This canvas pennant was produced by the KAJ Falnders and given to participants on the 'pilgrimage' to Rome in 1957, for the first gathering of the International Young Christian Workers. YCWs from various nations exchanged pennants in Rome, gathered as souvenirs of the event.This is a rare piece, collected by Bill Armstrong, AO who was one of the young workers who visited Rome in 1957. When situated along side the pennants of other participating nations, it symbolises the internationalism of the YCW movement.Orange, Red and White Small Pennant featuring a picture of the World marking with the YCW flag Rome. In the centre of the pennant are the letters KAJ and on the edges of the pennant it reads: 'Internationale Romebedevaart'. In the tip of the Pennant are the letters FIDRA. On the reverse side in the centre are the letters VKAJ.

This canvas pennant was produced by the Portuguese YCW and given to participants on the 'pilgrimage' to Rome in 1957, for the first gathering of the International Young Christian Workers. YCWs from various nations exchanged pennants in Rome, gathered as souvenirs of the event. This is a rare piece, collected by Bill Armstrong, AO who was one of the young workers who visited Rome in 1957. When situated along side the pennants of other participating nations, it symbolises the internationalism of the YCW movement.Small canvas pennant featuring a caricature of people praying at the base of the Virgin Mary with a small village in the background.The tip of pennant features the words 'Fatima Portugal'.

This canvas pennant was produced by an international JOC and given to participants on the 'pilgrimage' to Rome in 1957 for the first gathering of the International Young Christian Workers. YCWs from various nations exchanged pennants in Rome, gathered as souvenirs of the event.This is a rare piece, collected by Bill Armstrong, AO who was one of the young workers who visited Rome in 1957. When situated along side the pennants of other participating nations, it symbolises the internationalism of the YCW movement.Small white pennant with red cross featuring a stalk of wheat. Design repeats on the reverse.On the left edge of the pennant are the letters 'JOC'. Letters repeat on the right edge on the reverse.

This canvas pennant was produced by the Argentinian YCW and given to participants on the 'pilgrimage' to Rome in 1957, for the first gathering of the International Young Christian Workers. YCWs from various nations exchanged pennants in Rome, gathered as souvenirs of the event.This is a rare piece, collected by Bill Armstrong AO who was one of the young workers who visited Rome in 1957. When situated along side the pennants of other participating nations, it symbolises the internationalism of the YCW movement.Decorated pennant with black backgroundROMA AGOSTO 1957 - PARA FORJAR EN CRISTO UNA CLASE OBRERA NUEVA - ARGENTINAyouth movements, ycw, catholic action, formation, education

The YCW had established cooperatives in the late 1940s, a manifestation of the movement's commitment to deliver a service for every need. The Co-Ooperator was a newspaper produced by the YCW sharing information regarding its activities in the co-operative sector. The extended publication details of the newspaper are unknown and this complete copy and fragment are the only surviving editions collected by the Archive.One complete edition of The Co-Operator newspaper published March-April 1964 and a fragment of an edition dated 1962. co-operatives, ycw melbourne, third sector

Lil was born in Long Gully, Bendigo in 1904 daughter of Herbert Charles Leopold Willaton and Lillie Jenkins. She had 3 brothers and 3 sisters, one brother dying in infancy. The family lived in Lille Street, Surrey Hills. Both her parents and one sister died in Surrey Hills. In the 1920s Lil gained her A.L.C.M. (Australian London College of Music) in singing and made a career of teaching gymnastics with calisthenics, rhythmic movement etc. She arranged the music and lyrics for items and also designed the costumes, as well as conducting the physical training which culminated in annual concerts held in Box Hill and other town halls. Lil married Leslie Reginald Stephenson in 1934 and they lived at 36 Union Road, Surrey Hills. She died in July 1995 and is buried in Box Hill Cemetery - CE-126-0001. A black and white photograph of a young lady sitting in a lounge chair.(miss) lil willaton, (mrs) lil stephenson, entertainer, singers, teacher, gymnastics, calesthenics, (miss) lille louisa willaton, (mrs) lille louisa stephenson, box hill cemetery), lille street, union road

