This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item.Light brown floor-length silk evening dress featuring a band of black and bronze beading around neckling. Circular beaded buckles at either side of waist. Zip at back.Label, pale blue on cream "Exclusively Yours / Hartnell REGD / MELBOURNE" Label, black on pale grey: "Exclusive Finest / IMPORTED FABRIC".di reidie, vintage clothing, melbourne designers, hartnell of melbourne, ralph samuel

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item. Brian Samuel, son of Hartnell owner Ralph Samuel, viewed this dress at BHS in 2019 and suggested that it may potentially have originally belonged to his mother Shirley Samuel (nee Slonim, 1922-2006).Sleeveless gold lurex evening dress. Zip at back, partially covered by three small cream bows.Label, pale blue on cream "Exclusively Yours / Hartnell / REGD / MELBOURNE"di reidie, vintage clothing, melbourne designers, hartnell of melbourne, ralph samuel, shirley samuel

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item. Elvie Hill (1917-2018) was a Melbourne fashion designer and a longtime Brighton resident. She established her eponymous label and became well-known for her elegant and feminine designs. She dressed some of Australia's best known women, including Lady Sonia McMahon and Dame Pattie Menzies, and was also known for her boutiques in Melbourne (the last store closed in 1991). She retired in 1999, aged 80.Long-sleeved silk chiffon evening dress with yellow/gold floral print and brown, red and black border at hem. Ruffled neckline and cuffs. Snap fastenings at cuffs and zip at back. Matching silk chiffon sash.Label, inside collar, black on white: "ELVIE HILL / OF MELBOURNE" Label inside seam: "SIZE 10 / TO FIT / Bust 80cm"di reidie, vintage clothing, melbourne designers, elvie hill, 1970s

This beret was worn by Marlene Austin, nee Trenberth in 1956 as part of the uniform of an official driver for the Melbourne Olympic Games. Marlene, who was living with her parents in Brighton at the time, took leave from her job as a stenographer to work as a driver at the Olympics. She drove officials and dignitaries from a variety of nations (including Thailand, Italy, Cuba and Sweden) to and from events, collecting a number of souvenirs, including a Venezuelan pennant and a pair of earrings gifted by the Thai delegation. Marlene's family have lived in Brighton since 1941, when her parents moved into a house at 15 Moffat Street. The house remained in the family for more than 75 years, before it was sold in 2018.Green wool beret featuring an oval-shaped white patch embroidered with the five Olympic rings. Grey lining.Label in lining, cream with yellow text: "COMMONWEALTH GOVERNMENT CLOTHING FACTORY / MELBOURNE" Stamped on top of this text in black: "7⅛"marlene pearl austin, marlene pearl trenberth, 1950s, 1956 olympic games, olympic games, beret

These earrings were given to Marlene Austin, nee Trenberth by members of the Thai Olympic delegation when she drove them around Melbourne during the 1956 Olympic Games. Marlene, who was living with her parents in Brighton at the time, took leave from her job as a stenographer to work as an official driver at the Olympics. She drove officials and dignitaries from a variety of nations (including Thailand, Italy, Cuba and Sweden) to and from events, collecting a number of souvenirs. Marlene's family have lived in Brighton since 1941, when her parents moved into a house at 15 Moffat Street. The house remained in the family for more than 75 years, before it was sold in 2018.Six-sided bell-shaped silver screw-back earrings for non-pierced ears. Each of the six sides features a vine pattern with black inlays. Each earring has a hollow interior containing a small metal bead dangling on a chain, causing the earrings to jingle when the wearer moves.marlene pearl austin, marlene pearl trenberth, 1950s, 1956 olympic games, olympic games, earrings, jewellery

This Venezuelan 1956 Olympic pennant was souvenired by Marlene Austin, nee Trenberth in 1956 when she was working as an official driver for the Melbourne Olympic Games. Marlene, who was living with her parents in Brighton at the time, took leave from her job as a stenographer to work as a driver at the Olympics. She drove officials and dignitaries from a variety of nations (including Thailand, Italy, Cuba and Sweden) to and from events, collecting a number of souvenirs. Marlene's family have lived in Brighton since 1941, when her parents moved into a house at 15 Moffat Street. The house remained in the family for more than 75 years, before it was sold in 2018.White triangular pennant with a blue border. The pennant features the image of the Olympic rings, with the central ring replaced by the image of the Olympic flame burning in a cauldron atop a Grecian pillar. Inside each of the four remaining rings are images of athletes competing in sporting events: a hurdler, a shooter, two boxers and a cyclist.Above the Olympic flame, the word "MELBOURNE" is printed in black. To the right of the image, printed in yellow, red and blue, is the text "VENEZUELA A LOS / XVI / JUEGOS OLIMPICOS" At the far right is the year "1956" in yellow text on a black background.marlene pearl austin, marlene pearl trenberth, 1950s, 1956 olympic games, olympic games, pennant, venezuela

This velvet opera cape was worn by Agnes Emmeline "Dot" McCowan (nee Iredell, 1887-1969) to a reception for English aviatrix Amy Johnson in her North Road home in the early 1930s. Amy Johnson achieved worldwide fame in 1930 when she became the first woman to fly solo from England to Australia. Dot was the fourth child, and only surviving daughter, of Dr Charles Lesingham Maynard Iredell and Frances Keziah Iredell (née Hill), both formerly of Regents Park, London. Her parents had arrived in Australia in 1885 after Charles, a medical specialist, lost his money and house in the financial crash of 1880. In Melbourne, Charles established a reputation as an ear, nose and throat specialist and counted Dame Nellie Melba among his patients. Dot was schooled at Fairlight College in St Kilda. After falling from a tree at the age of twelve, she developed curvature of the spine. While recuperating, she took a correspondence course in theory and harmony of music with the Royal College of Music, London. She continued to pursue music after her recovery, ultimately winning an international scholarship to study piano and singing in Leipzig, Germany, but did not take up the offer due to her father's objections. She instead remained in Melbourne, where she put her skills to use as a music teacher. After her first fiancé disappeared at sea, Dot found happiness again with George Drummond. George owned a substantial property in Manjimup, Western Australia, and the couple planned to settle there after the wedding. It was not to be. Like many Australian men, George was killed in action on the Western Front during the First World War. It had become customary in George's wealthy family to give each son's bride a gift of one thousand pounds. Though Dot and George were never able to marry, the family nevertheless honoured the custom, and between their generous financial gift and her own teaching income, Dot was able to buy a well-appointed home at 9 North Road, Brighton for herself and her parents. The house remained in the family for many decades. In 1923, at the age of thirty-six, Dot met and fell in love with Alexander James McCowan. They were married on 28 February 1924; the reception was held in the North Road house.Salmon pink velvet opera cape with a padded collar and long fringe. Fastens at collar with a pair of circular metal clasps engraved with floral designs and accentuated with purple enamel. Silk lining.agnes emmeline iredell, agnes emmeline mccowan, opera cape, 1920s, 1930s, amy johnson

This bag belonged to by Mrs Alice "May" Moss CBE (1869-1948), Australian suffragist, social welfare campaigner and longtime resident of 59 North Road, Brighton. Born Alice Frances Mabel Wilson in Ballarat, in 1887 May married Isidore Moss, the son of Norwood's builder Mark Moss. While her children were young, she began to campaign for the rights of women and served as vice-president of the Australian Women's National League in 1906-14, during which time she actively campaigned in Victoria for women's suffrage. She was an Australian delegate at the League of Nations Assembly at Geneva in 1927, where she was the first woman to sit on a finance committee. She attended the International Council of Women in Geneva in the same year and in 1928 was elected as vice president of the ICW, a position she held until her death. She was the first president of the National Council of Women of Australia, serving from 1931 to 1936. May was active in many other community organisations and causes, including the Royal Women's Hospital, the Collingwood Crèche and the Free Kindergarten movement. She served on the board of management of the City Newsboys' Society in 1906-48 and was the first woman lay-member of the National Health and Medical Research Council in 1936-45. She was also member of the International and Lyceum clubs, with an interest in the theatre, painting and woodcarving.French petit point tapestry bag featuring seven people in a bucolic scene, with trees and buildings in the background. Black border. Gold metal hinged opening with ornamental clasp and gold chain.may moss, petit point, 1930s

