Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue enamel on metal membership medallion produced by the Kew Cricket Club for the year 1923-24 and which belonged to Francis Horace Rigg (1882-1946). The medallion in shield shape is enameled in shades of blue with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1923-1924kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1925-26 and which belonged to Francis Horace Rigg (1882-1946). The circular medallion on a square base is enameled in shades of blue and gold with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1925-26kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1928-29 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1928-29kew cricket club

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1929-30 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1929-1930kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.One of three blue and gilt enamel on metal membership medallions produced by the Kew Cricket Club for the year 1931-32 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club at centre, the full name of the Club at top and the period for which the member would gain access to games at the base.Kew Cricket Club KCC 1931-1932kew cricket club, francis horace rigg, numismatics, medallions, sport

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.One of three blue and gilt enamel on metal membership medallions produced by the Kew Cricket Club for the year 1931-32 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club at centre, the full name of the Club at top and the period for which the member would gain access to games at the base.Kew Cricket Club KCC 1931-1932kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.One of three blue and gilt enamel on metal membership medallions produced by the Kew Cricket Club for the year 1931-32 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club at centre, the full name of the Club at top and the period for which the member would gain access to games at the base.Kew Cricket Club KCC 1931-1932kew cricket club

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Circular blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1934-35 that belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with inscriptions in gilt. The medallion includes the logo of the Club at centre, the full name of the Club at top and the period for which the member would gain access to games at the base.Kew Cricket Club KCC 1934-1935kew cricket club

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Circular blue, white and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1935-36 that belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue with the Club’s logo on circular white enameled section in the centre. The full name of the Club and the period for which the member would gain access to games is enclosed in a surrounding section of navy blue enamel with a hexagonal outer edge.Kew Cricket Club KCC 1935-1936kew cricket club, membership medallions

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Early postcard of MelbourneSepia tinted postcard of Collins Street, Melbourne, Th postcard design includes a line separating the address from the message on the reverse, which dates it after 1902. The stamp on the card is a red Victorian stamp with the head of Queen Victoria in use 1901-1911.Front title - Collins Street (looking West), Melbourne Reverse. - Mrs Garahy, Creek Parade, Clunes, Vic / Dear Mollie / All join with me in wishing you and our dear mother a very prosperous and happy New Year. I am enjoying my holidays very much. I heard Melba last week and went to the pantomime Humpty Dumpty. - it was all lovely. I’ll tell you all about them when I return to Clunes. We were all home for Xmas Day. The first time for 17 years. Fondest love. N.C. / I cut my right hand very badly last Monday and have not been able to write till today. N.C.postcards -- melbourne (vic.), collins street --- melbourne (vic)

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). Plan No.1568 covers the area bounded by Cotham Road, John Street, Sackville Street, and Edward Street. Alfred Street and Rowland Street are in shown in the middle of the plan. The two most notable buildings shown are ‘St Helliers’, the home of the Dumaresq family, and St Hilary’s Church and school. While the colours used to indicate St Hilary’s are grey as in other civic/public buildings, the first St Hilary’s Anglican Church was at this stage constructed in weatherboard. At the left of the plan, facing Sackville Street is a house named ‘Glencara’. The 1988 ‘Kew Conservation Study’ recorded that “The first documentary evidence of this house comes from Rate Books which record that in 1893 a Mrs Treadway was the owner of this building with an N.A.V. of £81? At that date the occupier of the house was Charles B. Kelly, a clerk, while by 1910 Kelly had become the owner of the property described in that year ‘as a six-roomed stone, brick and wood house with stables and outbuildings’”. Contrary to this description, the 1905 plan indicates that the house was entirely constructed of masonry.melbourne and metropolitan board of works, detail plans, mmbw 1568

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

London : Hodder and Stoughton, 1962 296 pages, 4 unnumbered leaves of plates, 8 unnumbered pages of plates : illustrations (some colour), maps ; 23 cm non-fictionDay-to-day account of the events of the first year; texts taken from historical records & mss; briefly mentions contacts with natives in districts, physical description.sydney (nsw), australian history - sydney 1788

Melbourne : Melbourne University Press; London ; New York : Cambridge University Press, 1966 v. <1-18> ; 26 cm + index + corrigenda + supplement. non-fictionv. 1. 1788-1850, A-Haustralia - biography

non-fictionaustralia - biographies - 1877-1850

Melbourne : Melbourne University Press; London ; New York : Cambridge University Press, 1966-<2012> v. <1-18> ; 26 cm + index + corrigenda + supplementnon-fictionaustralia - biography

Melbourne : Melbourne University Press; London ; New York : Cambridge University Press, 1966-<2012> v. <1-18> ; 26 cm + index + corrigenda + supplement. non-fictionaustralia -- history -- biography

Melbourne : Melbourne University Press; London ; New York : Cambridge University Press, 1966-<2012> v. <1-18> ; 26 cm + index + corrigenda + supplement. non-fictionaustralia -- history -- biography

Melbourne : Melbourne University Press; London ; New York : Cambridge University Press, 1966-<2012> v. <1-18> ; 26 cm + index + corrigenda + supplement. non-fictionaustralia -- history -- biography

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 3 First Avenue, Kew by Margaret Picken.3 FIRST AVE., KEW E / MARGARET PICKEN ~97 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, property illustrations — buildings — kew (vic.), 3 first avenue -- kew east (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 6 First Avenue, Kew by Margaret Picken.6 FIRST AVE., E. KEW / MARGARET PICKEN ~93 / WOODARDS ~ KEWartist -- margaret picken 1950-, property illustrations — buildings — kew (vic.), 6 first avenue -- kew east (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 29 First Avenue, Kew by Margaret Picken.29 FIRST AVE., KEW EAST / MARGARET PICKEN ~93 / WOODARDS ~ KEWartist -- margaret picken 1950-, property illustrations — buildings — kew (vic.), 29 first avenue -- kew (vic.)

