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Robin Boyd Foundation
Functional object - Cushion
These are not original cushions in the photos by Mark Strizic in 'Living in Australia' p 83 and p129. Penleigh Boyd recalls: "the upstairs living room in the 1980s and 1990s was a much more colourful space. Arthur Boyd’s large paintings dominated the south wall and the Phillip Fox paintings as well as Tony Wood's 'In the Studio Psychologically Challenged' coloured the north wall. Patricia Boyd was experimenting with colour". These cushions were on the bed in Walsh St until around 2019.Indian cotton red, emerald green, mustard, white. Tassels and white stripes along centre. Zip on opposite side through centre square.walsh st furnishings, robin boyd -
Robin Boyd Foundation
Decorative object - Bottle
This was bought by Robin and Patricia Boyd. There was once another green squat one. The Boyd family think it may have Mexican origins and purchased from either Georges (Collins St, Melbourne) or Gillam Quigley (Toorak Rd, South Yarra).Yellow glass bottle. Hand blown with bubbles. Narrow neck, bulbous centre, narrows into base. Slanted opening. walsh st furnishings, robin boyd, ohm2022, ohm2022_12 -
Robin Boyd Foundation
Functional object - Canister set
Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. During this time, the Boyds purchased this set of melamine kitchen canisters. They were used for flour, sugar, rice and biscuits etc. Both Robin and Patricia liked melamine, and also had melamine serving dishes. Seven melamine containers with coloured exteriors (ranging from white through yellowy-green, orange and black) with black interiors and teak lids. Height ranges from 100-200mm, width ranges from 110-170mm, Base measures 100-155mmcookware, walsh st kitchenware, robin boyd -
Robin Boyd Foundation
Functional object - Appliance
Mandie Boyd, Robin and Patricia's eldest daughter, has very vivid memories of this meat mincer, her favorite gadget. "Every Sunday until I was about 12 (mid-1950s), there would be roast lamb with all the trimmings, good homemade mint sauce, roast potato and pumpkin, parsnip, tomato and onion pie with breadcrumb topping, fresh green peas and gravy. Monday night was Shepherd’s Pie, and I looked forward to it. The cold meat was cut up and fed through the mincing machine fastened to the table at Riversdale Rd. I don't remember it ever coming out at Walsh Street. Maybe Patricia was over cold roast lamb at that stage. I loved turning the handle and watching the meat squidge out, could hardly call it mince, some onion and lastly a slice of bread to push the bits through. Then the mincer all came apart, was washed and put away until next Monday. The meat and onion tossed with leftover gravy, mash on top, loads of butter, etched with a fork tine and baked in the oven. Served with tomato sauce, very good." A beige coloured, heavy meat mincer. Detachable (discs 2) and outer cover for mincing. Long handle with wood end. Small black rubber stoppers underneath.cookware, gadget, walsh st appliances, walsh st kitchenware, robin boyd, ohm2022, ohm2022_11 -
Robin Boyd Foundation
Book, G.R. Halson and P.R. Smith, Comprehension Interpretation & Criticism Stage 2 Australian Edition, 1966
Paperback"Suzy Boyd", coloured pencil handwriting inside front coverwalsh st library -
RMIT Design Archives
Textile - Textile Design Sample
The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives -
RMIT Design Archives
Painting, Illustration of a Woman in Traditional Dress from Patzcuaro, Michoacán, Mexico, c.1953
Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress -
RMIT Design Archives
Drawings, 1958
Louis Kahan (1905-2002) is best known in Australia for his skill as an artist. As Independent Fashion Curator, Laura Jocic has observed, ‘It is less known though that Kahan had a career in theatre and fashion in Vienna and Paris during the 1920s and 1930s that continued when he came to Australia in 1947. He signed his fashion illustration with the initials 'nac', a phonetic interpretation of his surname spelled backwards. In this illustration on newspaper we can see Kahan playing with the graphic effects of line and text, while communicating the cut and drape of late-1950s fashions.’ Kahn was born in Vienna in 1905 and first travelled to Australia in 1947. He moved to Melbourne in 1950 where he became friends with artist George Bell, writer Alan McCulloch who introduced him to Clem Christensen, editor of the literary journal Meanjin, where many of his portraits of Australian writers were published. His 1962 portrait of the author Patrick White won the Archibald Prize, bringing him national recognition. He also designed sets and costumes for the Elizabeth Theatre Trust (Opera Australia) and the Melbourne Theatre Company. In 1993 his contribution to Australian cultural life was recognised when he was made an Officer in the Order of Australia (AO). He died in Melbourne, at the age of 97 in 2002. Ann Carew 2018Fashion illustration on newsprint. Drawing depicts two women. Women in foreground is wearing a long green coat and hat.Woman at rear is wearing a green and white evening dress with white gloves.Signed lower right in ink, 'nac 1958'.fashion illustration, fashion design -
RMIT Design Archives
Swatches
Dyed green linen and cotton yarn attached to cardboard tagInscribed in blue ink, top centre: '1% Chlorantine/ Yellow 2GLL'; centre centre: '.5% Chlorantine/ Blue 3GLL'; bottom centre: '.06% Chlorantine/ Red 6BLL'dye, linen, cotton, ink, cardboard -
RMIT Design Archives
Swatches
