street parades featuring decorated business vehicles and bonfires were a feature. This is one of a series of photos donated by Arthur Lyons.The donation was made while he was in hospital. He died shortly afterwards (23 Sep 1990). Donation was finalised by a neighbour, Mrs Florence Ann Armitstead, wife of Glen Victor Armitstead. Glen was a local hairdresser. They moved to 11 Sunbury Crescent after their marriage in 1939. Arthur had no relatives to distribute the material to. Empire Day celebrations were held in Surrey Hills from 1906-1911 and revitalised by the Surrey Hills Progress Association from 1933-1938. The evening parade of floats, and vehicles both horse-drawn and motorised, proceeded along Union Road to the Surrey Gardens beneath festoons of candlelit lanterns, bunting and flags. The paper flowers used extensively on trade and business vehicles were the result of hours of work by families and friends. The Empire Day Celebrations were a great community event, in some years augmented by bonfires, including the ones in Beckett Park.Black and white photo of Fred Lyons' taxi decorated for Empire Day. The cab is parked in the street and is festooned with flowers and ribbons on the hood, bonnet radiator, running board and in the tyre spokes. Three women stand beside the cab. There are houses in the background. motor vehicles, festivals and celebrations, taxis, empire day, fred lyons, frederick adolphus lyons

Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford

Joan Richard was a speaker at the Surrey Hills Historical Society meeting in November 2013. A watercolourist, she has been a long standing member of MSWPS, Past and Recent President in 2017 and a Life Member. The Melbourne Society of Women Painters and Sculptors was founded in 1902 by women who had been students at the Art School of the National Gallery of Victoria, to provide a forum for artistic discussion and an opportunity to view and comment on each other's work. Originally named the Students' Art Club, it became "Woomballana" (meaning either 'everlasting beauty' or 'search for beauty') Art Club, The Women's Art Club, the Melbourne Society of Women Painters and finally, in 1954, the present title was adopted. The history of the MSWPS and its members’ achievements, issues of the workplace, family and art commitments, the economic survival of artists, migrant artists and prejudice against women are also explored. Much of the information in “More Than Just Gumtrees” has not been available in previous publications; it includes hitherto unpublished sources - oral history interviews, minute books, reviews, letters, early photographs. There are includes biographies of over 300 artists, with individual exhibition lists, representation in public collections etc REF: MSWPS website. Artist Mabel Pye, who lived in Surrey Hills, is one of the featured artists.A history of the Melbourne Society of Women Painters and Sculptors and of the women who have belonged since 1902. Some of these women have become well-known to the art world, other have slipped by un-noticed. Incl. index, bibliography.To the Surrey Hills/Historical Society/Presented by/Joan Richard/19th November/2013melbourne society of women painters and sculptors, women painters, women sculptors, mabel pye, joan richard

Formed in 1990 by a group of current and former social services and administrative staff at the then-Brighton Council, the Lovely Learned Luscious Ladies of Brighton were a group bound by friendship, humour, fun and a delightfully strange knitting project. Each member took turns to add ten rows ten rows of knitting to the piece, following a series of handwritten rules on an attached card. The wool used was not to be bought, but could be "begged, borrowed or stolen", and previous work was not to be altered. The ladies met bi-monthly over dinner at local restaurants and hotels to swap gossip, play games and share the progress of the knitting. The work of twelve women over eighteen years, the piece documents fond memories, personal passions, wedding celebrations, the birth of a grandchild, footy triumphs, holidays and major events. It is a testament to a close-knit friendship, as expressed on the rules card: "MAY THIS PIECE SERVE TO BIND US TOGETHER".Irregular-shaped knitting project consisting of multicoloured knitted stripes in a variety of yarns and stitches created by a group of women over a period of eighteen years. The piece includes numerous additions and embellishments by the various makers, including sequins, beads, shells, badges, ornaments and laminated images.Attached yellow laminated rectangular card with handwritten rules: "1) Nominated member is to knit (in any stitch of choice) 10 rows of your best by the next meeting. 2) The yarn to be used is not to be purchased for the job but can be begged, borrowed or stolen. 3) The colour of yarn is to be left to member's discretion, but judgement will be passed by others. 4) The nominated member will not tamper with, pull out or destroy a previous member's work. 5) On returning the work to the meeting the member shall declare to what genuine purpose the piece will be put on completion (as a guide for future knitters), e.g. rug for favourite chardy, cock sock for lover. 6) The next knitter can (and shall be encouraged to) change the purpose as stated by the previous knitter. 7) This tag must not, without the permission of a majority of members, be removed. MAY THIS PIECE SERVE TO BIND US TOGETHER."brighton, brighton council, social groups, knitting, 1990s

