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National Wool MuseumTextile - Travel Rug, Albany Woollen Mills, c1960s
Collector says - "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Note from collector-"For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. " Tan and brown plaid fringed travel rug. Albany Woollen Mill/Travel Rug/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, rug, albany, albany woollen mills -
National Wool MuseumTextile - Travel Rug, Onkaparinga Woollen Mill Company, 1960s
Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Fringed plaid travel rug, brown, yellow and blue Onkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga -
National Wool MuseumTextile - Travel Rug, Onkaparinga Woollen Mill Company
Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, red, blue, green and blackOnkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga -
National Wool MuseumTextile - Travel Rug, Onkaparinga Woollen Mill Company, 1960s
Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, teal and brownAn Onkaparinga 100% pure wool production. In emblem: Made in Australiawool, blanket, blanket fever, travel rug, onkaparinga -
National Wool MuseumTextile - Travel Rug, Onkaparinga Woollen Mill Company, 1960s
Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Plaid travel rug, double-sided , fringed , brown and orangeThe Seal of Quality/"Onkaparinga" /Pure Wool/Manufactured in Australia by Onkaparinga Woollen Co.Ltd/Owner___wool, blanket, blanket fever, travel rug, onkaparinga -
Bendigo Historical Society Inc.Document - FAMILY HISTORY ''THE STORY OF THE GAYLARDS''
Family history ''The Story of the Gaylard's'' written (dictated by?) Ella Gaylard, 1967. 16 page typewritten document tracing family's arrival in Australia [Central Victoria - Bendigo (Sailor's Gully), Dunolly, Toolleen] and childhood recollections of the author. Mention of the following: the Lamperd family (original settlers??) and cousins, the Chubb family (the safety lock makers).; Auntie Clark (Eliza Ann); Auntie Bowles (Mary Ann). This is a well written account of life in the region and warrants further study - there is mention of many people by name but surnames may be difficult to determine. Mention of places in addition - e.g. author attended Quarry Hill State School where her father was for some time a teacher. This account is typewritten on both sides of foolscap paper - additional photocopied copy also (but this missing pages 1 & 2).Ella Gaylandperson, family, gaylards, ella gaylard, 1967. sailor's gully, dunolly, toolleen, lamperd family, chubb family, quarry hill state school. -
Glen Eira Historical SocietyArticle - Attwood Family
Two items about the Attwood Family: A seventeen page computer typed copy of the memories of John Attwood, compiled by Colin Smith in January 2002. Includes memories of his childhood, contact and impressions of local identities including Merric Boyd and others; the retailers and business owners in the Murrumbeena area, the trains and railway stations, picture theatres and other businesses. A photocopy of an article taken from the Herald Sun newspaper 06/11/2007. Myra Attwood, wife of John, local business person in Murrumbeena Newsagency; includes brief local history of family and Myra’s personal hobbies, till the time of her death. Also a newspaper clipping of her death notice, unknown source and date.emily street, murrumbeena, elsternwick, railway stations, signal boxes, beena avenue, murrumbeena state school, primary schools, attwood john, attwood myra, attwood rhonda, attwood colin, attwood warren, attwood murray, attwood janine, attwood susan, attwood michael, attwood greg, attwood gerard, black bridge, outer circle railway, murrumbeena newsagency, newsagents, murrumbeena railway station, railway stations, book binders, stevens alf, sykes harold, attwood motors, neerim road, boyd merric, boyd mrs., timber houses, outbuildings, artists, trains, car parks, christie’s woodyard, ferguson cam, railway accidents, ardyne street, north road, dalny road, brett street, barnes family, newspapers, roads and streets, soils, flower growing, market gardens, world war 1939-1945, land subdivisions, air raid precautions, bicycles, drawing, springthorpe park, mass media, murrumbeena shopping centre, butcher shops, grocer shops, green grocers, shoe shops, confectionary shops, barber shops, beck george, bowyer ralph, rennie bill, bookmakers, presbyterian church, methodist church, hanna’s milk bar, sunday school, woodland bill, ssw grocery chain, drays, woodland alec, lee ron, jewellers, bakeries, fish shops, dressmakers, delicatessens, east bentleigh, selkrigs family, pottery, heads’ garage, head lindsay, head doug, head clarry, head ron, murrumbeena road, car retailers, petrol pumps, motor vehicle repair shops, billy