Showing 187 items matching "woman's day"
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Kiewa Valley Historical SocietyHat Pin, circa 1920
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0356millinery, hat pin, female head wear, hat accessory -
Kiewa Valley Historical SocietyPin Hat, circa 1920s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0287hat pin, female head apparel, clothing accessories -
Kiewa Valley Historical SocietyHat Pin, circa 1920 - 1930
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsBrass Pin, two 3.5cm cones, gold coloured tapered down to imitation half peal centre piece Cones stamped with small flower petalsmillinery, hat pin, female head wear, hat accessory -
Kiewa Valley Historical SocietyHat Pin
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHead of pin is ball shaped covered blue/silver reflective fastened sequin. Each sequin is attached by a seed bead of dark blue colourmillinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyHat Pin
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0352 for same pin except details are highlighted with darkened outlines(may be dirt)clothing, millinery, costume, women hat accessory -
Kiewa Valley Historical SocietyHat Pin
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0351 for a cleaner itemmillinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyHat Pin
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsElongated pearl on silver coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyPin Hat, circa 1920 - 1950
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoors This item is similar as the one worn by the "Queen Mother" in the film "The Kings' Speech"Silver coloured pin with a thistle shaped head also in silver/chrome colour. Sleek in appearancemillinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyPin Hat
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsGold coloured pin adorned with two curls. One with fourteen small glass/diamond stones one red/ruby type stone three empty stone clasps gold coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyPin Hat, circa 1920 - 1950
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a turquoise glass ball head with a long needle. It is in the same style as items KVHS 0358 and KVHS 0359.millinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical SocietyPin Hat, circa 1920 - 1950
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a yellow/amber glass ball head. It in is the same style to KVHS 0357 and KVHS 0359clothing, millinery, costume, women hat accessory -
Kiewa Valley Historical SocietyPin Hat, circa 1920 - 1950
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsA long hat pin with a royal blue glass head. It is in the same style to items KVHS 0357 and KVHS 0358clothing, millinery, costume, women hat accessory -
Kiewa Valley Historical SocietyPin Hat, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis long hat pin is adorned with a flat, oval-shaped, piece of black plastic. A raised pattern of small distinctively dome shaped molded plastic infill together with three larger shaped domes. Identical to KVHS 0361costume, female head wear, accessories hat pin -
Kiewa Valley Historical SocietyHat Pin, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis long hat pin is adorned with a flat, oval-shaped, piece of black plastic. A raised pattern of small distinctively dome shaped molded plastic infill together with three larger shaped domes. Identical to KVHS 0360costume, female head wear, accessories hat pin -
Kiewa Valley Historical SocietyHat Pin, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a shiny black ball head, probably plasticcostume female head ware accessories, hat pin -
Kiewa Valley Historical SocietyPin Hat, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has the letter "J" as its head.costume female head ware accessories, hat pin -
Kiewa Valley Historical SocietyPin Hat
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin is adorned with a flat metal circular head. There are two circles of narrow patterns around the outer edge. The centre is decorated with three shiny black faceted shapes producing a spoke like appearancecostume female head ware accessories, hat pin -
Kiewa Valley Historical SocietyHat Pin, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin is adorned with a black shiny plastic "tear drop" shape head on a long shaft This is identical to KVHS 0366costume female head ware accessories, hat pin -
Kiewa Valley Historical SocietyPin Hat, circa 1940s to 1950s
... is not of a high monetary value it can be assumed it was a day to day... it can be assumed it was a day to day working woman apparel ...Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorshis hat pin is adorned with a black shiny plastic "tear drop" shape head on a long shaft This is identical to KVHS 0365costume female head ware accessories, hat pin -
Kiewa Valley Historical SocietyDiary Extract - Trip to Bogong High Plains Xmas 1934 & DVD photos, original diary 1934
... horses and camping on a 9 day hike. One of the woman, 'Bill... and camping on a 9 day hike. One of the woman, 'Bill' describes each ...The Melbourne Women's Walking Club enjoyed bush walking as a hobby travelling to the north east of Victoria, using pack horses and camping on a 9 day hike. One of the woman, 'Bill' describes each day in detail - what they did, where they went and what they saw giving an insight into walking and the Bogong High Plains in the mid 1930's before the Kiewa Hydro Electric Scheme opened up the area. The diary mentions a photo being taken by Mr Blackwell on the 9th day, New Year's Eve 'from a lovely bush track from which, looking back at intervals we got our final glimpse of Fainter. 5 miles from from our destination'.Historic: This extract from the diary of 'Bill', a member of the Melbourne Women's Walking Club gives an insight into walking in the mid 1930's and describes the Bogong High Plains as it was then before it was opened up with a road built during the Kiewa Hydro Electric Scheme. It describes the area in summer including the flora & fauna, cattle grazing & cattlemen, the huts, the gauges set up by the State Electricity Commission of Victoria, the people working up there, the weather and the lifestyle of the walking group - their food, duties, swimming etc.. Six double sided typed photocopied yellow pages describing the Melbourne Women's Walking Club trip to the Bogong High Plains at Christmas in 1934. Also one page photocopied of the programme for Year 1934-35 with an arrow pointing to the above trip and a page with a photocopied sepia photo of the "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934. DVD 12 photos of the trip arrow showing trip from Programme. Title of photo "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934melbourne women's walking club. bogong high plains. camping. pack horses. cattlemen's huts. -
Eltham District Historical Society IncDocument - Folder, Pugh, Clifton
... of art", Woman's Day, 16 January 1894. Describes Clifton Pugh's... of art", Woman's Day, 16 January 1894. Describes Clifton Pugh's ...The artist, Clifton Pugh, grew up in Briar Hill. He served in WWII and settled at Cottles Bridge, building his own house and forming Dunmoochin artist colony. He married three times and had two sons. He painted the portraits of many eminent people. Contents Newspaper article: "This is the house that Cliff built", The Age, 2 May 1964. Description of Clifton and Marlene Pugh's house.. Folder: Brief biography Clifton Pugh. Photocopy section of "Clifton Pugh: Patterns of a lifetime", Traudi Allen, Nelson, Melbourne 1981. Magazine article: "Clifton Pugh: His home is a work of art", Woman's Day, 16 January 1894. Describes Clifton Pugh's house at Hurstbridge. Newspaper article: "A guide to our orchids", Diamond Valley News, 14 February 1984. Clifton Pugh contributed to the book "A Year of Orchids". Newspaper article: "A family tradition is continued". Diamond Valley News, 28 February 1984. Clifton Pugh's childhood and career. Magazine article: "Clifton Pugh's bush paradise", Home Beautiful, May 1989. Clifton Pugh's house and studio. Clipping: "Clifton Pugh award winning artist". Clifton Pugh currently working on illustrations for a book, with Pam Blashki, on wood chipping ["A Kingdom Lost: A Story of the Devastation of Our Wilderness", published 1989]. Newspaper article: "Funeral drama shows the Pugh touch", The Age, 19 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Friends bid farewell to Pugh". Herald-Sun, 19 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Friends paint a lowing portrait". Herald-Sun, 19 October 1990. Funeral and obituary of Clifton Pugh. Newspaper article: "Montsalvat mourns passing of a great". Diamond Valley News, 23 October 1990. Clifton Pugh's funeral at Montsalvat. Newspaper article: "Loner who was a fair dinkum mate". Diamond Valley News, 23 October 1990. Obituary of Clifton Pugh. Newspaper article: "Pugh's last works", Tempo, The Age, 17 July 1991. Clifton Pugh was illustrating Helen Lunn's book 'The Digger's Mate' when he died. Newspaper article: "Dunmoochin's rich tradition to live on", Diamond Valley News, 29 October 1993. Dunmoochin Foundation Board to advertise lease of studios. Newspaper article: "Clean up for Cliff", Herald Sun, 8 December 1993. Preparation for exhibition of Clifton Pugh's work at LaTrobe University Art Museum. Flier: Exhibition "Clifton Pugh: A Retrospective", Montsalvat, 12 to 14 November 1999. Newsletter: "Dunmoochin: an edited version of the history prepared for the Heritage Study by David Bick", Eltham District Historical Society newsletter 140, September 2001 Newspaper article: "Hail rising of Phoenix", Diamond Valley Leader, 20 July 2005. Dunmoochin Foundation and official opening of buildings Phoenix I and Phoenix II after the 2001 bush fire. Newspaper article: "Legacy to the arts", Diamond Valley Leader, 10 August 2005. Dunmoochin Foundation and the rebuilding after the 2001 bush fire. Newspaper article: "Tiwi art to go on show", ?publication, ?2002. Shane Pugh, Johnny Young and Ian McKimmie organising exhibition of Tiwi art to mark 100th birthday of Strathewen hall. Flier: Exhibition "Clifton Pugh AO: Reflections of Dunmoochin". Briar Hill Primary School, 23 to 25 November 2007. Printout: "Dunmoochin", http://www.standrews.vic.edu.au/dunmoochin.html. 19 May 2004. Newspaper article: "Hail rising of Phoenix", Diamond Valley Leader, 20 July 2005. Rebuilding at Dunmoochin after bushfire. Newspaper article: "Legacy to the arts", Diamond Valley Leader, 10 August 2005. Rebuilding at Dunmoochin after bushfire. Newspaper article: "Artist's legacy on show". Dunmoochin one of four Cottles Bridge sites for a tour by Trust for Nature, 2 and 3 October no year. Newspaper clippings, A4 photocopies, etcclifton pugh, hurstbridge, adriane strampp, princess michael of kent, arthur boyd, john brack, charles blackman, fred williams, shane pugh, marlene pugh, professor jock marshall, briar hill victoria, cottles bridge victoria, turner family of briar hill, yandell family of briar hill, st helena church, st helena road, briar hill primary school, eltham high school, dunmoochin, campbell beardsell, david beardsell, ivanhoe boys grammar school, national gallery art school, hurstbridge grevillea, montsalvat, george dreyfus, kew city band, justus jorgensen, sir edward "weary" dunlop, prue acton, john howley, fay dunmore singers, derryn hinch, jeff kennett, tom uren, dennis gowing, matcham skipper, kyra skipper, gordon ford, hilary jackman, peter graham, robert marshall, john greaves, jenni mitchell, rodney roschollor, gough whitlam, sir john kerr, lionel murphy, manning clark, arts policy committee of victorian branch of the australian labor party, latrobe's art museum, rudy komon gallery, leonard french, jon molvig, rick armor, john olsen, latrobe university, donovan pugh, trevor welshman, australia council visual arts board, lesley alway, dailan pugh, paul barnett, helen nixon, helen lunn, a year of orchids book, campbell bearsdell, david bearsdell, johnny young, ian mckimmie, tiwi art, strathewen hall, rhonda noble, latrobe university art museum, traudi allen, clifton pugh patterns of a lifetime book, trust for nature, randall robinson -
The Beechworth Burke MuseumAudio - Oral History, Jennifer Williams, Mrs Val Mason, 5 January 2001
Mrs. Valerie (Val) Mason (1927-2019) was a local sheep farmer, business-woman, Beechworth shire councillor, and mother to five children. With her husband, Charles, Mrs. Mason developed and managed the Big Valley farm estate, at Everton, which is now part of a vineyard and farm stay. Mrs. Mason was instrumental in introducing a 'paddock to plate' philosophy and business model, opening a butcher shop on the farm in 1973. Concerned with improving infrastructure and developing economic opportunities in the region, Mrs. Mason successfully stood as a local council representative for South Riding in the United Shire of Beechworth, and later become the first woman Shire President in 1979. Mrs Mason was a member of the local Business and Professional Women's Club for 37 years. 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 Burke.Mrs. Mason's story is historically significant for understanding economic and social changes in the Beechworth region during the latter half of the twentieth century. As a council representative, issues such as road and infrastructure modernisation and the transition from traditional government employment sectors, like Beechworth's care institutions, were challenges for local government. As a farmer and local employer, Mrs. Mason's story is testimony to the region's economic diversification as businesses like Big Valley farm shop helped shape the region's contemporary character. Mrs. Mason was among the first women to broach the traditionally all-male Beechworth Council Chambers and her story is socially significant for understanding the changing role of women in rural and regional Australia. This oral history recording offers interpretive capacity for social history themes and may be compared with other oral histories in the Burke Museum's collection. 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 preserved.This 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.Mrs Val Mason /listen to what they say, beechworth, oral history, burke museum, working women, trail blazers, farm to plate, farm shop, paddock to plate, woman farmer, united shire of beechworth, rural and regional women, beechworth's first woman shire president, women in leadership positions, women leaders, australian settlement history, settler societies, victorian gold rush, heritage tourism, culinary tourism, regional land use, indigo winery, farm stay, social history -
Orbost & District Historical Societymagazine, Woman and Home, September 1940
Women’s magazines during WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate skyrocketed during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all.This is an example of an English women's magazine published during WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests.A 64 pp magazine, titled Woman and Home and Good Needlework Magazine. The front cover has a a coloured picture of a man in a uniform and woman sitting at a round table drinking tea and photographs of knitted jumpers, the patterns of which are inside the magazine.Handwritten on front cover in pencil -Mehlert -
Orbost & District Historical SocietyMagazine, The Australian Women's weekly, Sept, 1945, September 1 1945
The magazine was started in 1933 by Frank Packer as a weekly publication. The first editor was George Warnecke and the initial dummy was laid out by WEP (William Edwin Pidgeon) who went on to do many famous covers over the next 25 years. It is the most widely read magazine in the history of Australian publishing. During wartime despite printing restrictions, and it began publishing coloured photographic covers.This is an example of anAustralian women's magazine published during WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests.A 32 pp magazine, titled The Australian Women's Weekly. On the front cover is a coloured drawing of a man and a woman sitting under a tree. The woman is pouring tea from a billy into the tin cup held by the man. A tethered horse is grazing to their right and a small brown and white dog is in the foreground. This illustration is signed WEP (William Edwin Pidgeon). The magazine contains advertisements, stories and recipes.The special 4 page peace supplement is missing from the centre.In handrwitten pencil on the front cover - Gibbs.australian-women's-weekly magazine-ww11 -
Orbost & District Historical Societymagazine, Woman and Home, October 1951
Women’s magazines just after WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate had skyrocketed during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all.This is an example of an English women's magazine published post WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests.A 64 pp magazine, titled Woman and Home and Good Needlework Magazine. On the front cover is a coloured drawing of a fashionably dressed and made-up woman with red hair and holding a bunch of similarly coloured flowers (gerberas?) At the bottom left are knitted baby clothes - pattern inside - as well as a man and woman wearing fashionable clothing - suggesting patterns are inside the magazine. The magazine cost 1/6 and is dated October 1951.magazine-woman-and-home -
Orbost & District Historical Societymagazines, Needlework Illustrated; Australian Home Journal, September 1949; May 1963
Needlework Illustrated is issue 196 and cost 1/-. it was published quarterly. Australian Home Journal is the May 1963 issue. Women’s magazines just after WWII played a “reflecting role,” including topics of readers’ interests as well as containing news items. Women’s employment rate had grown during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly home crafts. Articles as well as advertisements presented information on keeping the family healthy with guidelines for thrifty shopping and advice on how to look good through it all. Patterns and instructions were provided for women to create home articles and clothing. The main sources for kntting and needlework designs available to women were in journals, magazines and pattern books. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes. These are examples of women's magazines. They give practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests --------------------------------------------------------------------------------------------------------------------------------------------------------- Two magazines. 3097.1 contains patterns, instructions, advertisements and photographs. It has a coloured cover - a pink background, black print an drawings of a woman wearing a top embroidered with roses and examples of needlework. 3097.2 contains patterns, advertisements, correspondence, and stories. It has a coloured cover with a photograph of a woman wearing a knitted jumper and three sewing patterns.magazine- needlework-illustrated magazine-australian-home-journal -