Lil was born in Long Gully, Bendigo in 1904 daughter of Herbert Charles Leopold Willaton and Lillie Jenkins. She had 3 brothers and 3 sisters, one brother dying in infancy. The family lived in Lille Street, Surrey Hills. Both her parents and one sister died in Surrey Hills. In the 1920s Lil gained her A.L.C.M. (Australian London College of Music) in singing and made a career of teaching gymnastics with calisthenics, rhythmic movement etc. She arranged the music and lyrics for items and also designed the costumes, as well as conducting the physical training which culminated in annual concerts held in Box Hill and other town halls. Lil married Leslie Reginald Stephenson in 1934 and they lived at 36 Union Road, Surrey Hills. She died in July 1995 and is buried in Buried Box Hill Cemetery - CE-126-0001. A black and white photograph of a young lady dressed in a graduation gown and wearing a mortarboard on her head.(miss) lil willaton, (mrs) lil stephenson, entertainers, singers, gymnastics, calesthenics, teacher, lille street, union road, (miss) lille louisa willaton, (mrs) lille louisa stephenson, box hill cemetery

Miss Lillie Louisa (Lil) Willaton, and her callisthenics students in 1930s celebrating during competitions in Ballarat in which they were successful. Lil held weekly classes in Surrey Hills, Box Hill and nearby suburbs for a number of decades. Students include Nancy Scott, Nancy Hayes, Sylvia McGill and Vera Willaton. Lil was born in Long Gully, Bendigo in 1904 daughter of Herbert Charles Leopold Willaton and Lillie Jenkins. She had 3 brothers and 3 sisters, one brother dying in infancy. The family lived in Lille Street, Surrey Hills. Both her parents and one sister died in Surrey Hills. In the 1920s Lil gained her A.L.C.M. (Australian London College of Music) in singing and made a career of teaching gymnastics with calisthenics, rhythmic movement etc. She arranged the music and lyrics for items and also designed the costumes, as well as conducting the physical training which culminated in annual concerts held in Box Hill and other town halls. Lil married Leslie Reginald Stephenson in 1934 and they lived at 36 Union Road, Surrey Hills. She died in July 1995 and is buried in Buried Box Hill Cemetery - CE-126-0001. A black and white photograph of a group of girls posing for a photograph around a monument. They are all dressed in similar clothing of light coloured skirts / shorts and shirt, and wearing hats. The lady in the centre is wearing a darker coloured suit.(miss) lil willaton, callisthenics, (ms) nancy scott, (ms) nancy hayes, (ms) sylvia mcgill, (ms) vera willaton, (miss) lille louisa willaton, (mrs) lille louisa stephenson, (mrs) lil stephenson, teacher, gymnastics, box hill cemetery, lille street, union road

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Lustre glazed earthenware form with sgraffito decoration.art, artwork, ceramics, alan peascod, available, available ceramics, lustre glaze, university of woolongong

Michael KITCHING (1940 - ) Born Hull, England Arrived Australia 1952 Without any formal art education, sculptor, painter, print maker and designer Mike Kitching emerged as one of the original voices of the 1960s art movement in Australia. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Metal and timber 3-dimensional wall artwork in grey and red.art, artwork, michael kitching, kitching, sculpture, wall art

The Optacon OPtical-to-TActile-CONverter is a compact, portable reading aid for the blind. It is about the size of a textbook, and weighs less than 2kg. It works by converting a printed image into a tactile image that a blind person can feel with one finger. After a period of training and practice, a blind person can use the Optacon to read ordinary books, magazines, newspapers, and other printed materials. The Optacon was developed after intensive research at Standford University, California, USA and was trialed by clients of the Royal Victorian Institute for the Blind (now part of Vision Australia) in 1973. It has three main sections: 1 a miniature camera, 2 an electronics section, and 3 a tactile stimulator array. The miniature camera, about the size of a pocket knife, is mounted in a housing that has rollers for easy movement along a line of print. The camera is connected to the electronics section by a lightweight cable. The electronics section and the tactile stimulator array are in the main chassis. The array consists of 144 tiny metal rods arranged in six vertical columns and 24 horizontal rows. Each of the rods can vibrate independently. The tips of these rods protrude through holes in a concave finger plate where the index finger is placed flat in order to read. These three components act together to convert the image of a printed letter or other shape into a pattern of vibrating rods, a tactile image of the letter or shape. The letter shape is tactually perceived as an image that moves from right to left on the finger, showing the left or leading edge of the letter first. Letters are felt sequentially rather than all at once, and the image should be kept moving. The Optacon converts a printed O into a tactile form that resembles a crater with a vibrating rim -- a completed circle. C would have a gap or opening on the right side of the curve. The letter F would be felt, sequentially, as a vertical line with two trailing horizontal lines. Because it can convert any ordinary printed image into a corresponding tactile image, the Optacon is not restricted to any special typestyle or language. The camera has a zoom lens that compensates for differences in the size of type. The standard Optacon lens can accommodate type sizes from 6 point to 20 point. With the optional F4A magnifier lens, type sizes as small as 4 point can be read. Powered by a rechargeable battery, and comes with its own battery charger. The battery is contained within the main chassis, and is not removable by the user. There are four basic controls on the Optacon: the Magnification Adjustment zoom button located on the camera section on the side opposite the rollers; and the On-Off switch, the Stimulator Intensity Adjustment knob, and the Threshold Adjustment knob located on the right side of the front panel. The Circuit Breaker protrudes from the right-hand wall inside the chassis compartment. From left to right when the back panel is facing you, are located: the jack for connecting the battery charger; the Battery Check button; the Normal-Invert switch; and the Input/Output I/O connector for use with the Visual Display, when using the Repeater Cable to connect two Optacons to one another or with other accessories. Designed not be removed from the leather case during normal operation, the On-Off switch is a slide switch located on the right side of the front panel. It slides up and snaps into place in the on position. 1 black with orange front, rectangular device in leather case assistive devices, audio equipment