one motors, bird mr., real estate agents, w.b. tonks and company, sparrow mr., pidgeon mr., hardware stores, florist shops, murrumbeena post office, tile shops, gardens, murrumbeena chamber of commerce, kiosks, gardeners, carnegie citizens band, spurway nursing home, argosy theatre, cinemas, dance halls, the capri, theatre groups, caulfield council, the blowfly train service, billiard rooms, printers, hammond olsen and company, l.j. miles and company, moody’s real estate agency, paddocks, flats, es&a bank murrumbeena, esanda bank murrumbeena, state savings bank murrumbeena, commonwealth bank murrumbeena, fuel merchants, hobart road, golden fleece service station, quince’s buses, bus services, ardyne street, timber yard, gow mr., railway parade, shell service station, pharmecies, house miss, bicycle shops, barnhill les mr., fliner mr., boot makers, widdop peter, moran and cato’s, grocers, pizza shop, car yards, classic caravan, o’brien kevin, wrought iron work, williams mr., candle making factory, lights, power tom, gates, fences, whitelaw monier tiles, whitelaw bill, hanna rex, dandenong road, cumloden grammar school, independent schools, emmaus rest house, oakdene, house names, taranto bob, hanson cab service, billy one motors, grey mr., horse troughs, horse drawn vehicle, taxis, board roy, buick cars, charleston’s bakery, carnegie, rosstown hotel, corum’s dairy, kangaroo road, reids dairy, dalny road, reid shaver, racehorses, cove’s dairy, wilson street, police, murrumbeena police station, dunoon street, murrumbeena park, footballers, gangs, liberal party, labour party, united australian party, uap, woodland alec, liquor shops, johnson suzanne, singers, taylor squizzy, boyd family, artists, criminals, skase christopher, skase charles, sunaria competition, herald and weekly times, ralph j.w., j.h. ralph butchers, butcher shops, pennington gardens, home units, flats, schrape frank, builder, smith colin, mansions, death registers, hockley myra, esperanto, book keepers, accountants, solicitors -
Ballarat Clarendon College
Match box cover
Property of John S Coltman. John Coltman attended Ballarat College attended Ballarat College 1913 – 1920. A very high achiever John was Dux of College 1919 School Captain 1920 Captain of Cricket 1920, Captain of Tennis 1918 – 1920 Captain of Athletics and Football 1919 – 1920 Stroke, Rowing Firsts, 1919-1920. He maintained a long association with the school through participation in the Old Collegians Association. The match box may have been an Old Collegian's memento. John married Elvie (Price) Coltman. Elvie entered Clarendon Ladies College 1919, her childhood home ‘Dumbarton’ 1425 Sturt Street was purchased by the school and is part of the Girls Boarding House. Metal match box cover with Ballarat College emblem fixed to top faceBallarat College emblem fixed to top facejohn-s-coltman, ballarat-college, old colegians -
Kiewa Valley Historical SocietyBook - Sketch Book, Circa 1918
This childhood sketchbook of the 1918 era details the emphasis placed upon a skill of brushwork that portrayed part of the students natural environment both in Tasmanian schools and Victorian schools, especially rural schools. The close bondage between students and their environment was a reflection on the early "hands on" approach in child education. Abstract art or teaching aids which could not be identified with physical properties available to students at this period in time were of lesser value. The ability of the student to identify the artistic value of local nature eg. local plants and flowers was especial important to rural based school children who had limited excursion opportunities available to visit town/city based botanical gardens and museums. This brushwork book is very significant to the Kiewa Valley as it demonstrates that childhood relocations from one State to another were not detrimental to the students overall scholastic development. The rural environment in Tasmania was not that far removed from the rural environment of the Kiewa Valley. The skills taught in both regions were still the same and the socio-economic factors and mores were also similar. This item demonstrates the relocation of one family from Tasmania to the Kiewa Valley. The expansion in population into the Kiewa valley was quite erratic and significant population growth only came after the increase in population brought into the area by the SEC Vic Hydro Scheme introduced to quench the demand for Victoria's electricity.This book has a brown cover with black print and designs on a 150 gsm cardboard. Each page is of the same thickness as the cover but is of paper.On the outside cover and contained within a thick boarder. "EDUCATION DEPARTMENT" and below this in smaller print "TASMANIA" below this "THE TASMANIAN BRUSHWORK BOOK". Below this "FOR CLASSES IV., V., AND VI" Below this "NAME" SCHOOL" At the bottom 2 1/2d1918's educational sketchbook, 1918 children's sketchbook -