Warrnambool and District Historical Society Inc.Domestic object - Dressing bag, Mary Glass Dickson, Circa1885
John Glass Cramond 1829 and James Dickson 1831-1910 were founders of a large drapery store. Both were Scots and both came separately to Australia in 1852. Cramond initially came for gold but soon opened a store in St Kilda with a post Office attached and he was the first post master there. Dickson was a farmer’s son but became a draper and while he was unsuccessful on the Bendigo diggings and then returned to Melbourne where he met Cramond and soon after they opened a store on Lonsdale Street. They opened their business in Warrnambool in 1855 as a general store with groceries, drapery and ironmongery. Both partners were involved with the community and James Dickson was an original director of the Warrnambool Woollen Mill 1909 and the Warrnambool Cheese and butter factory. He also served on the committee of management of Warrnambool Base Hospital. This case was a wedding gift from James Dickson Jnr to his wife Mary Glass Cramond on the occasion of their wedding. This item has significance on a number of levels. It belonged to a member of one of Warrnambool’s earliest pioneering families and it marks the occasion when the two families of Cramond and Dickson were linked through the marriage of James Dickson jnr and Mary Glass Cramond. The firm played a significant part in the development of the city and traded for nearly 150 years. It therefore has social significance to Warrnambool. The item is well provenance with the case initialed and items within the case monogrammed. The case and its items are aesthetically quite beautiful as well as being typical of travelling or dressing cases of the more well to do, of the time. Mappin & Webb were manufacturers of some standing with the Mappin name appearing in manufacturing as early as 1775.The company has held a royal warrant as silversmiths since 1897 to the present day and as crown jeweler since 2012. Throughout this time, they have manufactured quality items for the luxury market. It provides an insight into the way ladies travelled and the items which they considered essential. This consists of a black leather with leather handle attached with brass fittings. Middle opening with side pocket on one side with metal catches. Inside has removable sections for holding the numerous containers and items belonging to the case. Interior of the case is dark blue satin. The items contained within the case are as follows: 321.1 Luggage case 321.2 Glass bottle rectangular, silver monogrammed lid, empty. 321.3 Tall round glass bottle, silver monogrammed lid, empty. 321.4 Small glass bottle with pink powder, silver monogrammed lid. 321.5 Small multi sided bottle with stopper and brass hinged lid. 321.6 Tall round bottle with silver monogrammed lid. 321.7 Tall thin multi sided bottle with brass lid. 321.8 Cream coloured monogrammed jar cotton wool inside. 321.9 Clothes brush rectangular cream back. 321.10.1Glove stretcher bone coloured .10.2 Case black leather. 321.11.1 hair comb cream with silver edge .11.2 Case black leather 321.12 Hair brush cream handle 321.13Spatula cream monogrammed 321.14 Mirror, silver round with handle. 321.15 Writing compendium .1 Case black leather .2 Pen with nib .3 Lead pencil .4 Navy satin covered blotting book 321.16 Inkwell glass bottle in small black leather case. 321.17 Match striker in leather case. 321.18 Mirror in black leather case rectangular 321.19 Small case for visiting cards. 321.20Sewing kit rectangular, contains threads and needles pkts x 3 321.21Container, small, hinged tortoise shell patterned. 321.22.1 Manicure set .2 Scissors small .3 Scissors large .4Corkscrew with Mother of pearl handle .5 Pocket knife with Mother of pearl handle .6Tweezers with Mother of pearl handle .7 File with Mother of pearl handle .8 Fine hook Mother of pearl handle .9 Bodkin .10 Bodkin 321.23 Hairbrush oval silver backed 321.24 Mirror silver handled hand mirror. 321.25 Hairbrush wooden handled with Mother of pearl inlay. 321.26 Cylinder, silver with removable lid and small phial of iodine labelled Felton’s pocket iodine. 321.27 Phial small glass with gold decorations. 321.28 Inhaler with insert 321.29 Thimble, metal. 321.30 Silver backed hair brush 321.31 silver backed clothes brushEngraved on side pocket: M.G.D. Mappin and Webb Sheffield and London. Some of the items are monogrammed as per the list above. A number of the glass bottles have lids hallmarked Mappin & Webb London and Sheffield makers stamped inside lid with hall marks history of warrnambool, cramond and dickson, mary glass cramond, dressing bag, woman's toiletry bag 1880 -
