Uros Lake Titicaca Folk Art is a traditional textile hand-crafted by indigenous artisans near Lake Titicaca in Peru and Bolivia. Material: Typically handmade with a creamy or ivory wool ground, featuring vibrant wool embroidery threads and sometimes a colorful patchwork backing. Technique: Uses raised chain-stitch (crewel) embroidery where artisans outline forms in dark wool and fill them with ribbed chain-stitch gradients (such as rust, ember, indigo, and sky blue). Design Motifs: Depicts high-Altiplano daily life, including the famed Uros floating reed islands, totora reed houses, traditional boats (balsas de totora), villagers, animals, and a smiling sun. Border and Inscriptions: Features pre-Columbian stepped-meander borders and text inscriptions like "UROS LAGO TITICACA".South American, from Lake Titicaca, Island of Reedy. Made by the Uro Indians who live on the island. Very primitive in design stitchery and colour on hand woven material (wool). Acrylic thread used in design in purple, white, pink, orange and greeninti urosembroidery, panel, 1940-60, south america, surface stitchery

Folk art style hanging "khayamiya", souvenir of Egypt probably early 20th C. Touristic khayamiya were made from the 1890s through to the present day, and were notably popular after the discovery of Tutankhamun's tomb in 1922. These are often smaller, and are figurative appliques, usually featuring motifs from ancient Egypt or what were then contemporary scenes of Egyptian life, especially folkloric scenes. They were generally purchased by international travelers to Egypt as popular Egyptian souvenirs.Egyptian applique hanging, possibly folk art Egyptian Khayamiya. Brightly dyed fabrics appliqued depicting standing figure, hieroglyphic inscriptions and various other symbols.

Colour drawing of stylised carnation, influenced by folk art. Motif is for embroidery.Neva Bole, 3B

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey children’s cardigan with embroidered flowers and human figures in folk costume, and crocheted design around neck in green, yellow and red. Left panel has embroidered figure of man with blue lederhosen and yellow shirt, black shoes and hat, hat has red accent. Right front panel depicts woman wearing red skirt with white stripe, white shirt, and green headscarf with black stockings and shoes. Flowers are embroidered in pink, white and blue with green and yellow accents for stems and flower centres. Cardigan closes in front with five marbled grey plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 22 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, folk art, folk embroidery

Red cloth large hardcover book. Title is written on the front cover and on spine in gold. Small gold circle pattern on front cover. The book contains 100 coloured plates, 32 b/w plates with images of peasant handicraft. The book includes table of content, index, bibliography and a library due date card inside back cover, it was borrowed by Donald Ferguson(an art lecturer)on 13 May 1957. Page numbers written in roman numerals. embroidery, europe, ceramics, ornaments, peasant art, h th bossert, folk art, embroideries, handicraft, decorative arts, textile fabrics

Carved wooden plate depicting a happy event - a baby. Father and Mother are looking at the baby in the beautifully decorated cradle, with sign IHS and flowers at the head end. In the background is a kmečka peč - a huge heart for bread making, cooking and warming up.IHSslovenian association melbourne, carved wooden plate, slovenian folk art, wooden cradle

Ethnic Hungarian miniature dresser, donated by a past member of KHSMiniature dresser, made of wood and painted with folk designs. The dresser comes with six detachable jugs. vaughan-smith collection, hungarian folk art, toy dressers

Leather strip with wording to top end and oval photo glued midway. Leather strip is fringed both ends.Small oval photograph of dog on the tuckerbox at Gundagai set into leather fringed bookmark with 'The Tuckerbox Gundagai' inscribed.souvenir, heritage, folk art, tourism, bookmark, gundagai

Ill, p.64.non-fictionA description of folk art in post revolutionary Chinafolk art - china, folk literature - china