This nightgown was made by Vasiliki Raftopoulos around 1900 for her daughter Toula's trousseau. Born in Ithaca, Toula's family migrated to Romania when she was only a baby. In 1914, Toula emigrated to Australia with her husband Constantine Mavrokefalos, where their daughter Olga Black was born in 1930. Olga is a longtime Brighton resident. BHS holds a collection of garments and textiles made by the women of Olga's family, spanning four generations. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Women's white cotton nightgown, long with three quarter sleeves. Cotton lace on front and sleeves. Front fastening buttons. Pintucked with eyelets around neck.nightgown, toula black, toula mavrokefalos, vasiliki raftopoulos, olga black, 1900s, trousseau

This nightgown belonged to Toula Mavrokefalos Black, nee Raftopoulos (1892-1976). Born in Ithaca, Toula's family migrated to Romania when she was only a baby. She learned to sew as a child while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. In 1914, Toula emigrated to Australia with her husband Constantine Mavrokefalos. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Her daughter Olga Black spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years. BHS holds a collection of garments and textiles made by the women of Olga's family, spanning four generations.Women's cream cotton sleeveless nightgown. Cutwork embroidery on bodice. Blue stain under one arm.nightgown, toula black, toula mavrokefalos, 1900s

This bed jacket was crocheted for Carmela Materia (1931-2018) by her mother, Giuseppa Auditore, around the time they emigrated from Italy to Melbourne. Both women were longtime Brighton locals, residing in the area from the 1950s until their deaths. Carmela Auditore was the first woman from her home village of Scaletta, Italy to emigrate to Australia. Setting sail alone in 1950 at the age of 19, she joined her brother John and uncle Frank in McCallum St, Brighton. Frank had arrived some years earlier and had spent the duration of the First World War in an internment camp. John worked at the Brighton Case Company, a box manufacturer on Nepean Highway, and paid for her passage. Carmela found a job sewing children's clothing at Drummonds, a small factory in Church St. Working eight hours a day, five days per week, netted her a weekly wage of three pounds. To earn a little extra, she washed dishes at a St Kilda Road restaurant for ten shillings a shift. Her parents, Salvatore and Giuseppa Auditore, joined her in Brighton in 1952. They rented a house behind an antique shop in Bay Street. Salvatore had been a fisherman in Scaletta, but quickly adapted to the job he found helping around the Garage at Brighton Motors in Male Street. On 14 February 1953, Carmela married her sweetheart, Salvatore Materia, at St James Catholic Church in Gardenvale. Salvatore had been living with his aunt in Well Street and worked on the wharves. Both Carmela and Salvatore were hard workers. They owned a fruit shop in Church Street where Woolworths now stands, and years later Carmela recalled the familiar 6am tap on her window each morning when her husband returned from the market. On dark winter mornings, she felt as if her hands would freeze as she helped Salvatore unload cold cabbages and cauliflowers from his truck. They later owned a shop in Ludstone Street in Hampton. After Salvatore died suddenly at the age of 48, Carmela returned to sewing, working at the Willow Fashions knitting mill in Gardenvale. She later went into partnership with her sister and brother-in-law, this time in the delicatessen business. Her parents, Giuseppa and Salvatore, spent the rest of their days with Brighton. Carmela recalled her father cheerfully walking the streets, greeting people by name. He knew everybody. He loved being in Australia and enjoyed life to the last, insisting on having bread and wine on the table at every meal.Cream crocheted wool bed jacket. Loose around bust with wide sleeves and open sides. Fastens at collar with thin braided ties, and at waist with two pearlescent plastic buttons.bed jacket, migration, 1950s, carmela auditore, carmela materia, giuseppa auditore

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Village/Travel Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The village clothing was designed to be a highly visible garment meaning that it was easy to "Spot the Aussies" and helped to contribute to a good team spirit. Blocks of contrasting colours were a feature of the pure wool shirts. A newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8118.1- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts with a yellow and green printed, striped shirt, cinched at the waist by a brown woven belt. At the bottom of the page is a detailed drawing of the weave of the belt with an Australia shaped belt buckle. A small drawing to the right of the main image also details a small bag/pouch that attaches to the belt. 8118.2- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts paired with a block colour shirt in green, red, white and yellow with a symbol in the shape of Australia on the right side of the shirt. There are small detail images of shorts and a skirt to the left of the main image and a detail drawing of a brown leather shoe to the right.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. Opening Ceremony Uniform included a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy.8120.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt, a matching headband and scarf, yellow gloves and brown leather shoes. To the right of the main image are five detail drawings of the skirt, gloves, shoes and scarf as well as a depiction of a brown leather bag. 8120.2 - unnumbered- mounted on green card this sketchbook page depicts a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt and yellow gloves. 8120.3 - unnumbered- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt, a matching headband and scarf, yellow gloves and brown leather shoes. To the right of the main image are five detail drawings of the skirt, gloves, shoes and scarf as well as a depiction of a brown leather bag.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform