Lynne Stone is a Victorian based textile artist specialising in botanical embroideries of Australian native flora. Lynne has used her technical skills to develop a software program for her sewing machine to automatically stitch some elements of her designs. Botanical model of Eucalyptus Caesia "Silver Princess" in flower with open flowers, flower buds and leaves. Embroidered using machine embroidery on an organza base. Wrapped wires and hand embroidered elements, hand coloured.australian native flora, flora

Lynne Stone is a Victorian based textile artist specialising in botanical embroideries of Australian native flora. Lynne has used her technical skills to develop a software program for her sewing machine to automatically stitch some elements of her designs. Botanical model of Acacia Pycnantha "Golden Wattle" in flower with open flowers, flower buds and leaves. Embroidered using machine embroidery on an organza base. Wrapped wires and hand embroidered elements, hand coloured.australian native flora, flora

Wedgewood china plate decorated with Australian native flora in shades of green, yellow, red & orange.Wedgewood DM1W A1927domestic equipment, food consumption, plates

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Black Swan Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Blue wren - Boronia Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Blue wren Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Blue wren with leaf sprig (type unknown) Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Blue wren with leaf sprig (type unknown) Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Galah on front, Lobelia on reverse Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Lyre Bird displaying tail on front and toad stools on reverse, knotted hank of black/brown/grey threads Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Lyre bird displaying tail on front and toad stools on reverse. Few thread scraps in envelope. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Gouldian Finch Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Kookaburra on front and Red flowering gum on reverse. Small bundle of threads in envelope. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions -Robin Red breast on front and Blue bells on reverse. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions -Rainbow bird. Knotted bundle of threads in envelope. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions -Robin Red breast and Blue bells on front of envelope. Small bundel of threads inside envelope. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions - Galah on front, Lobelia on reverse Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

Image of Geoff Riley from Argus Newspaper Collection of Photographs, State Library of Victoria Image shows Geoff Riley holding up a painting by Aboriginal artist Richard Moketarinja, behind him are samples of wildflowers pinned to a board circa 1953geoff riley, 20th century, australia, australian native flora, australian native fauna

This invitation to a ‘Conversazione’ to celebrate the Federation of the six colonies in Australia into the six States of Australia in 1901 was sent to the invitees after the event to keep as a souvenir of the occasion. The event was hosted by the Government of Victoria. The certificate was designed by George Brougham Austin, a Melbourne architect and artist employed by the Victorian Department of Public Works. He also designed many of the public decorations displayed in Melbourne during the Federation celebrations. Austin’s original work was lithographed by an artist at Sands and McDougall, Melbourne. This particular invitation was sent to George Rolfe and his wife, Annie. George Rolfe (1836-1919), a tea merchant from Melbourne, began buying blocks of land near the mouth of the Hopkins River in Warrnambool in the 1870s. By the early 1880s he owned 50 acres of land in the town and some nearby farming properties. He used the building on the ]and near the mouth of the Hopkins River as holiday accommodation and called the property, Lyndoch. He improved the property with the additions of stables, jetty, boathouse, bone and chaff sheds, reservoir and windmill and extensive gardens. Rolfe spent most of his later life at Lyndoch. Today the property is the site of an Aged Care facility. This certificate is of considerable importance for two reasons: 1. It is an important and attractive memento of a signal event in the history of Australia – the Federation of the States in 1901. 2. The certificate was an invitation to Mr and Mrs George Rolfe. George Rolfe was a prominent Warrnambool person in the late 19th and early 20th centuries. This is a multi-coloured certificate printed on a cream-coloured card. The certificate has an image of the Exhibition Building surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess of Cornwall and York, views of the six capital cities of Australia, native flora and fauna, the Royal Crest and the Crest of Australia. The names of the invitees are handwritten in black ink. ‘United Australia 1901 One Flag One Hope One Destiny Australian Commonwealth Celebrations’ ‘The Government of Victoria requests the honor of the presence of Mr & Mrs G. Rolfe at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 p.m.’ george rolfe of lyndoch, warrnambool, federation of australia, history of warrnambool, george rolfe

In 1873 James Griffiths migrated to Melbourne in order to start a tea Business. James lived in the Dandenongs at The Basin where he experimented with growing tea. Griffiths made tin canisters in the 2lbs size for their tea with common kitchen consumables listed on the front . The tins, when emptied, became useful kitchen canisters and helped promote the brand. Example of the names include Flour, Rice, Sugar, Sago, Candied Peel, Tapioca, Spices, Starch, Biscuits, Currants, Barley, String and of course Tea .Food storage rectangular tin, with a hinged lid. The outside is printed in cream and red with the name 'Griffith's Teas' and the word 'SAGO'. The text is set against a cream panel which is bordered with a decorative border of Australian native flora. The whole is set against a dark green background.On each other side of the tin is a different native Australian flower. The lid is impressed with a flannel flower.Printed on the front 'SAGO', also printed on the front and repeated on the top 'USE / GRIFFITHS' Teas / SYDNEY / MELBOURNE. ADELAIDE. BRISBANE'. On the front is the image of a train signal with the words 'SIGNAL / TRADE MARK'tea, james griffiths, canisters, city of moorabbin, cheltenham, melbourne, moorabbin, grocery stores, kitchen equipment

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.