Showing 985 items
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Women's Art Register
Book - Catalogue, National Gallery of Australia, Joy Hester and Friends, 2001
Catalogue accompanying exhibition at National Gallery of Australia in 2001 with two essays interweaving Hester's life and art, 1920-1960.Booknon-fictionCatalogue accompanying exhibition at National Gallery of Australia in 2001 with two essays interweaving Hester's life and art, 1920-1960.contemporary art society, angry penguins, painting, watercolour, gouache -
Women's Art Register
Book, Angus & Robertson Publishers, Women on Women. Twelve Photographic Portfolios
Published in Italy in 1979 exploring the theme of women and sexuality these diverse images reveal how women see themselves, their bodies and their changing roles, characterised by inventiveness, intimacy and sensuality.booknon-fictionPublished in Italy in 1979 exploring the theme of women and sexuality these diverse images reveal how women see themselves, their bodies and their changing roles, characterised by inventiveness, intimacy and sensuality.portraiture, body, colour photograpy, erotica -
Women's Art Register
Book - Novel, Pru La Motte, A Perverse Romance. A Tourist Dance to Art and Satirical Provocation, 2017
A satirical illustrated tale of artist Hephzibah Brown who is persuaded by Cedric the Imp of Perversity to follow him to the recently independent Ghana to compose a tourist book he will write and she illustrate. She follows him but changes it to a novel about two tourists, one pragmatic and one an idealistic, a woman, to examine "real life'' being a form of transience.fictionA satirical illustrated tale of artist Hephzibah Brown who is persuaded by Cedric the Imp of Perversity to follow him to the recently independent Ghana to compose a tourist book he will write and she illustrate. She follows him but changes it to a novel about two tourists, one pragmatic and one an idealistic, a woman, to examine "real life'' being a form of transience.collage, drawing, travelogue, weaving, sexuality, satire, writing -
Women's Art Register
Book, Virago Press Limited, The Art & Life of Georgia O'Keeffe, 1986
Illustrated, extensively researched overview of O'Keeffe's life and practice including images of works, photographs by her partner Stieglitz, letters and interviews.Booknon-fictionIllustrated, extensively researched overview of O'Keeffe's life and practice including images of works, photographs by her partner Stieglitz, letters and interviews.painting, abstraction, watercolour -
Women's Art Register
Book, Germaine Greer, The Obstacle Race. The fortunes of women painters and their work, 1979
... The Obstacle Race. The fortunes of women painters and their... The Obstacle Race. The fortunes of women painters and their work Book ...Traces the social, educational, and psychological barriers for women artists from the Middle Ages to the early 19th century to gain recognition, most relying on relationships with artists in their families to gain success. or conversely denied success through partnerships with male painters.Book non-fictionTraces the social, educational, and psychological barriers for women artists from the Middle Ages to the early 19th century to gain recognition, most relying on relationships with artists in their families to gain success. or conversely denied success through partnerships with male painters. portraiture, flowerpainting, miniaturists, still life -
Women's Art Register
Book, Cindy Nemser, Art Talk. Conversations with 12 Women Artists, !975
Interviews with 12 significant women artists, predominantly working in North America. The interviews start include a brief biography and black and white photos of each artist,and images of their work.Booknon-fictionInterviews with 12 significant women artists, predominantly working in North America. The interviews start include a brief biography and black and white photos of each artist,and images of their work.sonia delaunay, louise nevelson, lee krasner, alice neel, grace hartigan, marisol, lila katzen, elanor antin, audrey flack, nancy grossman, barbara hepworth, eva hesse -
Women's Art Register
Book - Anthology, Nina Felshin, But is it Art? The Spirit of Art as Activism, 1995
A collection of essays by art critics, historians and journalists exploring 12 individual and group practices of activist art making. An overview of the dynamic exhibitions, events, happenings and cultural practices engaged in creating social change.BookA collection of essays by art critics, historians and journalists exploring 12 individual and group practices of activist art making. An overview of the dynamic exhibitions, events, happenings and cultural practices engaged in creating social change.public art, collective, interdisciplinary, body, racism, durational art, social practice, museology, feminism, collaboration -