Australia converted to decimal currency on 14 February 1966. This coin purse is printed with a simple conversion table to help the user navigate the switch from pounds, shillings and pence to the new dollars and cents.Cream vinyl coin purse with conversion table for pre-decimal and decimal currency printed in black on each side. Hinged silver metal opening and kiss clasp. Unlined.coin purse, decimal currency, 1960s

This hat is part of the former Brighton Technical School girls' uniform. Brighton Technical School was officially opened in Berwick Street, Brighton on 28 July 1922, following a ten-year campaign to establish a local public secondary school. A separate girls' campus was opened two years later at Cora Lynn, a Victorian-era Italianate villa in 45 Cochrane Street. Generations of Brighton students went through the school until it was closed by the Victorian Department of Education in 1991.Navy blue fur felt hat with rounded crown and slighty upturned brim. Navy blue grosgrain hat band with narrow red, gold and brown stripes.Interior label: "CREATED BY / VARDEN / MELB. / 'AKUBRA' FINEST FUR FELT". On the reverse side, the name "Eleanor Clark" is written in blue pen.brighton technical school, school uniform, school hat

This dress belonged to Nola Jennings, a long-time Brighton resident. Bindi of Melbourne was the youth label of Australian commercial fashion house Len Vogue.Long-sleeved crimplene dress (.1) with white bodice and short purple skirt. High collar, cuffs and waist have a purple and yellow checkerboard-patterned trim. Four self-covered buttons down the centre front of skirt. Zip at back. Long purple tunic vest (.2) worn over the top.Label in both dress and vest, white with black text: "Fashioned for / Bindi / of MELBOURNE" Two smaller labels at bottom: "SIZE 10 / TO FIT / BUST 32" / HIP 34"" and "CRIMP TERY. / C 145 4".nola jennings, 1960s, bindi of melbourne, len vogue

This child's shoe was found underneath the floorboards of the historic Brighton house St Ninian's, 10 Miller Street, during its demolition in September 1974. One of Brighton's earliest buildings, St Ninian's was built around 1841 for merchant, politician and former British naval officer George Ward Cole (1783-1879) and his family. Ward Cole was a prominent member of Victorian society in the mid-to-late nineteenth century. He served in the Victorian Parliament from 1853-55 and 1859-79. His seaside home in Brighton was a fashionable rendezvous for many important identities who shaped Melbourne’s history. Victoria’s first royal visitor, Prince Alfred, Duke of Edinburgh, was a guest there in 1867. It is possible the shoe belonged to one of the Ward Cole children. During the demolition of St Ninian's in September 1974 the Brighton Historical Society's then-secretary, Rosalind Landells, snuck onto the work site in the hope of saving some part of the building and its history. She found this shoe under the partially-demolished floor of the house.Brown leather child's shoe with an ankle strap, fastening with a mother-of-pearl button. Heavily deteriorated.Handwritten in pencil on the sole of the shoe: "Found under floor at St Ninians 1974 Sept during demolition".st ninians, george ward cole, children's clothing, 19th century

This Shirley College school badge belonged to Gladys Elvira Linton, nee Richardson (b. 1891). Shirley College was a private girls' school situated in a large single-storey house in Seymour Grove, Brighton from around 1898 until 1912. The school was first run by the Misses Bird and later by Miss Elizabeth Stewart. Gladys married First World War veteran and Brighton local Richard Vivers Linton in 1919. She looked back fondly on her days at Shirley College and helped to organise school reunions well into the 1930s, long after the school itself was gone.Metal Shirley College school badge in the shape of a hollow crest containing the interlocking letters "S" and "C". The back has a hook rather than a proper clasp; possibly it was originally attached to a school hat.Motto engraved around border: "NISI DOMINUS FRUSTRA" (Latin, "without God, [it is] in vain").shirley college, schools, school uniform, 1900s, gladys elvira linton, gladys elvira richardson