The table was used to separate gold from crushed quartz through vibration movement The Phoenix Foundry, part of James Martin and Company, was established by James Martin, MLC, often referred to as the “Father of Gawler”. The Phoenix Foundry was significant, historically, because it formed part of the leading engineering works in the state in the late nineteenth century when Gawler was one of Australia's most important industrial centres. The company was established in 1848 and ceased operation: in1907 Large Phoenix-Weir concentrating table. Rectangular green and pink painted table, inscription on one side with decorative motives, comprises of slatted table top which creates ridges, wooden channel which is bolted on table top, box with holes in base sitting loosely next to channel, table is joined to gear/s which in turn runs belt wheel, gear/s sits on unpainted concrete block, whole table sits on 2 concrete pillars which are raised, table top is tilted on an angle, wooden trough is on lower side of table and sits underneath which is sitting on rusty tins."the phoenix-weir jas martin & co/concentrating table sole makers/gawler. S.A"

Arthur Lock was born in Newport, England and migrated to Australia with his widowed mother in 1924. After spending time in Queensland, he moved to Victoria where he enlisted in the Australian Army at Royal Park, Melbourne on 17 Jun 1940. His service number was VX31240. After basic training, Arthur was enlisted into the 2/23rd Battalion which was raised as part of the all-volunteer Second Australian Imperial Force and assigned to the 26th Brigade. The battalion was moved to Bonegilla, Victoria, and 2/23rd Battalion became known as "Albury's Own". Arthur saw service in the Middle East and Africa where he was involved in the siege at Tobruk, becoming one of the Rats of Tobruk. He also served in El Alamein, New Guinea, Borneo and Tarakan. In his post war life, Arthur dedicated much time and energy to the Scouting movement and in 1972 was awarded the British Empire Medal for services to young people and the community in Wodonga, Victoria.This item is part of a collection of items owned by Arthur Lock, a member of the 2/23rd Battalion, an all-volunteer Second Australian Imperial Force which served as part of the garrison during the Siege of Tobruk, then at El Alamein, New Guinea and Borneo. It has particular local significance as the battalion was know as "Albury's Own" because a large majority of the battalion's initial intake of volunteers came from the Albury–Wodonga region.A black and white photo of Private Arthur Lock taken whilst on service in the Middle East.world war 11, rats of tobruk, tobruk

In a "LED HORSE" category, the horse is presented bridled and unsaddled. The handler leads the horse in clockwise direction on the circle. The horse is required to walk and trot and stand to be judged. The judge looks for correct conformation of the horse as well as ahorse that is neatly presented and in good condition. Straight movement, correctness and quality of paces and obedience of the horse are also taken into consideration. This trophy was sponsored by Manns of Wodonga. The Mann family operated a major business in Wodonga for 85 years, beginning with a produce store in February 1921. It expanded to become one of Australia’s largest regional shopping centres, with a Supermarket, Hardware Store, Steel Store, Plumbing and Industrial supplies store, at one stage employing well over 100 people. The Mann Family sold the business in 2006.This item has local significance as it records winners in equestrian events at the Wodonga Show. The award was also presented by a prominent citizen of Wodonga.A wooden shield with metal plaques engraved with names and year of competition winners for the Supreme Champion Led horse at the Wodonga Show.On gold toned banner at top: "Manns of Wodonga" On bottom plate: Supreme Champion/ Led Horse of / the Wodonga Show" On smaller shields: "1976/MISS M McINTYRE/ GREEN VALLEY/CALYPSO", "1977 /MISS M McINTYRE/BIRRAHLEE LONICERA" , "1978/J. VINGE/ HILLINVIEW/BLACK PANTHER" , "1979/MRS A. WILKINSON/SWEET SUE"equestrian events wodonga show, wodonga show, supreme champion led horse, mann wodonga