Chip carving was a popular hobby/pastime from the arts and crafts movement of the 1890s and remained a popular folk art until the 1920s.This is an example of a popular folk art hand-carved chair made in Australia in the early twentieth century.Hand-carved timber chair, by an unknown enthusiast in the Warrnambool area. Made using the 'chip carving' technique, with whorls and star design in relief on the seat. The timber finish has been given an ebonised tone. Chip carvingschair, craft, hobbies

Yang Deliang was from the Jinshan Peasant Painting Academy where Chinese folk art of southeastern Yangtze River area of Shanghai is undertaken. The paintings integrate the folk arts of printing and dyeing, embroidery, paper cutting, wood carving, and cook stove painting, and depict the peasant's colorful customs and daily life. This style of folk art was born in 1972, under the guidance of a professional painter Wu Tongzhang. Jinshan Peasant Painting made its international debut in the Expo 1980 in Brussels, Belgium. 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.Framed silkcreen An artist's 'chop' is evident on the lower right cornerart, artwork, yang deliang, chinese, silkscreen, jinshan peasant painting academy, j

The Eaglehawk community enjoys a successful annual festival comprising of numerous separate activities to enjoy over a 5 day period. These include: Street Procession, Gala Fair, Art Exhibition, Flower Show, Folk Art, Literary Competition, Heritage displays, Sunday family Day to name a few.Eaglehawk Dahlia and Arts Festival This item contain 21 colour slides: 4403.1a Eaglehawk Dahlia and Arts Procession - Steam Engine 4403.1b Eaglehawk Dahlia and Arts Procession - Mens Highland Band 4403.1c Eaglehawk Dahlia and Arts Procession - Old Cars 4403.1d Eaglehawk Dahlia and Arts Procession - Ladies Highland Band 4403.1e Eaglehawk Dahlia and Arts Procession - Wedderburn Eucalyptus Float 4403.1f Eaglehawk Dahlia and Arts Procession - Tram crossing Victoria Street 4403.1g Eaglehawk Dahlia and Arts Procession - Horse and Donkey Vehicles 4403.1h Eaglehawk Dahlia and Arts Procession - Float 4403.1i Eaglehawk Dahlia and Arts Procession - Brass Band 4403.1j Eaglehawk Dahlia and Arts Procession - VIP's 4403.1k Eaglehawk Dahlia and Arts Procession - Highland Band 4403.1l Eaglehawk Dahlia and Arts Procession - Bendigo Historical Society boarding their tram 4403.1m Eaglehawk Dahlia and Arts Procession - Walkers and Tram 4403.1n Eaglehawk Dahlia and Arts Procession - Public Gardens 4403.1o Eaglehawk Dahlia and Arts Procession - Public Gardens 4403.1p Eaglehawk Dahlia and Arts Procession - Public Gardens 4403.1q Eaglehawk Dahlia and Arts Procession - Public Gardens 4403.1r Eaglehawk Dahlia and Arts Procession - Public Gardens 4403.1s Eaglehawk Dahlia and Arts Procession - Tram on the way 4403.1t Eaglehawk Dahlia and Arts Procession - Eaglehawk Traders' tram 4403.1u Eaglehawk Dahlia and Arts Procession - Tram and assistant getting readyhistory, bendigo, eaglehawk dahlia and arts festival, processions, parades, highland bands, bendigo historical society, eaglehawk gardens, eaglehawk

Souvenir thread winder, (possible spa town of Bad Kosen) folk art. Thread-winders had been essential sewing tools when cotton and threads were bought in skeins and needed to be sound onto something to keep them from tangling. Image shows typical German spa house. One of a set?Souvenir thread winder.Wooden six pointed star, lacquered thread winder, pink colour, decorated with black scenes Wellenbäder Kōsenthread-winder, spa souvenir

Slovenian Club Melbourne participated many times at the Royal Melbourne Show with the musicians, dancers, folk dances, art and craft exhibitions. They were always warmly welcomed.The second Slovenian children of the first generations keeping up the traditionsColour photo of the large decorative heart with the Slovenian children in national costumes and boys playing piano accordions at the Royal Melbourne Show. The children are:Young generation of Slovenians, born in Australia, keeping the Slovenian traditionsslovenian traditions, slovenian national costume, slovenian music, slovenian polka

