A property illustration by Margaret Picken Commissioned by the real estate agency Woodards, Camberwell for the purpose of advertising 10 Alfred St., Burwood for sale in 1999. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. The suburb lines are believed to have been redrawn, making this property no longer in Burwood, but located in Glen iris. This property is listed as having sold for in 1999 for $380,000 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favoured coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A Black ink line drawing on drafters film by Maragret Picken, of 10 Alfred St., Burwood. Depicted is a one-story brick house situated back from a front lawn with a large tree, and a driveway on the right, leading to a connected carport. There to two hole punches just below the upper edge, and a approximately 1cmx1cm tape reside mark left of centre near the bottom edge 10 Alfred St., Burwood Maragret Picken - 99 Woodards - c'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, glen iris, house, garden

Arguably Margaret Baskerville’s most famous work, the bronze statue of politician and land speculator Sir Thomas Bent was Baskerville’s first public commission and a significant turning point in her career. Originally located in the centre of the Nepean Highway, in Brighton, it became somewhat of signpost for many Melbournians until it was relocated to the corner of Bay Street in 1980.The statue of Sir Thomas Bent is of historic and social significance to the State of Victoria. The statue is historically significant for commemorating Bent's long, active and infamous political career in Victoria. He was responsible for many important speculative ventures both within his electorate and in the wider context of Victoria. Although not without thought for personal gain, Bent was a committed advocate of public utilities, railways, roads, tramways and gasworks. The statue is historically significant as the first large public commission given to a woman sculptor in Victoria. This work helped the sculptor, Margaret Baskerville, preserve her name as Victoria's first professional woman sculptor. The statue is socially significant as testimony to the late nineteenth century land boom and the financial and political corruption and scandals that accompanied it. https://vhd.heritagecouncil.vic.gov.au/places/12614bronze and granite thomas bent, politician, mayor, premier, bust, sculpture, margaret baskerville, speaker, member of parliament, member of lower house, local government, councillor, brighton, public art, bayside

The Warley Hospital Auxiliary was formed in 1952 and held many fundraising events eg. fetes, stalls. duck races and special Woolamai race days, to raise money for medical equipment and facilities. It appears to have ended in 2002. The last baby born at the hospital was Cassie Smith in 1996. The scrapbook may have been compiled by Margaret Niven.HistoricalLarge A4 binder book with a collection of newspaper cuttings, photographs, hand written and typed pages of reports.warley hospital, fundraising, dilys gilby, joy burgoyne, margaret niven, ruth partridge, dorothy bolte, maree blanchard, gwen roberts, june cutter, rita broome, cassie smith

St. Andrew's Church Bendigo 1854 - 1965 207 pages with photographs, and illustrations. Signed by Margaret Temple, 29.9.1984 in front cover.Margaret Templechurch, history, st. andrew's bendigo

Letter: re family history Lansell family prepared by Beryl Margaret Carson. Describes items enclosed in parcel sent:Beryl Margaret Carsonplace, fortuna, family history, lansell, fortuna, george lansell

Edith Cavell was an English nurse based in Belgium who had been killed by German officers for conspiring to help in the escape of allied soldiers. This work is a plaster maquette of a large memorial marble bust by Margaret Baskerville that is located at Kings Domain on Birdwood Avenue, Melbourne. Although commissioned in 1917, the memorial was not completed until 1926 due to both the difficulty of obtaining Carrara marble from Italy after the war and the increasing number of Baskerville’s other commissions.Margaret Baskerville, Edith Cavell c. 1926, plaster, 82 x 49 x 28 cm. Bayside Art and Heritage Collection. Donated by Charles Douglas Richardson, 1931.plasteredith cavell, bust, sculpture, nurse, world war i, margaret baskerville, melbourne, berkendael medical institute, red cross, brussels, plaster

Document: Lansell family tree, prepared by Beryl Margaret Carson, descendant of William Lansell and Elizabeth Ramells. ( George Lansell's parents )Beryl Margaret Carsonplace, fortuna, family history, lansell, fortuna, george lansell