Warrnambool and District Historical Society Inc.Document - Mary J Irwin Letters of Administration 1874
This document shows that Mary Irwin of Peterborough, Victoria, died in April 1892 without making a will and the Letters of Administration were granted to her husband, William Irwin. However he died in 1901 without having fully administered Mary Irwin’s estate. In turn the estate administration was passed over to Charles McGillivray of Peterborough and one of Mary Irwin’s sons, William Irwin, residing in New Zealand. This document was drawn up in 1907, fifteen years after Mary Irwin’s death. She left property to the value of £100. No other details on Mary Irwin are available. Tait collection: item 11 of 62This document is of interest because it was drawn up by a local Warrnambool solicitor, Ernest Chamber. He had a practice in Kepler Street, Warrnambool with the known dates, 1897 to 1910, with other offices in Koroit and Port Fairy during the same time. His manager in Warrnambool was Thomas Goodall who appears to have passed this document on to lawyers continuing on in the Kepler Street premises until it was found in the building once used by the legal business of Mackay Taylor.This is a piece of parchment paper folded in two and written on the back and front in brown-coloured ink (perhaps originally black). There is a seal of the Supreme Court of the Colony of Victoria attached with a green ribbon and three red stamps of the Master in Equity in the Supreme Court. Apart from some yellow staining the document is in good condition.‘In the Supreme Court of Victoria in the Probate Jurisdiction in the unadministered Estate of Mary Jane Irwin, late of Peterborough in the County of Heytesbury in the State of Victoria, married woman, deceased intestate, Letters of Administration, de bonis non. I certify there is no duty or fee payable on these Letters of Administration, Dated 8th day of November 1907, Officer under Sec. 96 Act.1060, Extracted by E.J.W.Chambers, Proctor, Warrnambool’mary irwin, solicitor, warrnambool, peterborough, ernest chambers -
Warrnambool and District Historical Society Inc.Book, The Tears of Forgetting, 1914
This is a novel written by Ethel Patricia Stonehouse under the name of Lindsay Russell. She was born in Nhill in 1883 and was educated at Charlton State School. From 1894 on she wrote verse and short stories and worked as a journalist in Melbourne. She published her first novel in Melbourne in 1912 and lived for a time in London where she met Dr John Scott whom she married in 1914. After the First World War she came to live at Mortlake and her novel writing ceased. Most of her novels are about women rebelling –against Catholicism, Calvinism, the English class system and the restraints of marriage. Her railings against the Catholic Church and the oppression of women caused her to be a controversial figure, especially in Mortlake, but she was a popular novelist with one of her books, ‘Smouldering Fires’, selling over 100,000 copies in Australia alone. She died in 1964. No details on the inscription or the recipient of the book, ‘Isie’ have been found. The name, ‘Glasgow’ suggests that the book at some stage was connected with the Glasgow family of Wangoom. They were important local dairy farmers and cheese makers in the late 19th and early 20th centuries.This book is of great interest because it was written by an Australian woman and one who lived for many years in Mortlake, a town close to Warrnambool. The connection with the Glasgow family is also of interest. This is a hard cover book of 320 pages. The book has a dark blue cover with gold lettering on the front cover and spine and some gold scroll work on the front cover. The book has a Prologue and 22 chapters and contains advertisements at the front and the back of the book for other books published by Ward, Lock & Co. There is a black and white illustration at the front of the book with a piece of tissue paper covering it. The page at the front of the book that contains an inscription is detached. The inscription and another annotation are written in black ink. The cover is partly detached from the pages and the cover is marked and worn. ‘To Isie Wishing her many happy returns of the day From Father, 15-9-14’ ‘Glasgow’ lindsay russell, ethel stonehouse, history of mortlake, australian literature, warrnambool history -