Nillumbik Shire CouncilPrint (etching): Dean BOWEN, The Offering, 1997
Dean Bowen is renowned for his charming, child-like aesthetic and unique thematic interplay between the urban and rural as well as humans and animals. Bowen has developed a distinctive and humorous symbolic language that filters through each work. His highly charismatic and whimsical renderings of animals, human characters and Australian environments celebrate the vicissitudes of life, evincing the simple pleasures of human habitation within the artificial and the natural world. The work and thoughts of Jean Dubuffet, particularly those which focus on the philosophy of 'Art Brut', give support to Dean's belief that untrained artists are more honest, that artists interested in emulating the art of children are trying to regain the pure expression they lost with childhood. 'The Offering' was a finalist in the Nillumbik Art Awards in 1997. The work refers to the act of giving back, rather than taking which Bowen sees as more prevalent in our Western society. While the image is childlike, the expression of the boy is a mixture of sadness and happiness, knowing and naivety, youth and age. The smile has a Mona Lisa quality and the earthy and sensuous colours suggest landscape. When realising the images he relies on memory rather than observation so that the struggle with drawing and representation sometimes doesn't work. The style of the drawing and the flat space relates to the graphic style of cartoons and caricature. The intuitive and the imaginative are essential elements in his work. lower right 'Dean Bowen '97' -
Glen Eira City Council History and Heritage CollectionOral History - Deirdre Farrell, Cameron Auty, 11/05/2016
This interview was recorded in May 2016 as part of the Wounded Soldier exhibition. The Wounded Soldier ran in November 2016, exploring No. 11 Australian General Military Hospital (later Caulfield Hospital) and its impact on Glen Eira's community during and after the First World War. The audio file catalogued here is an edited excerpt from the larger interview, designed for use in the exhibition. Deirdre Farrell trained as a nurse at Caulfield Hospital in the 1960's. Her father Les Campbell was a First World War veteran, and Deirdre grew up on a soldier settlement farm. This interview explores her childhood, her relationship with her father, her experience of repatriation medicine and her memories of Caulfield Hospital. This oral history is significant as the firsthand testimony of the child of a First World War veteran and for its recollections of Caulfield Hospital in the 1960's. Digital recording of an oral history interview taken by Cameron Auty with Deirdre Farrell. Supplementary files include photographs of Deirdre's father Les Campbell, a WWI veteran, Les' service record and a research file created by Deirdre.glen eira, caulfield, deirdre farrell, wwi, oral history, first world war, soldier settlement -
The Beechworth Burke MuseumAudio - Oral History, Jennifer Williams, Joan Jessup, 18th May 2000
Joan Jessup was born on the 17th November, 1926 at at Nurse Longmore's in High Street, Beechworth. In this recording, Joan recounts her childhood in Beechworth, her personal and working life as a young unmarried woman, and then later her marriage to Albert Jessup and her family life at Murmungee and Beechworth. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the BurkeThis recording of Joan Jessup's life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural, historical, social, and religious heritage of the region. She details important historical events, local life, religious matters, and schooling in the region's history that had a lasting local, regional and national impact, including Australia during war time, economic struggles, and women's societal and working roles in a rural area. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preservedThis is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Joan Jessuplisten to what they say, joan jessup, beechworth, burke museum, jessup -
Brighton Historical SocietyDress, 1970s
This dress belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.White cotton high-waisted maxi dress printed with black spots and trimmed with red rickrack. Elbow length sleeves. Fastens with centre back zip.Label, printed black on white acetate, centre back: JILLIAN / OF / MELBOURNE1970s fashion, maxi dress, bernice overend, overend family, chevy chase, brighton, melbourne designers, jillian of melbourne -
Brighton Historical SocietyOutfit, Three-piece woman's outfit, 1960s