Used for stirring a multitude of kitchen produced food, especially jam, scones, cakes, and soup. Also used by the mother as a threat to naughty children. The word spoon derives from an ancient word meaning a chip of wood or horn carved from a larger piece.[1] Wooden spoons were easy to carve and thus inexpensive, making them common throughout history. Wooden spoons have been made in virtually every nation on earth and (compared to silver or pewter or gold spoons) represent the ordinary artisan and reflect the life of ordinary folk: this is their "folk art". Source: www.wikipedia.org An essential item found in the kitchen. One piece wooden spoon. Turned marble-shaped decoration at end of handle.kitchen, food, spoon, wooden, stirring, mixing, jam, cakes, batter

Handwoven and embroidered Guatemalan wall decorations are traditional Mayan folk art pieces created using backstrap looms and intricate hand-embroidery techniques like brocade, darning, and randa stitching. Key Features of Guatemalan Wall Textiles Backstrap Loom Weaving: Panels are woven on a traditional backstrap loom where the weaver uses body tension to control the warp and weft threads. Pattern Darning and Brocade: Artisans use supplementary-weft techniques—such as brocade (randa) and darning—to build geometric, zoomorphic, and nature-inspired motifs like quetzals, deer, horses, and floral mandalas. Regional Craftsmanship: Many distinct pieces originate from highland communities like Chichicastenango and Santiago Atitlán, where multi-purpose textiles like tzutes or ceremonial huipils are crafted.Hand woven striped cotton, black back ground,brown and white tones. Large central band has 4 large quetzel birds, 2 narrow bands have 11 figures in pattern darning. Ends are fringed.embroidery, wall hanging, pattern darning, south america, 1960-80

Originating in Sweden as early as the 17th century, Näversöm embroidery gets its name from a piece of birch bark that was used as a frame. Since the birch bark frame could be easily rolled up and carried to protect her work, the Shepherdess did her Näversöm embroidery while tending her animals. The Näversöm embroidery technique is unusual because it is entirely stitched from the back. The birch bark protected the front of the piece, and the final design was not revealed until the folk art was completely finished. This embroidery would have become extinct had it not been for a Swedish woman, who owned a needlework shop in Hudiksvall, Sweden, who studied the Näversöm stitchery and began teaching this specialized embroidery in the late 1800s. Näversöm had a revival in the 1960s and '70s in Sweden when several instructional articles were published. Näversöm was used as household linens, and in earlier times as lampshades that would display the beautiful artistry as the light shined through the needlework. Examples of new and old patterns are still available from Sweden. Swedish Näversöm MatCream mat in Swedish Näversöm technique. Mat design forms a diagonal cross.embroidery, mats, drawn thread

This ensemble is a highly representative example of the pioneering textile artistry of Prue Acton, an iconic figure in Australian fashion history often celebrated for injecting the energy of the 1960s and '70s "Youthquake" movement into the domestic market. The piece belongs to Acton’s critically acclaimed 1970s "Patch" era. During this period, Acton moved away from the slick synthetics of the Mod era toward natural fibers and whimsical, story-driven collections inspired by the global folk revival and bohemian styles. According to historical archival provenance from similar surviving museum garments, these conversational, pictorial patchwork designs were often ingeniously engineered utilizing high-quality end-of-roll textile remnants. This specific garment beautifully encapsulates the early 1970s pastoral "cottagecore" fantasy, exhibiting how Acton blended commercial garment production with playful, illustrative textile collage.A two-piece daywear ensemble comprising a structured blouse and an elaborate, narrative-driven midi skirt with a coordinating waist sash. Comprised of a semi-fitted blouse of medium-weight slate gray plain-weave fabric. It features brief, extended cap sleeves, a high mandarin-style band collar, and a center-front button closure secured by five self-colored small round buttons. The high-waisted skirt is a full A-line midi-length skirt featuring an intricate, illustrative folk-art narrative applique landscape. The pieced design represents a stylized house or cottage set within a garden. Fabric sections are arranged into vertical stripe configurations mimicking window panes, alongside curved, layered patch elements in multi-colored floral calicos that form bushes and ground structures. The lower tier terminates in a broad, contrasting cream-colored patterned base hem panel. A wide, detachable self-tie waist sash executed in a dense, small-scale floral calico print is intended to be cinched around the high-fitted waistband to form a statement bow at the front.Label: "Prue Acton"prue acton, fashion -- melbourne -- 1970s