This bellows was used at the Warrnambool Racecourse by Master Farrier, Brian Chapman (1931-2017), during the 1970s but its history before then is still being investigated. The bellows have continued to be used from 1978 at Flagstaff Hill's blacksmith's workshop. Even today, in 2021, this same bellows are used by a volunteer blacksmith as he demonstrate the skills and tells of the importance of the blacksmith trade to colonial Australia. This 1860s double-action bellows is a typical form of blacksmith's or shipsmith's bellows. The end is forge-fitted with an iron nozzle or tube, called a tuyere or Tue iron, which concentrates the air to fan the fire or furnace. Tuyeres were traditionally made of cow horn. The double-action design of this bellows efficiently moves air both in and out of the chambers in the one movement of the long handle. The bellows was manufactured by John C. Onions of Birmingham, England, between 1862 and 1875. The stamp with the text, Gold Medal 1862, was also used on the business’ advertising. In 1875 the company was registered and began using the name John C. Onions Limited. JOHN C. ONIONS - John C. (Collingwood) Onions (1841-1904) was the son of a bellows maker of the same name. Onions (born 1841) and his wife Helen married in 1867 and they named one of their children John Collingwood Onions (1868-1913), as was the family tradition. He was well known as a Birmingham manufacturer of patented bellows and other forge-related equipment. He sold to the wholesale and retail markets for both local and overseas customers, including the British colonies. An 1862 advertisement points out that John C. Onions was a “Bellows manufacturer and contractor to Her Majesty’s Honourable Board of Ordinance” and His Imperial Majesty the Emperor of the French [Napoleon Bonaparte]”. The advertisement includes a sketched portrait of the Emperor Napoleon III, and an Imperial Autograph Letter dated May 23, 1854, from Napoleon, Palace of the Tulleries to Mr J C Onions of Bradford Street, Birmingham. In 1863 the company registered a patent on portable forges. In 1871 there were eight employees. John C. Onions Limited became a registered company in 1875. In 1876 an advertisements included that the company were smiths for hearths and tools in general and showed a row of six medallions including one with “Napoleon III, Emperor” and his portrait, and another “ _ _ _ 1862 MEDAL”. Their advertising motto was “For Excellence of Quality”. In 1885 the company merged with William Allday and Sons to become Allday and Onions. This mid-19th century bellows has local historical significance as it were once used by blacksmiths at the Warrnambool Racecourse in the annual racing event that continues today. This bellows is significant as a working example of equipment used in the 1800 and 1900s in the trace of blacksmiths and other metal working smiths. The bellows is technologically significant as it shows the progress from simple bellows to the double-action bellows, a time saving and efficient improvement. The manufacturer John C. Onions is historically significant as a family business that began in the 1600s and continued up until the 1980s.Bellows; large, oval, mechanical double-action smith’s bellows, manually operated, in working condition. The paddles of wood that form the top, middle sections and base of the bellows have flexible leather pieces attached firmly between them, forming airtight double lungs. Cut-outs in the panels allow the bellows to fill with air then force it out. A long handle is connected to pump the bellows and control the quantity and force of the air. The blasts of air are forced through the metal nozzle or tuyere at the end of the bellows and into the forge’s fire. Inscriptions are impressed into the wood on the upper paddle or board of the bellows. There are three circular stamps containing text. Text impressed in the wooden upper paddle of the bellows has been assumed to read “JOHN C. ONIONS, PATENTEES & MANUFACTURERS, BIRMINGHAM””?” “EXTRA” “AWARDED FOR EXCELLENCE OF QUALITY”, made from the following readable text :- “JOHN C ONIONS“ “PATENT - - - & MAN - - - - - - - - -“, “BIR - - - - HAM“, “ _ ERA - - - - “- XTRA-“, “- - - - - - - FOR EXCELL-“ “OF - - - - ITY” Text in the stamp “ - - ECE - - “, “ - - - - - / 1862 / MEDAL”, “- ITY” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, john collingwood onions, john c onions, allday and onions, bellows, smith’s bellows, 19th century bellows, double-action bellows, double-acting bellows, double lung bellows, double chamber bellows, blacksmith tools, blacksmith trade, blacksmith craft, blacksmith equipment, forging equipment, john c onions patented double-action bellows, brian chapman, warrnambool racecourse, blacksmith, shipsmith, iron smith, mechanical bellows