This outfit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.Three-piece woman's outfit comprising double-breasted cape, cropped sleeveless top and skirt; cream wool woven with silver lurex. Top is decorated with a centre front fabric bow and is decoarated with fake pearls. All items lined with cream polyester. .1 - cape .2 - top .3 - skirtLabel printed black on white acetate, centre back cape, top and skirt: DESIGNED AND HANDWOVEN / BY / Robert Maltuswoman's suit, chevy chase, overend family, 1960s fashion, robert maltus, bernice overend, melbourne designers -
Federation University Art CollectionPainting - Artwork - Painting, 'Procession Along the Todd River' by Wesley Pemberthy
Wesley PEMBERTHY (1920- ) Born Broken Hill, New South Wales Wesley Pemberthy spent his childhood in Adelaide, South Australia. As an adult he lived in Bendigo, Ballarat, Clunes, Creswick, Daylesford and Perth. While in Perth he studied at Perth Technical School (1933-1937), followed by studies under the tutorship of Norman Lindsay in New South Wales (1938-1941). After service during World War Two Wes Pemberthy became the first Rehabilitation student at the National Gallery School, Victoria, undertaking research into the techniques of the Old Masters. He was the winner of the Sulman Award in 1955. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.Framed painting showing a number of brightly dressed people in a treed landscape. artists, artwork, wes pemberthy, wesley pemberthy, aborigines, aboriginal -
Glenelg Shire Council Cultural CollectionWork on paper - Watercolour, Florence Tatham Mellblom, Portland Shire Hall, n.d
From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire -
Glen Eira Historical Society
Document - Bell, Agnes Paton
This file contains 3 itmes relating to Caulfield historian Agnes Paton Bell: 1/See other cataloguing sheet 2/Research notes by Anne Kilpatrick, dated 11/07/2014, listing items held in the GEHS collection written by Agnes Paton Bell regarding the histories of Melbourne and Caulfield. 3/Copy of an article from the Australian Women's Weekly, dated 27/10/1965 titled 'History is Her Hobby', obtained from the National Library of Australia. The article details Bell's university studies, her historical work, including about the history of Caulfield, and her childhood in Scotland. The article includes two photos - one of Bell at her desk, the other of her and her husband Goerge Bell in his woodworking workshop.glen eira, crotonhurst, rosecraddock, caulfield, caulfield military hospital, harleston, grimwade house, centenary of caulfield, mansions, bell george mrs, bell agnes paton, nelson h g, grimwade, caulfield john, ricketson, webb, langdon, webb-langdon violet, 'melbourne - john batman's village', 'the victorian historical magazine', caulfield road, 'the origin of the name of caulfield', 'naming of caulfield', kilpatrick anne, university of melbourne, bell gavin, 'road district', bell nan dr., australian women's weekly, adult education, students, tertiary education, templeton william j.p., melbourne harbour trust, elsternwick, historical writing, suffragettes, bell george mrs -
Brighton Historical SocietyPant suit
This pant suit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with Darren, Jenny and their three children. Stell-Ricks was the label of Melbourne fashion designer Stella Dare.Pant suit comprising tunic (.1) and flared pants (.2) made from cream, yellow and gold lurex woven in a floral pattern. Tunic has a pair of non-functional pocket flaps at breast and two finctional pockets at front hip area. Tunic fastens with a centre back zip. Tunic lined with shell pink poyester satin; pants unlined.Label woven white on black acetate centre back tunic: Stell-Ricks / OF MELBOURNE / SUITS TOPCOATSpant suit, 1970s fashion, chevy chase, overend family, bernice overend, melbourne designers, stell-ricks, stella dare -
Federation University Art CollectionArtwork, other - Timber, acrylic paint, glass coat, beeswax, 'Frog Didgeridoo' by Peter Clarke, 2008
Peter CLARKE (1969- ) Gunditjamara (Lake Condah) Born Heywood, Victoria At two months old Peter Clarke was removed from his parents and placed in a Catholic boy's orphanage in Ballarat. The orphanage was closed and Peter was moved to a public orphanage where he discovered 'manners were not a necessity and you often had to take before you were ever given in this orphanage. ... This new orphanage was not a home for me but a prison of sadness and despair.' Disconnected from his country and lore Peter Clarke chose "my own path to land, county and water". Although his childhood memories are dark and bleak, he uses vibrant colours. 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.Mallee Wood didgeridoo with vibrant colours. A natural wood imperfections have been used to emphasise what is recognisable as a frog. This work was purchased from the "My Art, My Life, My Colours' exhibition at the Federation University Post Office Gallery, May 2008.art, artwork, aboriginal, peter clarke, didgeridoo, stolen generation, st joseph's orphanage, sebastopol, my art, my life, my colours' exhibition, federation university post office gallery -