These photographs, taken by The Advocate in 2000, feature members of the Klabb Għannejja Maltin Social Club celebrating the opening of their new clubrooms at 6 Gooding Street, St. Albans. The Klabb Għannejja Maltin Social Club was established in Victoria in 1983 to preserve and promote the traditional Maltese folk singing art of għana. Based in St. Albans, the club has played a significant role in maintaining Maltese cultural traditions in Melbourne's western suburbs through music, social events and community activities, providing an important gathering place for generations of Maltese Australians.The images document an important milestone for the club, reflecting the growth of the local Maltese community and the establishment of a dedicated venue for social, cultural and community activities.7769.01 - Klabb Ghannejja Maltin Social Club 6 Gooding Street St. Albans 2000 Photographs (Advocate 240.1).JPG 7769.02 - Klabb Ghannejja Maltin Social Club 6 Gooding Street St. Albans 2000 Photographs (Advocate 240.1).JPG 7769.03 - Klabb Ghannejja Maltin Social Club 6 Gooding Street St. Albans 2000 Photographs (Advocate 240.1).JPGklabb għannejja maltin social club, gooding street, st. albans

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Scrimshaw is regarded as early folk art and is associated primarily with whaling that was opened up in the Pacific at the end of the eighteenth century by sailors mainly from American, English and French vessels. As a result, some of the best scrimshaw from Pacific whales can be found in collections in these countries. Even though sailors must have had plenty of spare time between periods of whaling scrimshaw on whale teeth seems a rarity before the 1830s. One reason may have been the high price paid for whale teeth ivory in this period making scrimshaw on teeth popular only after the market was saturated and the price dropped. The earliest identified engraver of whale teeth is the English whaling master Captain J. S. King who was active between 1817 and 1823. There have been six ships called the Hero in the Royal Navy and this ship was the fourth named Hero, it was a screw-propelled 91-gun and second-rate. In the rating system of the British Royal Navy, this term is used to categorise sailing warships, a second-rate was a ship of the line which by the start of the 18th century mounted 90 to 98 guns on three gun decks. Earlier 17th-century second rates had fewer guns and were originally two-deckers or had only partially armed third gun decks. The Hero was launched in 1858 and sold in 1971. On July 1860 the Prince of Wales embarked onboard HMS Hero, Albert Edward Prince of Wales, was the eldest son of Queen Victoria, and the future King Edward VII, at the time he was then nineteen years of age, and on route to Newfoundland, Canada and the United States on his first state tour. He was the first member of the British royal family to visit North America. In 1860 the Queen had intended to pay a visit to Canada however stress prevented her from travelling. The then Prime Minister Lord Palmerston suggested that “Bertie” the prince of Wales could represent the Queen and on July 10th 1860, Bertie boarded HMS Hero for a tour of Canada and the USA. On July 23rd the ship arrived at Terranova. By the second week of August, the HMS Hero had sailed up the St. Lawrence River and anchored at Quebec. The Prince was successful with Canadian society visiting Quebec and Montreal during his stay. He went on to visit the United States following an invitation by President James Buchanan. His American journey was regarded as a great success. President Buchanan wrote to Queen Victoria: "He “Bertie” has faced a very difficult task for a person his age and his behaviour in all this has been that of his age and position. He has shown himself honourable, Frank and affable and he won the respect of the sensible and wise people". The scrimshaw is believed to be a modern reproduction of a typical scrimshaw scene and engraved very crudely onto a synthetic substance. Scrimshaw art carved into non-natural material in the shape of a whale tooth. The line artwork images of a three-masted, fully rigged ship and an anchor are coloured black. Inscription is engraved into tooth.Engraved "Hero 1870"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, scrimshaw, plastic, resin, replica, prince of wales, british navy vessel, whaling, hms hero, reproduction, carving, engraving