Bags such as this one were used by bookmakers to collect and securely hold punters' bets at racing events. This bag belonged to Charlie Cox, a second-generation Australian bookmaker. His father, George Gordon Cox, ran bookmaking operations primarily during the 1920s and 1930s. After serving in the Air Force during the Second World War, Charlie entered the business during the 1940s, initially fielding at greyhound, trots and gallop meetings. In the early 1960s he moved to Melbourne, where he got his first big financial break when he was offered an interstate license to operate on the rails at all city tracks. He was a leading Melbourne bookmaker on the interstate rails racing circuit from the 1960s to the 1990s, from which period this bag originated.White painted leather bag with metal fastening mechanism. A short painted leather handle is joined to the bag by metal fastening clips.Painted on one side of the bag in black letters: "C.C. COX / INTERSTATE RAILS".bookmakers, horse racing, charlie cox, c. c. cox, interstate rails

Bags such as this one were used by bookmakers to collect and securely hold punters' bets at racing events. This bag belonged to Charlie Cox, a second-generation Australian bookmaker. His father, George Gordon Cox, ran bookmaking operations primarily during the 1920s and 1930s. After serving in the Air Force during the Second World War, Charlie entered the business during the 1940s, initially fielding at greyhound, trots and gallop meetings. In the early 1960s he moved to Melbourne, where he got his first big financial break when he was offered an interstate license to operate on the rails at all city tracks. He was a leading Melbourne bookmaker on the interstate rails racing circuit from the 1960s to the 1990s, from which period this bag originated.White painted leather bag with metal fastening mechanism. A short painted leather handle is joined to the bag by metal fastening clips. A long painted leather strap is joined to the bag by metal fastening clips.Painted on one side of the bag in black letters: "C.C. COX / INTERSTATE RAILS". "C.C. COX" is also painted in black at either end of the shoulder strap.bookmakers, horse racing, charlie cox, c. c. cox, interstate rails

This wedding dress was worn by two Brighton brides, sisters Floss and Vera McMinn, during the Second World War. The McMinn family moved to Brighton from Castlemaine around 1924, when the sisters were still children. Their father, Horace Henry McMinn, was a fruiterer and greengrocer who ran the Fruit Palace at 123 Church Street. Florence May "Floss" McMinn (1912-2007) married William Thomas Vivian on 3 February 1940 at the Brighton Church of Christ. Her sister Vera was her bridesmaid. Vera Olive McMinn (1918-2006) wore the same dress two years later when she married Geoffrey Walter Holmes on 15 August 1942 at Scotch College Chapel.Cream silk wedding dress with a long train. High neck and long sleeves. Yoke with horizontal pintucks and self-covered buttons. Side zip.wedding dress, 1940s, wartime bride, florence may mcminn, florence may vivian, vera olive mcminn, vera olive holmes

This table runner was made by Corporal Herbert Burdekin during the First World War around 1916 while he was recovering from a bullet wound. Herbert joined the 8th (Reserve) Battalion of the West Yorkshire Regiment (Leeds Rifles) in November 1914 and was deployed to France in April 1915. In July 1916 he received a gunshot wound to the arm and was sent home to England to recover, during which time he crocheted this table runner. He returned to France in early 1917 and was wounded a second time by a gas shell on 23 July 1917. Herbert likely never fully recovered from his exposure to gas during the war. He received a medical discharge in November 1918 due to "debility caused by war service" and died only a few years later in 1922, aged 26. His widow Mary and young daughter Hilda moved to Australia and settled in Brighton, with Mary living at 4 Collins Street until her death in 1966.Hand crocheted table runner featuring an interlocking diamond pattern in cream, pale purple and pale yellow. Bordered by pale yellow fringe.first world war, world war i, herbert burdekin, crochet, table runner, army