Margaret Anderson, sixth child of Robert Anderson. Studio portrait of Margaret, arm resting on table, dressed in nurse's uniform. High cap on back of head, draped patterned curtain on right of photograph.Studio Portrait Photograph of Margaret Andersonlocal history, photography, photographs, slides, film, margaret anderson, sepia photograph, mrs emma anderson jacobs

Correspondence re Butcher, Albert from Margaret Edwards, Ringwood (no date) - flour miller, Elmore. Reply from Sec. BHS referring her to Rochester.Margaret Edwardsperson, individual, albert butcher, albert butcher

Black and white bound photocopy of the 1960 yearbook. Has a WHS logo in the middle near the bottom above text reading KORRUMBEIA 1960. In the top right corner is a handwritten label.M. Baxter Library KORRUMBEIA 1960

One of the oldest houses in Eltham, the cottage was built around 1861 by pioneer builder George Stebbing whose family lived in it until the 1900s. It’s plain and simple style reflects the functional design of the house. George Stebbing was responsible for the construction of some of Eltham's principal township buildings, including the Uniting (former Methodist) church, St. Margaret's Anglican church (1861) and Shillinglaw Cottage (1879). The house is historically and aesthetically significant because it is a rare surviving example of the modest homes constructed for and by artisans within the early Eltham township and is a significant feature of the streetscape In the 1960s Albert Downing owned this propertyThe Margaret Ball (Pre 1960s Houses) Collection was a personal project initiated to mark the year 2000 and arose as a result of the disappearance of many pre-1960s parts of Eltham due to development. Approximately 200 pre-1960s style houses that were left in Eltham between Main Road and east to Bible Street, between Cecil Street to the north and south to Dalton Street were photographed in late 1999. Not all of the houses could be photographed; some because the garden or trees blocked the view of the house, others because of rubbish or cars were in the way, some because people were working on the house or in the gardens at the time.Colour photographic print eltham, houses, streets, margaret ball (pre 1960s houses) collection, pitt street, stebbing's cottage, downing

Margaret Mary McSwain was born in Mordialloc in 1848, the daughter of Isabella Munro and Alexander Macdonald. Margaret died in Perth, Western Australia, in 1930.Sepia toned head and shoulders portrait of Margaret Mary McSwain.

This wedding dress and headpiece were worn by Emily Elizabeth (Betty) Cock (1907-2001) when she married Euston Murray Nutchey at St Andrew's Church, Brighton, on 28 April 1938. The bride's great-grandmother, Emily Cock (nee Smith), was married in the same church 69 years earlier; Emily's dress is also in the Brighton Historical Society collection. The dress was made by Melbourne dressmaker Beatrice Cook, with distinctive blue beaded panels worked by Betty's younger sister Margaret (1915-2006) to match the wedding's blue-and-pink colour scheme. The dress was accessorised with a pale blue tulle veil and a bouquet of blue hydrangeas, delphiniums and pale pink roses.Satin dress cut on the bias, originally ice-blue, now faded to cream. The dress features a long train and broad v-neck. The bodice and waist are softly ruched and gathered on either side of a finely beaded centre panel running from the neckline to the hem. The beadwork features a design of small cream-coloured leaves winding between large stylised blue flowers and leaves, all bordered with silver beads. Full-length sleeves are slightly puffed at the shoulder, narrowing to a close fit, with beaded cuffs matching the centre panel. The dress is accompanied by a matching blue, cream and silver beaded coronet or headpiece; this was originally worn with a pale blue tulle bridal veil.Label, woven mauve on beige silk, centre back: Beatrice Cookbetty cock, betty nutchey, emily elizabeth cock, emily elizabeth nutchey, euston murray nutchey, beatrice cook, wedding dress, st andrew's church brighton, 1930s, frances margaret cock, frances margaret ward