Women's Art Register
Book, Joan Kerr, Heritage. The National Women's Art Book, 1995
500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology -
Women's Art Register
Book, Gillian Swanson & Patricia Wise, Going for Broke. Women's Participation in the Arts and Cultural Industries, N/A
Study commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.BookStudy commissioned by Arts Queensland and the Australia Council in 1994 to address the lack of published information on women's involvement in the arts.regionalism, cultural industraies, equity, professional recognition, indigenous women, multiculturalism -
Women's Art Register
Book, Barbara Hall and Jenni Mather, Australian Women Photographers 1840 - 1960, 1986
Arising from research for an exhibition of the same name, which toured Australia 1981- 1982 the book covers the work of 45 amateur and professional photographers and their lives as innovators and travellers. Many of the works come from private collections and have not been previously published.Booknon-fictionArising from research for an exhibition of the same name, which toured Australia 1981- 1982 the book covers the work of 45 amateur and professional photographers and their lives as innovators and travellers. Many of the works come from private collections and have not been previously published.self portraiture, self-portraiture, pictorialism, home magazine, studio photography, melbourne society of women painters and sculptors, olive cotton, ruth hollick -
Women's Art Register
Book - Anthology, Joan Kerr and Jo Holder, Past Present. The National Women's Art Anthology, N/A
... Final work in the National Women's Art Project which Joan... Richmond melbourne Final work in the National Women's Art Project ...Essays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.non-fictionEssays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.indigenous art, political art, gender, represenation, museology, photography, installation, graphic design, collaborative practices -
Women's Art Register
Book, Judith Brooks, The Women's Gallery 1988 - 1995, 2019
Documents every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.BOOKnon-fictionDocuments every event in the volunteer-run Women's Gallery, which ran June 1988 until December 1995, in bohemian Brunswick Street Melbourne and showed 119 solo and group exhibitions, and hosted book launches, music and theatre performances, seminars and poetry readings.solo and group exhibitions, spiritual art, political art, portraiture, iwd exhibitions, collaborative prectice, collective practice -
Women's Art Register
Book, Harper Collins, Confessions of The Guerilla Girls, 1995
An illustrated survey of the work of the Guerrilla Girls with interviews, an essay by Whitney Chadwick, and four pull-out postcards by the Guerrilla Girls.non-fictionAn illustrated survey of the work of the Guerrilla Girls with interviews, an essay by Whitney Chadwick, and four pull-out postcards by the Guerrilla Girls. feminist art, political art, urban art, street art, activism, posters -
Port Melbourne Historical & Preservation Society
Book - Port Melbourne Town Hall bookings, No 5 Australian 1916 Rough Diary, 1916
Diary of hall events, Port Melbourne Town Hall 1916, listing e.g. public meetings, bazaars. e.g. Womens Welcome Committee. Records of hours worked by employeesnear the front on "Notes from 1915" page. Beige cover with black printing on cover; general printed pages at front including advertisements and "The Customs Tariff"local government - town of port melbourne, port melbourne town hall, social activities -
Churchill Island Heritage Farm
Textile - Lace Fichu, C 1860
Fichu is a term used replacing the kerchief or neckerchief and comes from the French. It was worn over the shoulders to preserve modesty for low necklines or to conceal the bodice hooks or laces used for closing. This hand-made Maltese lace fichu is exquisitely worked in silk. Judging by the photos provided it is quite large and would possible used to cover evening décolletage. It appears to be around 30cm in width and about 70cm in length and being silk would be quite warm for the lady wearing it and indicate social status and wealth. Maltese lace became very popular after being displayed at the Great Exhibition in London in 1851. It began as a needle lace but Lady Hamilton Chichester imported lace makers from Genoa in the mid 1800s and converted the needle lace patterns to be worked on bobbins which made it quicker. The lace is worked on long thin lace pillows and usually includes the 8 pointed Maltese Cross in the pattern, it is made in narrow widths which are sewn together to make bigger pieces such as in this fichu. Another feature of Maltese lace is the “wheat ears” or in this case petals made of plaits or tallies. There is so much work in this piece as all of the flowers are worked so close together that they appear to be solid fabricThe Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess womenBobbin silk Maltese silk bobbin lace 6 petal tallies. Lace fichupackaged with note "Fichu Maltese Lace c 1865"janet amess lace collection, lace, churchill island, janet, amess, bobbin, maltese, silk, embroidery -