Warrnambool and District Historical Society Inc.Photo, Negatives Pioneers of Warrnambool & District board, 1975
The following extract written by Karen Tyers Warrnambool Family history group explains the journey and background of the Warrnambool Pioneer Board. Warrnambool is fortunate to have a photographic record of some of its pioneers. They are commemorated on the Pioneers’ Board. The Pioneers’ Board with its elaborate frame measures approximately 2 metres by 3 metres and holds 204 photographs of Warrnambool’s early pioneers. In 1907 Edward Vidler, secretary of the Warrnambool & District Progress League and Chamber of Commerce and Industry, invited descendants of those who arrived in Warrnambool before 1860 to send photographs of their pioneer ancestors to commemorate the Diamond Jubilee of Warrnambool’s foundation in 1847. A charge of £1 for each photograph was set. Lillian Foyle of Foyle’s photographic studio, was engaged to colour the photographs and undertake the associated artwork. By December 1907 the honour board was on exhibition in Bernard’s Gallery, Melbourne. Unfortunately Vidler left Warrnambool in 1907 with the honour board expenses unpaid. The Progress League refused to take responsibility for the debt and the honour board remained with Foyle’s Studio for 17 years. In 1922 subscriptions were called for and £43 16s 6d was acknowledged. After a final determined effort was made in 1924, the £100 debt was collected and Charles Foyle, Lillian’s brother, accepted settlement of the debt. On 2 May 1924 the honour board was moved from Foyle’s Studio to the Art Gallery. For many years the honour board was in the entrance passage to the public library. After the library was demolished in 1975 the pictures were removed to the Art Gallery where it was restored by the Director of the Art Gallery, Jack Welsh. The board was later stored in an empty front room at Murweh and the dismantled frame stored in an outbuilding. By 1982 the honour board was in the foyer of the City Council offices. During the renovations of the interior of the council offices in 1997 the honour board was moved to the library where it remained until moved to HeritageWorks in March 2014. For a full list of names go to http://www.warrnamboolhistory.org.au/warrnambool-history/pioneers-board/ The Warrnambool pioneer Board is one of those rare items which can claim significance on most if not all of the primary and comparative significance criteria. As a collection of early pioneers in the district it provides a valuable resource for historians and researchers. It gives light to a social scene in the district much of which can be verified from diaries and other items held by the historical society and also available on websites such as Trove. It has relevance to this day with many family historians enquiring of people included on the board. The collation of the board is a story of great interest in itself. While there are images of 204 men on the board the only reference to a woman is Lillian Foyle the artist who was responsible for much of the artistic work on the board. It compares well in size and quality with a number of montages, and collations of images from around the state of Victoria. It is by no means a complete list of pioneers of the district but there are many well- known ones included. They come from a wide range of backgrounds and as such presents a cross section of our earliest settlers in the district from 1840's to 1860’s.Cardboard folder with black and grey mottled cover with 3 metal studs along spine and white paper label with the word negative printed in black on front cover. Inside is a printed index of pioneers with reference relating to board number and negative number. There are three loose strips of negatives and 20 pages with pockets to hold strips of negatives. Up to page 13 have negatives strips inserted. There are 15 large and one small print of some of the pioneers from the board.This negative album was prepared by John A Welsh MBE JP Dip M Eng Director Warrnambool Art Gallery 1/7/1975 to 11/12/1977.There are a number of grey lead notations possibly corrections against some of the names in the index.warrnambool, warrnambool pioneer board, jack welsh, warrnambool art gallery, pioneers of warrnambool, foyles photography, lillian foyle, bernard framers, w mcaree,