This ladies suit belonged to an elderly neighbour of the donor, Margot Miller, who lived in Black Street, Brighton in the 1970s. The neighbour had offered Margot a selection of her old clothing, dating from the early 20th century, as she wanted somebody to hold onto and care for the items after she died. Before Margot could take the items the neighbour was moved into a nursing home and, while cleaning out the house, the woman's son took the clothing to the tip with a load of rubbish. Margot happened to see him leave and was able to follow him and retrieve the clothes. They remained in the Miller family for many years; some were worn by Margot's daughters and some were ultimately passed on to others. Based on our research, we believe that the suit's original owner may have been Julia Richards (nee O'Keefe, c. 1882-1976), who lived at 59 Black Street during this time. Born in Ireland, Julia emigrated to Queensland in 1900. She married William Alfred Richards in 1911 and lived with him in Ayr, near Townsville, where they ran a hotel. It is unclear what became of William, but by the mid-1920s Julia and her two children were living in Brighton, where she remained until her death in 1976, aged 94.Cream wool ladies suit consisting of a jacket and skirt. Jacket is partially lined with silk, quilted around shoulders. Fastens with four self-covered buttons, one attached to a belt. Two box pleats at front and back, each featuring four decorative self-covered buttons at the waist. Upturned cuffs, each with two buttons. The skirt features a fabric belt and triangular pockets in each side with decorative self-covered buttons. Hook fastenings at side.1910s, women's suit, julia richards

This dress was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length blue jersey evening dress with round neckline and long sleeves. Cuffs edged with blue-grey ostrich feathers. Zip at back.Label: "Van Roth / REGD". Labels on side of inner zip: "100% POLYESTER" / SIZE 14 / TO FIT / BUST 90cm / WAIST 70cm / HIP 95cm".pearl's boutique, pearl's of brighton, paula folks, van roth, melbourne designers, flinders lane, 1970s

This cape was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length bright pink rayon jersey cape with pink ostrich feathers around the collar.pearl's boutique, pearl's of brighton, paula folks, 1970s

This dress belonged to Brighton local Paula Folks, who wore it to her niece's wedding at St John's, Toorak in 1970. It also bears a second connection to Brighton through the label, Elegance, a Flinders Lane fashion house co-owned by Rudy Brill and Brighton resident Robert Salter. Paula was a longtime manager and owner of Pearl's Boutique, a well-known local fashion boutique established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Cream terylene chiffon dress with all-over daisy appliqués. High band collar with v-shaped scoop at back. Sheer long sleeves with gathered cuffs.Label: "miss Elegance / TERYLENE".pearl's boutique, pearl's of brighton, paula folks, 1970s, flinders lane, melbourne designers, robert salter, rudy brill, miss elegance, elegance

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. The allies established a base at Thessaloniki in 1915. BHS records indicate that this cushion cover was among a collection of items received from the Harkaway studio of Brighton-born artist Jessie Traill following her death in 1967. During the First World War, Jessie served for three and a half years in hospitals in England and France with the Voluntary Aid Detachment. As she did not serve in Thessaloniki, where this item was made, it is unlikely she purchased it herself, but may have received it as a gift.Black velvet cushion cover featuring the embroidered image of a white and yellow dove bearing red, white and blue ribbons along with red and pink flowers. Embroidered in pale yellow are the words "Souvenir de Salonigue / 1916".cushion cover, 1910s, first world war, world war i, thessaloniki, jessie traill

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. The allies established a base at Thessaloniki in 1915. BHS records indicate that this cushion cover was among a collection of items received from the Harkaway studio of Brighton-born artist Jessie Traill following her death in 1967. During the First World War, Jessie served for three and a half years in hospitals in England and France with the Voluntary Aid Detachment. As she did not serve in Thessaloniki, where this item was made, it is unlikely she purchased it herself, but may have received it as a gift.Black velvet cushion cover featuring the embroidered image of a white and yellow dove bearing a draped French flag, alongside a spray of red and pink flowers. Embroidered in pale yellow are the words "Souvenir de Salonigue / 1916".cushion cover, 1910s, first world war, world war i, thessaloniki, jessie traill

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. BHS records indicate that this cushion cover belonged to Mary Crombie, an early Victorian dentist who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. It is likely it was given to her as a gift by a friend of family member who served in Egypt.Pale pink satin cushion cover with pale blue fringe. Embroidered with the words "Souvenir From Egypt / Cairo / 1915", above the image of a crown flanked by crossed Australian and French flags. Below this is embroidered two pyramids and the Great Sphinx of Giza, bordered by flowers, with a red bow at the bottom.Written in blue pen on reverse side: "Memento of World War I / from Mary Crombie".cushion cover, 1910s, first world war, world war i, egypt, cairo

This child's crinoline skirt was donated in 1974 by Mrs Ella Kohn of Were Street, a life member of the Society. According to then-BHS Secretary Rosalind Landells, the skirt was originally made the fit a girl aged 10-12, but had been modified to add length. Mrs Landells reported that Society members had restored the skirt to the original length and that it would be worn at a costume parade at the Southern Cross on 27 March 1974 by Carolyn Scott.Pale yellow silk half-hoop skirt with cotton lining. Layered skirt with ruched top layer.children's clothing, crinoline, 1850s, 1860s, ella kohn

Unknown provenance.Coffee-coloured cotton and chiffon evening gown. Net yoke with vertical pintucks and high neck. Pintucked bodice. Trim of meadering cream cord bordered on either side, around yoke, waist, shoulders, cuffs and down centre of skirt. Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".1900s

Framed papers outlining the courses and coursework for the Textile College at the Gordon Institute of Technology in 1950. The courses include Woolcombing, Worsted Spinning, Woollen Yarn Manufacture, Designing, Weaving and Turning and Finishing. A digital copy of this item was made for the National Wool Museum Collection, with the original remaining with the donor. Digital TIFF file, 100 MB, showing image of framed printed paper.D.P.C. WILSON MEMORIAL BURSARIES. / Textile College / Gordon Institute of Technology. / GENERAL INFORMATION / TERM DATES 1950 ...courses, gordon institute of technology, textile college, geelong, woolclassing, weaving, spinning, coursework, 1950

GEOFFREY RICARDO Born 1964, Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed limited edition print 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.art, artwork, geoffrey ricardo, printmaking, etching, aquatint

Individual thank you letters were sent out to those who made a certain level of donation directly to the organistion. In this example, Mr C. Bruce Miller of 11 Moorakyne Street, Malvern is thanked for his donation of 5 pounds and 5 shillings and the letter is personally signed by J. W. Wilson in 1958 and 1961 respectively.2 letters to Mr C. Bruce Millerassociation for the blind, john wilson, fundraising

Letter to the Trustees outlining the outcomes of a recent meeting, as the minute book was unable to be located. Below is a summary of the letter. The death of W.H. Paterson is mentioned and the recommendation to the Committee that the clubhouse by named in his honour was unanimously accepted, however requires the agreement of the Trustees. The remainder of the letter covers the past five years. The Victorian Association of Blind Cricketers are requesting the erection of a shelter shed and scoring boxes. Complaints have been received about horses using the park, which have been passed to Malvern Council who advise they have also received similar complaints from the general public. A fence is required but a lack of finance has delayed this action. The Clubhouse is being used for more activities including a dance class, indoor bowling club, pottery and craft work, therefore a new switchboard and rewiring were completed. In October 1955, the State Government offered funding through local councils, however despite a representation to the Minister, the Malvern Council were not willing to expend funds to the Association as they had committed to build an Elderly Citizens Club. A large signboard was repainted and a new signboard erected at the front entrance, along with a light controlled by a clock. The Clubhouse has also been used one night per month by the local branch of the RSL and occasional use by the Teachers College for inter College sports. There has been cooperation with the L.T.A.V. (Lawn Tennis Association of Victoria) during tennis championships, and although the Committee recognise the need to do more with the area, the impending homes been built at Ballarat and Bendigo have been a limited factor. Signed by J.W. Wilson3 pages of type letter on letterheadAssociation for the Advancement of the Blind, Under the Distinguished Patronage of His Excellency the Governor of Victoria and Lady Brooks Founded 1895 (image of shining lantern) Incorporated 1944 10-12 Queen Street, Melbourne, C.1. Phone: MU 4189 MU 1955 Homes at: Brighton Beach Windsor Ballarat Bendigo On the left hand side of the page: President: Bruce Small, Esq. Vice President: Hubert Opperman, O.B.E. Treasurer: W.J.S. Horsfall, F.C.A. Secretary: J.W. Wilson Objects: To promote the welfare of the Blind intellectually, physically and socially. To grant financial assistance in cases of necessity. To provide Homes and Hostels of an undenominational character for the Blind. To visit the Blind. To care for the adult Blind, especially the aged and infirm. Donations will be subject to the concessional allowances provided by the Income Tax Act. At the base of the page: Homes and help for aged blindassociation for the advancement of the blind, john wilson, kooyong club house