Serafino Trio, City Hall, Bendigo. Wednesday, 31st March 1965, 8.15pm. The Music Advancement Society of Bendigo Presents the First Concert 1965 series. Paul McDermott-Violin, Peers Coetmore-Cello, Mack Jost-Piano. President: J Bright. Joint Hon. Secs. Madge Edgar, Elsie Flanagan. Program One Shilling. Concerts & Lecture - 1965. Lecture Irish Folk Music Margaret Wortley, Art Gallery April 9th. Brian Hansford and Dorothy O'Donahoo, City Hall, June 3rd. Mack Jost, City Hall, 23rd, Prague Quartet, City Hall, October 27th. Advertisements: Allan's, Edgars', Hesse.Boltons Print., Bendigoprogram, music, music advancement society bendigo, serafino trio, city hall, bendigo. march 1965 music advancement society of bendigo first concert 1965 series. paul mcdermott-violin, peers coetmore-cello, mack jost-piano. president: j bright. joint hon. secs. madge edgar, elsie flanagan. concerts & lecture - 1965. lecture irish folk music margaret wortley, art gallery april 9th. brian hansford and dorothy o'donahoo, june 3rd. mack jost, 23rd, prague quartet, october 27th. advertisements: allan's, edgars', hesse.

Sketch used for the advertising brochure for the gallery.A3 cream cardboard black & white sketch of FINDLAY Art Gallery and garden. also name, address and phone number.Findlay Art Gallery 10 FINDLAY Street Cowes Phillip Island Telephone Cowes 522431 Original. Rurric (Pop)shifted from French Island to this house, Cowes, Phillip Island in the early years (primary school) of Dad’s life. (Harry). Note! No front verandah. Enclosure during D L H ownership. Sketch Signed D. Folkes 74.findlay art gallery, de la haye family, houses - cowes

Vol. 5, No. 1, Mar-Apr 2000 CONTENTS ON THE ROAD The Car at Heide 3 ON TOP OF THE WORLD Dandenong Ranges Folk Festival 5 INTERVIEW Felicity Gordon 7 SOUNDS OF HARMONY Gyuto Monks in Eltham 10 BANYULE FESTIVAL 13 WERE ST HILL CLIMB 15 BOROONDARA WRITERS' FESTIVAL 16 WARRANDYTE VILLAGE FESTIVAL 18 DIAMOND CREEK TOWN FAIR 19 TEMPLESTOWE VILLAGE FESTIVAL 20 RECIPES From leading Chefs 21 CAIRO TO CRACOW Middle Eastern Music at Montsalvat 22 POETRY 23 FESTIVAL OF KITES 24 BOOK REVIEW By Michele Lonsdale 25 CD REVIEWS 27 ARTIN ABOUT 28 WINING & DINING 30 ARTISTS SERVICES 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, carly young, plenty views golf park, dynamic vegies, dandenong ranges folk festival, felicity gordon, sounds of global harmony, banyule festival, rosanna fire station community house, bulleen art & garden centre, were street cafe, were street hill climb, bahnhof cafe, walkers wheels, peter glass, eltham wiregrass gallery, boroondara writers festival, warrandyte festival, diamond creek town fair, templestowe village festival, willy wonkas ice cream, gourmet food, ciaro to cracow, fleur de feliss florist, mia mia gallery, festival of kites, bi-wize quality paints, kinglake gallery, andy cowan, wild dog hill studio, montsalvalt, ian collard, geoff achison, bridget allen, thompsons pharmacy, volumes