Dyed green linen and cotton yarn attached to cardboard tagInscribed in blue ink, top centre: '1% Chlorantine/ Yellow 2GLL'; centre centre: '.5% Chlorantine/ Blue 3GLL'; bottom centre: '.06% Chlorantine/ Red 6BLL'dye, linen, cotton, ink, cardboard -
RMIT Design Archives
Swatches
Dyed green linen and cotton yarn attached to cardboard tagInscribed in black ink, top centre: '5g Sample/ 1% Yellow RS/ 3.4 ON 2RS/ 1% Blue 3RI/ 500 mgs Alkali'linen, dye, cotton, ink, cardboard -
Robin Boyd Foundation
Newspaper - Clipping, Margot Officer, Seen and heard, 15-29 March 1973
A double spread of mostly photographs of three events in Melbourne, including Toorak and South Yarra. Included is photograph of Mrs Robin Boyd with Lady Tait.Double page, pp 8-9walsh st library -
Robin Boyd Foundation
Book, E.W. Parker, Discovering Poetry 4: Fresh Fields, 1961
Hardcover w/ clear plastic contact"Suzy Boyd" and various notes inside front coverwalsh st library -
Robin Boyd Foundation
Book, Frank C. Green, Servant of the House, 1969
Hardcover w/ Dust Jacketaustralian biography, politics, government, walsh st library -
Robin Boyd Foundation
Book, W F H Whitmarsh, Simpler French Course for First Examinations, 1951
HardbackMandie Boyd, Beta + 1958, St Margarets School, Berwick. Pen and pencil annotations throughout.french language, walsh st library -
Robin Boyd Foundation
Book, Stephen Spender, Poetry since 1939, 1946
Softcoverbritish literature, british poetry, walsh st library -
Robin Boyd Foundation
Book, E W Parker (selected), The Poet's Way: Stage Two, 1954
HardcoverS. Simms. Poetry on leaves. Some annotations in pen throughout.poetry, walsh st library -
Robin Boyd Foundation
Book, Thornton Wilder, The Ides of March, 1949
HardcoverPatricia Boyd's signaturewalsh st library -
Robin Boyd Foundation
Book, Dorothy Green, Writer Reader Critic, 1991
SoftcoverPrimavera Press catalogue inserted inside front coverwalsh st library -
Robin Boyd Foundation
Book, Christopher Hibbert, London: The Biography of a City, 1969
Hardcover w/ Dust Jackethistory, london, walsh st library -
Robin Boyd Foundation
Book, John Reed, New Painting 1952-62, 1963
Hardcover. Arthur Boyd has an painting "Nude with Beast" featured in this book.walsh st library -
Robin Boyd Foundation
Book, Clough Williams-Ellis, Town And Country Planning, 1951
Softcoverwalsh st library -
Robin Boyd Foundation
Book, Michael Arlen, The Green Hat, 1926
Hardcoverwalsh st library -
Robin Boyd Foundation
Book, Lloyd C. Douglas, Green Light, 1950
Hardcover"K R/A"fiction usa , walsh st library -
Robin Boyd Foundation
Book, Mary O'Hara, Green Grass of Wyoming, 1952
Hardcoverwalsh st library -
University of Melbourne, Burnley Campus Archives
Plan, Michael Green, 46 Young Street Kew Garden Concept Plan, 2000
Tracing paper plan by Michael Green dated December 2000. Scale 1:50michael green, gardens, kew -
Vision Australia
Text, Agreement between the Director General of Society Security and the Association for the Blind, 1983
Agreement regarding the building of an approved home at 19 New Street, Brighton Beach and the funding of such. Affixed with the seal of the Association and signed by John Wicking, John Wilson and J. Wall.11 blue pages , stapled with green taped edgeassociation for the blind, john wicking, john wilson -
Kew Historical Society Inc
Decorative object - Cotton chintz applique on linen wall hanging [Broderie Perse], 19th Century
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 Inc
Photograph - Peel Street Health Centre : Official Opening, 1930
The North Kew Centre was the third established at North Kew. It followed a lease of a house at 50 Willsmere Road. The Peel Street building was designed by Mr Chipperfield. Messrs McIntosh and Taylor were the successful tenderers, the price being 1,240 pounds. The North Kew Baby Health Centre was finally opened on 18 June 1930 in the presence of the mayor, councillors and citizens of Kew, and representatives of the Infant Welfare Council. A report in The Age of 19 June described the opening in detail as well as the features of the new Centre. These included: "The rooms ... filled with flowers, pink and mauve hydrangeas and native heath, and the walls are adorned, with a charming frieze, representing windmills, flocks and a fairy tale goose girl. On the walls are hygiene editions of the funniest of Belloc's "Cautionary Tales" revised as posters, Outside there is promise of a gay garden, and a lovely view of green fields sloping to a shining bend of the river." Early photographic record of the opening of an early baby health centre in Kew.[Badly damaged] black and white photograph of the opening of the North Kew Baby Health Centre in Peel Street. The photo is mounted on card, and shows mothers and their children on the veranda, and officials at right. The latter includes the Mayoress and probably Vera Scantlebury. All mothers wear hats as do most of the children. [When the photograph was presented to the Society in 1979, it was described in the first Acquisitions Register as framed. Some time after that it was removed from its frame and badly broken. A separate photocopy of the original photograph is also held in the collection.]Earliest inscription: "Peel Street Health Centre / Official Opening 1930 / donated by Sr Costello and Sr Bewish [sic] 1979 / Copy purchased by ..... for Centre". Old Accession number in Texta: "KH-133 Kew Historical Society". Separate later label: "Opening North Kew Baby Health centre 1930". north kew baby health centre, peel street (kew), baby health centres - kew (vic) -
Kew Historical Society Inc
Photograph, J F C Farquhar, Bird's Eye View Looking West, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street