Churchill Island Heritage Farm
Textile - Bed Jacket, Cuff, 1860
This is a fine cotton bed jacket decorated with beautiful whitework embroidery. Whitework is any type of embroidery where the threads worked are the same colour as the base fabric. It is usually worked on white linen but this could be worked on Hardanger fabric which is 22 thread count cotton. The embroidery is a combination of types but drawn thread work and Hardanger work can be clearly seen on this garment.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Bed Jacket with open frontPackaged with note: "Limerick lace bed jacket Janet Amess 1860 from Kel Bright collection with separated cuff".janet amess lace collection, lace, churchill island, janet, amess, bed, jacket, cuff, garment, clothing, princess, machine, bobbin -
Churchill Island Heritage Farm
Clothing - Petticoat
This elegant petticoat has been made with rows of hairpin crochet interspersed with traditional crochet. Hairpin crochet is worked over a ‘loom’ to keep all of the loops the same length. What a special wedding petticoat this is and perhaps the bride had worked it herself to keep in her ‘hope chest’ or trousseau. The thread used for this project is a machine braid. Note that this is only a half petticoat as the bride would have worn a camisole under the bodice of her gown.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women. white petticoat, with crochet trim, and a machine made elasticised waist bandPackaged with note: "Wedding petticoat. Hand crocheted. Handmade button holes. Pure cotton. Machined waist band".janet amess lace collection, lace, churchill island, janet, amess, petticoat, garment, clothing, machine, braid, crotchet -
Churchill Island Heritage Farm
Clothing - Blouse, 1970s
This bed jacket was, as the enclosed note stated, “probably hand made in Asia” and has been identified as Chinese 20th century by the Lace Group Embroiderers Guild. The insertions at the wrist are very fine handmade Irish crochet with the treble fans and Clones knots visible. The embroidery on the reminder of the jacket has also been executed by hand. Being white work is quite unusual for Chinese embroidery as it is traditionally colourful or monochromatic such as red work or blue as in the willow pattern. Perhaps this was made with the Western market in mind.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess womenChinese 20th C Hand crocheted insertions. Hand embroidery. White blouse/bed jacket.Packaged with note "Light bed jacket. Probably hand made in Asia c 1970 judging by size tag '14'"amess lace collection, lace, churchill island, frances, janet, jane, amess, embroidery, cotton, chinese, hand, crotcheted -
Fair Work Commission- Sir Richard Kirby Archives
Memorandum, Memorandum to all Female registry staff
A4 typed sheet Memorandum to all female Registry staff. Has a list of what is "Not Suitable" and what is "Suitable" office attire.Signed by K. D. Marshall, Industrial Registrarclothes, women, australian public service -
Ithacan Historical Society
Photograph, Embroidered Blouse
... consisted of the beautifully crafted work of the women. In the 30's ...The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline. -
Ithacan Historical Society
Photograph, Picnic Group, 1920s
From the outset the Ithacan Philanthropic held at least one family picnic a year. They either took place at a popular seaside locations or at popular picnic sites in the nearby hills around Melbourne. The first annual picnic was held in 1918. The Ithacan Greeks worked long hours in family food and restaurant businesses in Melbourne. On Sundays the shops were closed so it was seen as an opportunity to relax outdoors away from the city. The Ithacan Philanthropic Society continues this tradition holding an annual picnic in late summer.A black and white panoramic photograph of a large picnic group of men, women and children standing in an open area with trees around the perimeter. Eight children are sitting on the ground in front of the adults and a group of ladies are sitting on a bench to the left of the group. Some of the party are holding long walking sticks which must have been used when they went on a hike or walk.families, picnics, leisure time. -
Ithacan Historical Society
Photograph, Ithcan Picnic, c 1940s