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool

Correspondence to B H S re James Buick(Beehive Arcade) from Margaret Cunningham, Toorak, grand-daughter of James Buick. Mention also of Edward Cunningham (Sir) - ex Bendigo Advertiser. Offer from writer of copy of 'Bendigo and Vicinity' to BHS - accepted (1976). Margaret Cunningham is the niece of Sir Edward Cunningham (sometime editor of the Argus) who began is journalistic career on The Bendigo Advertiser. The second page is the response from Mr R.A. Anderson thanking Miss Cunningham and accepting the copy of 'Bendigo and Vicinity".Margaret Cunninghamperson, individual, james buick, james buick, the bendigo advertiser, sir edward cunningham (the argus)

Letter: sent to Bendigo Historical Society 26th. October, 2007 by Beryl Margaret Carson, P.O. Box 39, Culburra Beach, NSW 2540. Re possessions of Mavis Jean Gould that relate to the Lansell family.Beryl Margaret Carsonplace, fortuna, family history, lansell, fortuna, bendigo

This pair of brass altar vases is from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, during religious services there. The Church was operated by the Mission to Seamen organisation. Each vase is inscribed with the donors' names and the year of presentation - Margaret R. Pearson 1944, Mrs B Raybould 1944, - and the maker's name T. Gaunt & Co. The two donors presented the vases to St Nicholas Seamen's Church in Williamstown as part of the furniture and furnishings for the new church that officially opened in 1944. T. Gaunt & Co. engraved on both vases. T. Gaunt & Co. of Melbourne, is a manufacturer, importer and retailer of a wide variety of goods including jewellery, clocks and watches, navigational and measuring instruments, dinnerware, glassware and ornaments. Thomas Gaunt's photograph was included in an album of security identity portraits of members of the Victorian Court, Centennial International Exhibition, Melbourne, 1888. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This par of vases is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The connection of pair of vases to the original donation to the Mission to Seamen highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Vase: pair of two polished brass altar vases, round, pear-shaped, bulbous body on a round pedestal, two neck rings and flared lips. Inscriptions on both vases in script around the base. Made by T. Gaunt & Co. One was presented to the church by Margaret R Pearson and the other presented by Mrs B. Raybould in 1944 The vases are part of the St Nicholas Seamen's Church Engraved on the 625.1 "Presented By Margaret R. Pearson 1944." Engraved on 625.2 "Presented By Mrs B. Raybould. 1944." Both engraved "T GAUNT & Co"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, brass vases, metal craft, brassware, altar vase, church vase, mrs r raybould, margaret r pearson, t gaunt & co, church furnishing

Hand painted by Margaret Quayle.Original painting of Heidelberg, Victoria by Margaret Quayle. River scene with house and bridge, in a wooden frame.paintings, artworks

Wedding dress designed by Melbourne designer based on the wedding dress worn by Princess Margaret for the marriage of Miss Evelyn Hancock of Lakes Entrancewedding dress design based on dress worn by Princess Margaretclothing

Interviews with Mrs F A W Baxter, Quarry Hill, July - August 1982 - Oral History Class Paper submitted by Bette McLaughlin. Covers the period 1896 - 1982. Mrs Baxter (nee Florence Ada Wallis) was daughter of Thomas George William Lansell). Two copies. Appendices I - XIIIperson, individual, mrs f. a. w. baxter, mrs f.a.w. baxter, quarry hill.

SoftcoverInserted in front cover: postcard of Sages Cottage, Baxter, Victoriascience, walsh st library

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

Margaret Ellen Holloway married William Hugh Hooke in 1892. Margaret is the daughter of James Charles Holloway and Mary Bennett. She was born in 1864 in Indigo,via Rutherglen at the gold lead. Her father James came out from Somerset England with a large family group to settle in the North East of Victoria and to try their fortune at gold mining. The Holloway’s and their descendants then went on to farm in the district including Rutherglen, Chiltern, Springhurst, Barnawartha and Browns Plains. Black and white portrait photograph of Mrs Hooke nee Margaret Ellen Hollowayhooke family, holloway family, margaret holloway