Originally published by Carboni in 1856 following the Eureka Stockade at Ballarat this second edition was not published until 1942 almost ninety years later. One of the major productions of the Australian private press movement of the 1920s this second edition was produced in 1942 by Ernest Shea's Sunnybrook Press Sydney, in a limited edition of 150 copies. The book is illustrated with lino-cuts by W.E.Pidgeon and introduced by H.V.Evatt. It has a dustjacket and slip case and is signed by Shea, Evatt and Pidgeon. Only 150 produced on a handpress, rare example of Australian fine printing especially in wartime and only the second edition of Carboni's "Eureka Stockade".Book made with rag paper, dust jacket and slipcase.Numbered 128 of 150, signed by printer and artist. eureka stockade, private press, ballarat, ernest shea, sunnybrook press, sydney, carboni, second edition., evatt, pidgeon.

Photo - Bertha Leviny (seated centre) with five of her daughters L-R: Gertrude, Hilda, Mary (standing), Dorothy and Kate. Her grandson James Leviny is at Bertha's knee. The pet dog is an Australian terrier. Bertha was the wife of noted colonial silversmith and jeweller, Ernest Leviny. Together, they raised a family of ten children in their home Buda, Castlemaine. The five unmarried daughters pursued their interests in various creative pastimes linked with the Arts and Crafts Movement of the late nineteenth and early twentieth centuries.One of the few photographs of Bertha Leviny and her daughters taken together after the death of Bertha's husband, Ernest, a prominent Australian silversmith. The Leviny daughters were artistic in their own right, following the principles of the Arts and Crafts Movement. Three of the daughters entered works in the 1907 Exhibition of Women's Work held at the Exhibition Buildings, Melbourne.Silver gelatin, toned print. Black and white photograph of a group of six women, a child and a dog. The women are seated on and around a garden bench with the tennis pavilion in the background. All are smiling at the dog which is standing on its back legs in the foreground. The little boy's face is blurred from movement during the exposure.Handwritten in ink (verso): "At Buda 1906"bertha leviny, mary leviny, gertrude leviny, hilda leviny, dorothy leviny, kate leviny, james leviny, australian terrier dog, kodak box brownie camera, edwardian costume, buda, 1906, photograph, portrait, leviny women, castlemaine

This original poster design was produced as entry in the First Australian Exhibition of Women's Work 1907 in Melbourne. Dorothy Leviny was studying art and design at the Bendigo School of Mines at this time, under the tutelage of Arthur T. Woodward, who was recognised as one of Australia's foremost proponents of the Arts and Crafts Movement. Reference: Castlemaine Art Gallery and Historical Society (2007): Catalogue. Portrait of an Exhibition. Centenary celebration of the first Australian exhibition of women's work 1907, p. 44.One of the few original poster design entries known to remain in existence from the First Australian Exhibition of Women's Work, Melbourne 1907.Original poster design by (Bertha) Dorothy Leviny for the 'Australian Exhibition of Womans' Work', Melbourne 1907. Watercolour design showing Exhibition Buildings (Carlton) and five women in medieval costume blowing their trumpets with trees in background. Text top: 'Australian Exhibition', bottom 'of Womans' (sic) Work' and lower left corner 'Melbourne/1907/Oct, 23rd to Nov. 30.Lower right-hand of design - Dorothy Leviny's insignia: A 'B' inside a 'D' with and 'L'(bertha) dorothy leviny, first australian women's exhibition, 1907, exhibition building, carlton, australian women's work, watercolour design, poster, arts and crafts movement

The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines

Original design by Dorothy Leviny, aged 25, while she was a student at the Bendigo School Of Mines under the tutelage of Arthur T. Woodward. Woodward, who had come to Australia from Britain, was a renowned proponent of the Arts and Crafts Movement in Australia during the late nineteenth and early twentieth centuries. Dorothy Leviny, along with two of her sisters, entered a number of items in the First Australian Exhibition of Women's Work, Melbourne, 1907, and was awarded second prize for one of her wallpaper designs. Dorothy Leviny was the ninth child born to noted colonial silversmith and jeweller, Ernest Leviny, and his wife, Bertha (nee Hudson).This original wallpaper design by Dorothy Leviny is one of few that remain in existence from the early twentieth century showing the influence of the British Arts and Crafts Movement in Australia.Original wallpaper design made by (Bertha) Dorothy Leviny painted in watercolour. The repetitive floral design consists of pale pink bell-shaped flowers with green stems and leaves. Paper, card, watercolour paint.'D. Leviny /06'.dorothy leviny, watercolour painting, arts and crafts movement, 1906, buda, castlemaine, arthur t woodward, bendigo school of mines, exhibition of womens work 1907, wallpaper design, illustration