Documentary evidence records that in 1890 William H. Jarman, accountant, was the first owner and occupier of 'Kalimna', a substantial rwo-storey residence; it having an initial N.A.V. of £1503. In the following year the N.A.V. for the eleven-roomed property had increased to £2504 indicating that the building had been completed. Jarman is recorded as owning and occupying 'Kalimna' until at least 1910,Colour photographic positive of one of 'Kalimna'. The house is typical of the late Victorian period with polychromatic brick walls, a two storeyed, cast iron decorated verandah that spans two facades, and a polygonal bay window extending to the front. The eaves and chimneys are decorated with Italianate brackets executed in render. The slate roof remains intact, including its cast iron finials. (Kew Conservation Study, 1988)kalimna -- sackville street -- kew (vic.), preshil

The first documentary evidence of this house comes from Rate Books which record that in 1893 a Mrs Treadway was the owner of this building with an N.A.V. of £80. At that date the occupier of the house was Charles B. Kelly, a clerk, while by 1910 Kelly had become the owner of the property described in that year as a six-roomed stone, brick and wood house with stables and outbuildings.(Kew Conservation Study, 1988)Colour photographic positive of one of 'Glencara'. It is a single storeyed house clad in render and dominated by a verandah that wraps around the front and sides, following the line of the projecting polygonal bay window. The verandah has elegance, being supported on coupled candy-twist columns and decorated with cast iron, and it returns around to the side entrance. The slate roof is intact. (Kew Conservation Study, 1988)glencara -- sackville street -- kew (vic.)

The first documentary evidence of this house comes from Rate Books which record that in 1893 a Mrs Treadway was the owner of this building with an N.A.V. of £80. At that date the occupier of the house was Charles B. Kelly, a clerk, while by 1910 Kelly had become the owner of the property described in that year as a six-roomed stone, brick and wood house with stables and outbuildings.(Kew Conservation Study, 1988)Colour photographic positive of one of 'Glencara'. It is a single storeyed house clad in render and dominated by a verandah that wraps around the front and sides, following the line of the projecting polygonal bay window. The verandah has elegance, being supported on coupled candy-twist columns and decorated with cast iron, and it returns around to the side entrance. The slate roof is intact. (Kew Conservation Study, 1988)glencara -- sackville street -- kew (vic.)

The first documentary evidence of this house comes from Rate Books which record that in 1893 a Mrs Treadway was the owner of this building with an N.A.V. of £80. At that date the occupier of the house was Charles B. Kelly, a clerk, while by 1910 Kelly had become the owner of the property described in that year as a six-roomed stone, brick and wood house with stables and outbuildings.(Kew Conservation Study, 1988)Colour photographic positive of one of 'Glencara'. It is a single storeyed house clad in render and dominated by a verandah that wraps around the front and sides, following the line of the projecting polygonal bay window. The verandah has elegance, being supported on coupled candy-twist columns and decorated with cast iron, and it returns around to the side entrance. The slate roof is intact. (Kew Conservation Study, 1988)glencara -- sackville street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Two single-fronted brick Victorian terraces houses; part of a row of five. Extant in August 2020 but with alterations including a first floor addition since the drawing was made. The pen and ink drawing on drafting film was made by Margaret Picken in 1998.137 & 139 BROUGHAM ST., KEW / MARGARET PICKEN '98 / WOODARDS ~ HAWTHORNartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 137 & 139 brougham street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Single fronted Edwardian weatherboard house, with a later first floor extension. The pen and ink drawing on drafting film of 180 Brougham Street by Margaret Picken dates from 1990 and predates the extension.180 BROUGHAM ST., KEW / MARGARET PICKEN '90 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 180 brougham street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)The Ernest House (former) at 75 Walpole Street was designed by Harry Ernest in 1955/56. It is one of ten Victorian dwellings in Neil Clerehan’s important 1961 book Best Australian Houses, which illustrated cutting-edge residential design of the day. The house is also significant as Harry Ernest’s first residential commission, introducing elements that characterised his subsequent output.This drawing of the house is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 75 Walpole Street, Kew by Margaret Picken.75 WALPOLE ST., KEW / MARGARET PICKEN '90 / WOODARDS ~artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 75 walpole street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)The Ernest House (former) at 75 Walpole Street was designed by Harry Ernest in 1955/56. It is one of ten Victorian dwellings in Neil Clerehan’s important 1961 book Best Australian Houses, which illustrated cutting-edge residential design of the day. The house is also significant as Harry Ernest’s first residential commission, introducing elements that characterised his subsequent output.This drawing of the house is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 75 Walpole Street, Kew by Margaret Picken.75 WALPOLE ST., KEW / MARGARET PICKEN '90 / WOODARDS ~artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 75 walpole street -- kew (vic.)