See attachedA Victorian Battenberg Lace collar in two tones of ecru. It is mounted on to pink polished cotton with paper backing. Tape is machine made with infilling by handcostume, female, handcrafts, lacemaking

Hand embroidered calico apron. Embroidered with lady in blue with flower arrangement. Bound with blue bias binding, two pockets, and cotton tape ties.domestic items, sewing, costume accessories, female, costume, female working

Pure silk camisole. Fine pintucks. 5 small pearl buttons; net inserts; tape tie at waist. Frayed ribbon round neck.costume, female underwear

White cotton sleeveless camisole with white cotton crochet trim around neck and armhole edge. Two buttons and tape ties at neck and waist.costume, female underwear

A Grays Double Blue tennis racquet. Materials: Wood, Ink, Glue, Lacquer, Metal, Nylon, Enamel, Synthetic material, Plastic, Adhesive tapetennis

A white protoype racquet with red plastic elements; composite matierals; no model or maker markings. Materials: Metal, Plastic, Adhesive tape, Plastic, Nylontennis

A black protoype racquet; composite matierals; no model or maker markings. Handle wrapped in black leather. Materials: Metal, Plastic, Adhesive tape, Leathertennis

A Dunlop 'Emperor' oversize racquet, with Spalding "Synthetic Gut' netting. Materials: Leather, Adhesive tape, Synthetic material, Ink, Plastic, Metal, Graphitetennis

A Spalding 'GRB 20' model racquet, with handle grip in original retail wrap. Materials: Composite Materials, Plastic, Nylon, Leather, Adhesive tapetennis

A Spalding 'Ellyp-tech.83 A/R' ' model racquet. Handle wrapped in clear plastic. Materials: Composite Materials, Plastic, Nylon, Adhesive tapetennis

A Wimbledon 'Graphite Composite' tennis racquet, featuring 'Forten' strings. Materials: Graphite, Fibreglass, Paint, Ink, Plastic, Adhesive tape, Leather, Nylontennis

A Wimbledon 'Super Boron' oversize tennis racquet. Materials: Graphite, Boron, Paint, Ink, Nylon, Plastic, Adhesive tape, Leather, Adhesive labeltennis

A Wimbledon 'HM-WIDE 98' tennis racquet. Handle wrapped in clear plastic. Materials: Composite Materials, Nylon, Plastic, Adhesive tape, Leathertennis

A Wimbledon 'Eclipse Comp 88' tennis racquet. Handle wrapped in clear plastic. Materials: Composite Materials, Nylon, Plastic, Adhesive tape, Leathertennis

A Wilson 'Ceramic Midsize' racquet and full length white vinyl racquet cover. Materials: Graphite, Ceramic, Leather, Plastic, Nylon, Adhesive tapetennis

A Wilson 'Pro 110' racquet. Handle signed by Andre Agassi & wrapped with clear plastic. Materials: Graphite, Plastic, Adhesive tape, Nylon, Inktennis

A Wilson 'Steffi Graf Pro Staff 7.0' racquet. Handle sealed with clear plastic. Materials: Graphite, Plastic, Nylon, Adhesive tape, Rubbertennis

A Wilson 'Javelin 95' racquet and vinyl three-quarter length cover. Materials: Metal composite, Leather, Plastic, Nylon, Adhesive tape, Vinyltennis

A Wilson 'Mr. Pee Wee' junior racquet with clear plastic factory wrap on handle . Materials: Metal composite, Plastic, Adhesive tape, Nylontennis

A Donnay 'Allwood' tennis racquet and vinyl racquet head cover with zip. Materials: Wood, Plastic, Adhesive tape, Leather, Nylon, Fibreglass, Vinyltennis

A Slazenger 'Challenger No.1' racquet. Net consists of clear vinyl and black string. Materials: Wood, Plastic, Leather, Adhesive tape, Nylon, Stringtennis

A Wilson 'Pro Staff Chris Evert' racquet with blue & clear net strings. Materials: Wood, Plastic, Leather, Nylon, Adhesive tape, Stringtennis

A Slazenger 'Professional' racquet with clear vinyl net strings. Clear plastic wrap on handle. Materials: Wood, Plastic, Leather, Adhesive tape, Nylontennis

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Emerald green jumper with wide rib detailing, triangular detail at cuffs and hem and curved v neck. Shoulder seams are reinforced with woven tape.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

Receipt book with ruled pages, hand written text, cardboard cover and red taped spine. The cover has blue hand written pencil. front: [handwritten] Master / 1945/46 / 122receipt book, victorian producers' co-operative limited, victorian state wool committee, wool industry

Handwritten and typed minutes of the Associates' Committee of Heidelberg Golf Club 1963-1967. Includes handwritten minutes of AGMs and general meetings with typed inserts of activities and financial reports.Volume 5 of a complete set of Associates' minutes from the foundation of HGC to the present day.Cardboard bound minute book with green cover and red binding tape on spine. Mainly handwritten throughout with some typed minutes pasted into book. Original label has dates "1963-1967" and "Book 37". Minute book labelled: "Conquest Account Book Series 3. Norman Bros."committee minutes, women's golf, associates, ladies' golf

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

The first tape based talking book machine from the late 1950s, produced by Clarke & Smith, that allowed the listener to hear up to 20 hours of recordings. Although bulky (each tape cartridge alone weighed over 2 kgs), the MK1 was the first magnetic, multi-track tape produced and considered quite novel for it's time. The cartridge designed to be played on the Clarke & Smith Model12 Talking Book gramophone was designed to house the pick up mechanism (the phono cartridge which contains the stylus) in the lid, so that visually impaired people could just close the lid to play the record. Initially these players designed to handle only 24 rpm, but soon added 33 rpm and 16 rpm options via the dial located on the left hand corner of the disk base. Directions for using as well as reminders to use on alternating current only are located inside the lid. On the side of the player are two plastic dials: one for turning on and volume, the other for tone.Metal record player housed in a brown wooden carry case, with a speaker grill in the front, two plastic dials on the side and an electric cord extending from the back of the case.Manufactured for Nuffield Talking Book Libraryaudio equipment, clarke and smith