Merri-bek City CouncilPigment inkjet print, Hayley Millar Baker, I Will Survive 5, 2020
Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’ -
Merri-bek City CouncilPigment inkjet print, Hayley Millar Baker, I Will Survive 2, 2020
Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths, and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’ -
Greensborough Historical SocietyFolder, Ely Family, 1878o
Contents: Ely family tree Frederick Ely was born in Cowlinge Suffolk, in 1838. (His parents were George Ely b1793 and Sarah Poulter b1792, both born in Cowlinge. Frederick came to Australia on the ship 'Ocean Monarch' in 1856 with (most likely) his brother George, aged 34, his wife Elizabeth Piper, aged 22, and daughters Elizabeth, aged 2, and Harriet, aged 1. George and his family settled in the Harcourt area of Victoria, as did his brothers William and Henry. In 1857, Henry, his wife Mary Anne (Parker) and a daughter came to Australia, and settled in Greensborough for a short time, then moved to Harcourt, taking a large amount of apple tree cuttings and plants from Greensborough, where he, brother William, William Eagle, a childhood friend from Cowlinge, and a Nathan Vick, planted and stated apple orchids.History of the origins of this Greensborough family.20-page plastic binder, spiral bound, clear cover. Contains documents relating to the Ely family.Collected by Greensborough Historical Society. Folder commenced 2012.ely family, splatt family -
Bayside Gallery - Bayside City Council Art & Heritage CollectionWork on paper - ink and watercolour, Annette Meikle, Black Rock House, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Black Rock House was built in 1858 by wealthy land dealer and politician Charles Hobson Ebden as a holiday home on 112 acres of virgin scrub, taking in the area of present day Balcombe Road, Beach Road and the line of Keating Street. The house included four bedrooms, a cellar, stables and a courtyard enclosed in castle-like sandstone walls. It was named Black Rock House after Black Rock Castle near Dublin, associated with Mrs Ebden’s childhood.Annette Meikle, Black Rock House 1977, ink and watercolour, 33 x 53.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock house, black rock, charles hobson ebden, architecture, historic house -
Federation University Art CollectionArtwork - Painting, Bonnie Fagan (Chew), 2013
Bonnie Fagan's County is Wadawurrung. Most of her early learning about her Aboriginality came from the father.Aboriginal dot painting telling the artist's learning journey. Bonnie Fagan wrote of this work: "Ochres reflect my connection with the land of my traditional Wadawurrung Country. Yellow ochre forms the background and white ochre defines my pathway, showing where I have traveled from my past and where I am heading in my future. I use reddish ochres for the larger dots along my pathway to show my footprint and for the smaller dots that ripple outwards to show how I've had some influence, either good or bad. The white lines show my pathway with an entry point from my past marking the start of my journey, a middle part showing were my life will continue. Through the middle part, my teenage years, the pathway is very windy. These years were sometime quite difficult and I struggled. The two circle areas symbolize two chapters in my life, first as a child and then as an adult, when I've felt mostly positive and safe. They are periods when I've been very open to learning, gathering knowledge from people and experiences that I trusted, and the circles within the circles symbolize the layers of support, of experience, of connection and of learning that I experienced. Strong visual symbols at the base of the painting under the first circle area represent the key figures in my learning through my childhood: my father (represented by the traditional symbol, of a man with a spear) and my mothers with me as a small child, The spirit of my paternal grandmother, my Nan, hovers above my childhood circle and near the pathway through to my teenage years, showing the strength of her influence and how she was always there guiding me." (Robyn Brandenburg and Jacqueline Z, Wilson [Eds] Pedagogies for the Future: Leading Quality Learning and Teaching in Higher Education, Sense Publishers, The Netherlands, 2013, pp40-41)bonnie fagan, bonnie chew, wadawurrung, artists, artwork, aboriginal, available -
Mission to Seafarers VictoriaPhotograph - Photograph, Sepia, Reverend JR Weller, Mrs Weller, Mrs Oxley, 6 November 1928