From its earliest days, the Ithacan Philanthropic Society has conducted an annual family picnic held at country towns on Melbourne's urban fringe. For many years Bacchus Marsh was a popular venue where this picnic group was photographed. Women would prepare delicious traditional Greek food and families would group together to enjoy a wonderful picnic spread. The annual Ithacan Picnic has been a very important event on the society's social calendar. In the early days, as many of the families ran family businesses such as fruit shops, fish shops and cafes, Sunday was the only break they had away from their work. The picnic gave them a chance to relax and to catch up with extended family and friends. Today the picnic continues to be an extremely popular day for the members where generations of Australian Ithacans get the opportunity to reunite. A black and white photograph of a large group at a picnic standing and sitting around and enjoying a picnic meal which has been spread out on the ground. Three cars are parked in the background under the trees. -
Churchill Island Heritage Farm
Photograph of two women, <1975
Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade. This series of photographs show events and people from the Churchill Island precinct and the enormous amount of collaboration and work that went into the development of the heritage area and making it accessible and interactive for visitors of all ages. Black and white photograph of two women standing on the front stairs of Amess House looking at the camera. White border.Catalogue number in pencil on reversechurchill island, photograph, amess house -
Churchill Island Heritage Farm
Photograph - Photograph of Val Treadwell and a woman
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph includes Valda Treadwell.Sepia photograph white narrow white border of two women sitting amongst the grass and trees on Churchill Island, one looking at the camera Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, valda treadwell -
Churchill Island Heritage Farm
Photograph - Photograph of people on a horse drawn cart
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the owner of Churchill Island, Harry Jenkins, with two women.Sepia photograph white narrow white border of three people on a two wheel carriage being pulled by a horse with a wooden fence to one side. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, harry jenkins -
Churchill Island Heritage Farm
Photograph - Photograph of two people
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows Esther Grant and Valda Treadwell.Sepia photograph white narrow white border of two women sitting and lounging on sun chairs in front of Amess House. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, esther grant, valda treadwell -
Churchill Island Heritage Farm
Photograph - Photograph of group of people
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the son of the owner of Churchill Island, Ted Jenkins.Sepia photograph white narrow white border of a group of four women wearing white dresses standing in a pasture with a horse, a man in a wheelchair in front of a group of trees. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins -
Churchill Island Heritage Farm
Photograph - Photograph of horse pulling cart
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph is of Ginger pulling a cart with Sister Margaret Campbell and Alice Jenkins riding along. Sister Campbell was Ted Jenkins' carer, and managed the daily running of the Island, eventually inheriting it after his death. Alice was the mother of Harry Jenkins - the owner of the Island.Black and white photograph with a white border of a stationary horse hitched to a cart with two women sitting in it. The group are centred in the frame and a dam is visible in the background on the left hand side. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, harry jenkins, alice jenkins, margaret campbell, working horse -
Churchill Island Heritage Farm
Photograph - Photograph of seated group
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in December 1939 and shows Ted Jenkins - the son of the owner of Churchill Island, Harry Jenkinsblack and white photograph with white border showing a man in a wheelchair beside two seated women. The photographer's shadow is visible in the frame, and appears to be taken on the northern side of Amess house. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins -
Churchill Island Heritage Farm
Photograph - Photograph of people in a whaleboat
Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century to the present.Black and white photograph of two women in a whaleboat with a hessian sack and a man at the stern in the water.Catalogue number written in pencil on the reverse. Handwritten on reverse in pen 'The long boat - on loan Taken over superphosphate Sister Campbell with oar - other two were couple who worked on island for a while. around 1940'churchill island