Reverend Weller succeeded the senior chaplain role after Rev Gurney Goldsmith in the mid 1920s until the end of the decade. He was a keen photographer himself. Freda Kathleen Oxley (1882-1969) pictured here holding a camera took pictures during a voyage to Melbourne on S.S. Persic via Cape Town in 1925. An album of 126 photographs is now held at the National Library of Australia in Canberra., containing views of the Mission to Seamen, Melbourne, with visiting sailors and clergy; family groups, gardens, ships, church picnics, a wedding, some views of Portsea. She seems to have been a childhood friend of Mrs Weller as she was like her born in Windsor, UK. She lived in the chaplaincy for 3 years and became a volunteer; she can be seen in a few photographs of picnics. She left in 1929 shortly after the Wellers (see Jottings Easter 1929) and went back to the UK.Provides early 20th C. records of MTS senior personnel and images of LHLG supporters and members.small black and white photograph mounted on an album page depicting clerically dressed male figure flanked by two females in 1920s dress posed in front of a large palm tree. on page 12On album page handwritten: "Reverend JR Weller, Mrs Weller, Mrs Orley (holding a Kodak Brownie camera)"alexina weller (nee caley), reverend john reginald weller, finhaven, kew, mr john inerrarity buchan, cup day, freda oxley, 1928, ss persic, fan album, annie alexandrina caley (known as alexina) 1885-1934, freda kathleen oxley 1882-1969 -
Eltham District Historical Society IncBook, Ross Publishing, Wiregrass: A Mythical Australian Town, drawings by Percy Leason, text by Garrie Hurchinson, 1986
Back Cover: At a time when black and white art was flourishing in Australia- with artists like Norman Lindsay, Will Dyson and Stan Cross at work - Percy Leason's creation of Wiregrass ranked him as an illustrator of surpassing genius. His early successes as a book illustrator and as a cartoonist for the Bulletin and Melbourne Punch, presaged a full flowering of his work with his creation of the mythical town and his endowment of it with a host of characters and comic situations. His inspiration came from his childhood town in Kaniva, Western Victoria but Wiregrass was every country town, with its general store, pub and church hall, its swimming hole, football ground and racecourse, its leading citizens, its battlers and mischievous children. Wiregrass flourished in Table Talk Magazine from 1926 to 1937 when Leason, seeking to escape his comic reputation and pursue "serious" art, went to live in America." Percy Leason lived in Eltham Softcover, 80 p. : ill., 1 port. ; 30 cm.ISBN 0850912490australian wit and humour, drawing, caricatures and cartoons, country life -
Surrey Hills Historical Society CollectionPhotograph, 11 York Street, Mont Albert, 1974 (1), 1974
This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. The house is heavily screened by a mature garden with several large trees or shrubs.In red biro on rear: "No 11 York St / 1974" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert -
Surrey Hills Historical Society CollectionPhotograph, 11 York Street, Mont Albert, 1974 (2), 1974
This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. Taken from diagonally across the street, it shows the end of the house, the driveway and the dividing fence between the property and the adjacent house. The house is heavily screened by a mature garden with several large trees or shrubs.In red biro on rear: "No 11 York St / 1974" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert -
Surrey Hills Historical Society CollectionPhotograph, 11 York Street, Mont Albert, 1962, 1974
This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitby. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. Although the house is heavily screened by a mature garden with several large trees or shrubs, part of the front can be seen. It is Californian bungalow in style with typical features including a terracotta tiled roof, simple roof finials, simple chimneys, shingle detail to the gable and brick and rounded pillar supports to the veranda. The front fence is low and constructed from roughly dressed stone.In black texta colour and black biro on rear: "1962 / 11 YORK ST/ MONT ALBERT" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert -
Surrey Hills Historical Society CollectionPhotograph, 11 York Street, Mont Albert, May 1974 (2), 1974
This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 11 York Street, Mont Albert. Taken from across the street, it shows only part of the gable of the house. The house is heavily screened by a mature garden with several large trees or shrubs. The fence is low and constructed from roughly faced stone.In blue biro on rear: "11 YORK ST / MONT ALBERT" and separately "May 74" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert
