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Uniting Church Archives - Synod of Victoria
Photograph, C1947
Hilda Charlotte Foster, 1902 - 1990, was a Double Certified Nurse when, at the age of 35, she successfully applied to the board of the Australian Inland Mission (AIM) to work at an outback field centre in South Australia. Born and raised in suburban Melbourne, she had been inspired by stories told to her by other missionaries about the fulfilment to be gained working amongst Aboriginal communities. Given her religious faith and nursing skills, she believed she could make a difference. She worked in Oodnadatta in South Australia for two years (1937-1939), followed by a stint in Innamincka in New South Wales in 1940 -1942. Before she became a nurse, Hilda Foster trained to be a Sunday School teacher and was a member of the Sunday School Council of Victoria. She completed first aid courses run through the Presbyterian Deaconesses Institute in Carlton, Victoria, and in 1930 successfully applied to become a trainee nurse at the Austin Hospital for Incurables, in Heidelberg. She commenced her training there in 1931, before moving to the Women's Hospital in 1933. In 1934 she had six months at the Fairfield Infectious Diseases Hospital, before returning to the Austin, where she was employed when she sat her final exams in November 1934. Her combined skills made her a most attractive option for the Australian Inland Mission. As well as being multi-skilled as a nurse, she provided religious instruction and spiritual ministry to members of the community. https://trove.nla.gov.au/people/762093?c=people Sister Foster nursed at Toora Bush Hospital prior to leaving for the Paton Memorial Hospital, Vila, New Hebrides in 1944. She left the New Hebrides in 1946.Matt, black and white, head and shoulders, studio portrait of Sister Hilda Charlotte Foster on card.australian inland mission, presbyterian deaconess, sister hilda charlotte foster, paton memorial hospital vila new hebrides -
Uniting Church Archives - Synod of Victoria
Photograph, Katalini Dimula, 1952
From the Adelaide Advertiser for 19 November 1952, p. 11: Two Happy Visitorsf rom the Pacific Adelaide is proving 'just like our real home'' to two charming and interesting visitors from Methodist missions in the Pacific. Miss Ravesi Mosi. of Fiii. and diminutive Miss Katalini Dimula, of Papua, the first native women missionaries to visit Australia From these islands. Ravesi and Katalini have enjoyed vastly the three months they have already spent in this country. Thev came here at the' invitation of the Methodist Women's Auxiliary for Oversea Missions in Victoria to take part in their diamond jubilee celebrations in Melbourne. They also spent some time in Sydney. But they are particularly happy to be in Adelaide because both of them have found old and good friends here. That is why it feels! like 'home'. Katalini. whose home is on the Island of Misima, in the far south-west of Papua, is the guest of the Rev. H. K. Bartlett and Mrs Bartlett. who lived on Misima for several years and knew Katoitni as a young girl. They are the first people she has met in Australia who speak her language and know her background. It was a personal interest to them to hear of her work as a missionary nurse, for which she did her training in Salamo Hospital on Ferguson Island, about 200 miles away from Misima, where she now helps to train the women of the island villages in the principles of health and hygiene and caring for their babies according to modern methods.Katalini is dressed in a grass skirt and a western top."Katalini Dimula" "D. Schmidt"katalini, dimula, methodist, papua -
Uniting Church Archives - Synod of Victoria
Photograph, Sister Enid (Alice Blenkinsop), 1962
The newspaper clipping (item F251-2) reads: "Sister Enid of the Methodist Mission in Prahran has won this week's Bouquet for a Lady. And as the bouquet was given to her by the mission's superintendenet, Rev. Frank Hartley, she said, 'This is the biggest surprise I've ever had.' Sister Enid has been a mission sister for 23 years. As Miss Alice Blenkinsop she trained at Melbourne Central Mission, and later worked in the slums of Collingwood and at the Wesley Mission in Hobart. She has also been a court probation officer. On Thursdays Sister Enid runs the Friendship Club for elderly women and pensioners at Prahran. Children have a special place in her heart. 'We used to mother the poor little dears during the depression, take them on holidays and form clubs where they could be together,' she said. She is training a children's choir for the Christmas carol service at the mission."Shows her standing behind a chair with a painting behind her."Sister Enid Wesley Prahran Mission Hobart 1940s, 1950s 1960s. Alice Blenkinsop. Happy birthday to Win, with my love, Alice"blenkinsop, alice, sister enid -
Uniting Church Archives - Synod of Victoria
Newspaper cutting, Sister Enid (Alice Blenkinsop), 1962
The newspaper clipping reads: "Sister Enid of the Methodist Mission in Prahran has won this week's Bouquet for a Lady. And as the bouquet was given to her by the mission's superintendenet, Rev. Frank Hartley, she said, 'This is the biggest surprise I've ever had.' Sister Enid has been a mission sister for 23 years. As Miss Alice Blenkinsop she trained at Melbourne Central Mission, and later worked in the slums of Collingwood and at the Wesley Mission in Hobart. She has also been a court probation officer. On Thursdays Sister Enid runs the Friendship Club for elderly women and pensioners at Prahran. Children have a special place in her heart. 'We used to mother the poor little dears during the depression, take them on holidays and form clubs where they could be together,' she said. She is training a children's choir for the Christmas carol service at the mission."The clipping from Truth in 1962 is headed "Bouquet for Sister Enid".blenkinsop, alice, sister enid -
Uniting Church Archives - Synod of Victoria
Photograph, Dr. Norval Christy, 10/1986
"Crusader against blindness: Dr Norval Christy has restored the sight of 180,000 Pakistani people since he began work as a mission doctor specialising in cataract operations. Dr Christy returns to his home at the end of 1986, after 40 years with the Christian Blind Mission International, a body which crusades against blindness, especially in the Third World."Dr. Christy is accompanied by a woman in a sari, next to a stone building, with other sari-clad women in the background."Dr Christy returns to the USA at the end of this year, after a fruitful ministry of over 40 years."christy, norval, christian blind mission international -
Uniting Church Archives - Synod of Victoria
Photograph, Undated
B 1920 Trained as a Deaconess and then took up a position with the Methodist Department of Christian Education where she worked for 15 years. Then joined the Joint Board of Christian Education staff in 1961 and worked there until 1970. Miss Reid was one of the earliest women to become ordained when it was allowed. Ordained in 1971 her first ministry was Ormond and Carnegie South. In 1975 she moved to Rosanna, then Strathmore in 1981. Given permission to retire in August 1985 due to ill health. She died 29 July 1985 B & W gloss head and shoulders photograph of Rev. Christina Jessie Reid.rev. christina jessie reid; deaconess; methodist department of christian education; joint board of christian education; ormond; carnegie south; rosanna; strathmore -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, Single-Testing Poultry Pens, Unknown
Note by T.H. Kneen, "The vacant ground behind these pens was used by the School of Horticulture for Nursery work during the period of training ex-servicemen and women under the Commonwealth Reconstruction Training Scheme (CRTS). The house under construction was a replacement for the original house occupied by the Macauley family."Black and white photograph. Row of poultry pens approximately where the new Administration Building was subsequently constructed. House under construction behind. 2 men and a child looking into the pens.On reverse, "Note: Poultry Branch Curators Residence under construction."poultry branch, t.h. kneen, school of horticulture, nursery, ex-servicemen, ex-service women, commonwealth reconstruction training scheme, crts, macauley family, egg curator's residence, poultry pens, single testing laying tests -
Sunshine and District Historical Society Incorporated
Galvanised Wash Tub, Probably Circa 1940's
Many displaced people who migrated to Australia after World War 2 brought similar tubs with them as part of their luggage. The tubs were valued by the migrants because they were used for washing clothes and other laundry items, and for bathing children and even adults. The tub in our possession was brought out to Australia in 1950 by the Pierzak family who eventually settled in North Sunshine, Victoria. The following story about the Pierzak family has been provided by the daughter Halina Wlodarczyk (nee Pierzak). The father Stanislaw Pierzak was born on the 26th of July 1916 in Zbrza, and the mother Teodozja (Teodozia) Szalas on the 5th of March 1919 in Goleciny, both villages in the Kielce district of Poland. In 1940 they were both taken by the German Army to work as slave labour on farms in Germany. Stanislaw worked in the Saxonia area and Teodozja near Dillingen. The work was hard, and when Teodozja contracted pneumonia she was told that she would not be given any food if she did not work. After the war the displaced persons, as they were called, were settled in various barracks and camps organised by the United States Army. Stanislaw and Teodozja married in Gablingen, Bavaria, Germany, and Halina was born in the camp at Gablingen in 1949. The displaced people were given the choice of several countries if they wanted to migrate from war torn Germany, and so the Pierzak family chose Australia. The Pierzak family set sail from Naples, Italy aboard the ship General M. B. Stewart and arrived in Sydney on the 17th of April 1950. The men and women had to stay in separate quarters, and many passengers were so sick that they did not think they would survive the journey. In Australia they lived in migrant camps in NSW at Bathurst, Orange, Parkes and Cowra. To pay off their fares to Australia migrants were required to work under contract for 2 years. Stanislaw Pierzak worked in Broken Hill NSW returning to visit his family every 3 to 4 months. The son John was born in the Red Cross building at the Parkes camp in 1952. In 1953 the whole family moved to Melbourne and lived in a converted garage in Victor Street, North Sunshine. In 1954 the family bought a bungalow on a block of land in Compton Parade, North Sunshine, where eventually they built a house. Stanislaw Pierzak worked at Steelweld in Ashley Street, Braybrook travelling there on his bicycle, while Teodozja Pierzak found work at Smorgon in West Footscray. Stanislaw and Teodozja Pierzak lived in North Sunshine for the rest of their lives, and Mrs Pierzak always said that Sunshine was the best place in the world.Tubs like this which belonged to displaced people were highly valued possessions and are of historic significance. They were brought out to Australia after World War 2 by many migrating displaced families. The tubs were used for washing activities in the camps in Germany, and the migrant camps in Australia, and also when people lived in bungalows in Australia before they built houses with laundries and bathrooms.Oval shaped galvanised iron tub with two rigid handles, one at each end. The top of the tub is larger than the base. The galvanising is deteriorating in some parts which show a whitish appearance. There are some small dents, and a few chips in the galvanising where surface rust has appeared.The number 70 is stamped on both sides.washing tub, galvanised tub, laundry, bath, displaced persons, immigration, general m. b. stewart, galvanized tub, pierzak, galvanised wash tub -
Chiltern Athenaeum Trust
Photograph
Clara Jane Matthews was born in 1870 as the eldest daughter of Robert Matthews. She married William Frederick Busse on the 5th of December, 1894 at St Columb’s church, Hawthorn. Clara and her husband lived on Main Street in Chiltern, and her husband was a Clerk of Courts in Chiltern and Wodonga throughout his life. Clara and William also owned a 640 acre farm called Clairedale Park, four miles (6.5km) outside of Barnawartha. They had both crops and sheep on the property, and adopted innovative farming practices. It appears that Clara was heavily involved in the farm business, as she is listed as a purchaser of sheep in multiple stock reports between 1914 and 1918. This is very unusual for the era, as women were not generally involved in stock markets, especially if her husband was still alive. Clara’s husband’s work at the court likely meant that he wasn’t able to travel to the markets in order to purchase stock. Clara’s taking the reigns in this manner was highly unusual, and signals just how strong of a woman she must have been. Clara Busse died in Chiltern in 1968, when she was 98 years old. She is also the mother of Wilfred C Busse, who was an author and a member of the Chiltern Athenaeum. This photograph is of a woman who lived most of her life in Chiltern, and undoubtedly contributed to the community of the town within her 98 years. She will most likely be remembered as the wife of William Frederic Busse, Clerk of Petty Sessions, or as the mother or Wilfred Clarence Busse, author and barrister. Although the records of her time almost entirely connect her with the men of her life, her father, husband and then her son, some digging can reveal that she was an entire person of her own, who broke norms of her time and is worthy of being remembered for her own sake.Black and white rectangular photograph printed on matte photographic paper mounted on board in a textured metallic frameObverse: Clara Jane Busse / (nee Mathews) / Mother of W. C. Busse / clara jane busse, clara busse, c j busse, busse, women in agriculture, remarkable women, 20th century women, women's history, working women, wilfred busse, wilfred clarence busse -
Duldig Studio museum + sculpture garden
Photograph, Karl Duldig, Slawa and her sister Rella, Paris, 1968, 1968
This photograph was taken by Karl Duldig when he and Slawa visited Slawa's sister Rella Laisne in Paris in 1968. They went to Paris as part of a world trip on the occasion of the unveiling of Karl's sculptural monument, Dawn, at the Maccabiah Village, Ram Gat, Israel. Commissioned by Hakoah and World Maccabi Union his monument commemorates the sportsmen and women of Hakoah Sports Club who were among the victims in the Holocaust. Karl had played for Hakoah in his youth. This is one of a large collection of photographs taken by sculptor Karl Duldig, documenting his art, life and family. The collection is of historical and aesthetic significance as a personal record of the work, cultural and social milieu of an Austro- Australian sculptor and his family from the early to late 20th century. it is also a record and representative of the experience of those people who came to Australia at this time, displaced by the upheavals of the Second World War. -
Warrnambool Art Gallery
Zulu necklace, 19th century
... : denoted high status Beadwork was almost solely the work of women... was almost solely the work of women but men would also wear ...It is unknown how this specific item made its way into the Warrnambool Museum. However, many South African artefacts came to the museum through men who served in the army during the Boer Wars of 1880-81 and 1899-1902.A beaded rope necklace. The rope is made from cloth and plant fibre with glass beads. It has a brass fastening. There are five colours: white, green, black and red with a pink band at the top. In the Zulu culture beads and jewellery were used as a means of communication. Generally they were used to convey messages about whether someone was married, engaged or single. The colours had different meanings but when placed next to white, the meaning would always be positive. white: purity and love black: marriage and rebirth red: also love green: contentment pink: denoted high status Beadwork was almost solely the work of women but men would also wear the jewellery.zulu, south africa, jewellery, beads, kwa zulu natal, africa, boer war, warrnambool -
Nillumbik Shire Council
Sculpture: Liz Williams, Liz Williams, In Love, c.1996
Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog -
Nillumbik Shire Council
Painting: Lesley SINCLAIR (b.1901 - d.1999 AUS), Montsalvat
Lesley Sinclair studied art at the National Gallery School in Melbourne in the 1920s, and lithography at the Royal Melbourne Institute of Technology. She became a member of the Melbourne Society of Women Painters and Sculptors, but rarely exhibited her work. She was a student of Justus Jorgensen and a founding member of the Montsalvat group in Eltham. She lived at Montsalvat and taught painting until her death. -
Stawell Historical Society Inc
Photograph, Salvation Army Donation Tin -- 2 Photos
... of the tin "THE ARMY PROVIDES work for the workless. Love... Prisoners. Rescue Work for fallen Women. Industrial Homes for Boys ...Salvation Army Donation Tin. Two photographs possible the front and back of one tin. Inscriptions reflect the role of the Salvation Army and their work during this period.Black & white photographs of Donation tin enlarged. Front of tin what is readable "The Salvation Army Society RESCUE AND PRISON GATE WORK broken hearts and blighted hopes slaves of Sin and Degradation. Blood and Fire. The Salvation Army. THE TOTAL number of Homes is now over Six--- Providing Daily Accommodation for 3,000 Persons AND COSTING over --1,200 PER WEEK for MAINTENANCE PLEASE HELP by placing a COIN in the box" On the back of the tin "THE ARMY PROVIDES work for the workless. Love for the Loveless. Cleanliness for the Unclean. Friendship for the Friendless. Food for the Hungry. Help for the Helpless. Beds for the Bedless. Hope for the Hopeless. Our Agencies Comprise the Following. Homes for Discharged Prisoners. Rescue Work for fallen Women. Industrial Homes for Boys. Industrial Homes for Girls. Maternity Bags. Women Shelters, Nursing Homes, Labour Tards. Samaritan Relief Work. Food Depots. Mens Shelters. Industrial Hospital Visitations. Gaol Visitation. Enquiries for Lost F" In Pencil written on the back "Larger than actual Size"stawell religion -
Buda Historic Home & Garden Castlemaine
Photograph, Bertha Leviny with her daughters, a grandson and dog, 1906
... entered works in the 1907 Exhibition of Women's Work held ...Photo - Bertha Leviny (seated centre) with five of her daughters L-R: Gertrude, Hilda, Mary (standing), Dorothy and Kate. Her grandson James Leviny is at Bertha's knee. The pet dog is an Australian terrier. Bertha was the wife of noted colonial silversmith and jeweller, Ernest Leviny. Together, they raised a family of ten children in their home Buda, Castlemaine. The five unmarried daughters pursued their interests in various creative pastimes linked with the Arts and Crafts Movement of the late nineteenth and early twentieth centuries.One of the few photographs of Bertha Leviny and her daughters taken together after the death of Bertha's husband, Ernest, a prominent Australian silversmith. The Leviny daughters were artistic in their own right, following the principles of the Arts and Crafts Movement. Three of the daughters entered works in the 1907 Exhibition of Women's Work held at the Exhibition Buildings, Melbourne.Silver gelatin, toned print. Black and white photograph of a group of six women, a child and a dog. The women are seated on and around a garden bench with the tennis pavilion in the background. All are smiling at the dog which is standing on its back legs in the foreground. The little boy's face is blurred from movement during the exposure.Handwritten in ink (verso): "At Buda 1906"bertha leviny, mary leviny, gertrude leviny, hilda leviny, dorothy leviny, kate leviny, james leviny, australian terrier dog, kodak box brownie camera, edwardian costume, buda, 1906, photograph, portrait, leviny women, castlemaine -
Buda Historic Home & Garden Castlemaine
Print - Linocut print, Tasmanian Berries, c 1928
Owned by the Leviny family. Collected by Kate Leviny. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.This original print by Australian woman artist, Mildred Lovett, is from a period in Australia's history when women artists and printmakers were gaining recognition for their work that had been a previously been an area dominated by male artists.Hand coloured linocut of a jug full of assorted berries, mounted in a frame. By Tasmanian artist, Mildred Lovett. Paper, ink, paint.Lower left corner 'Tasmanian berries'. Lower centre 'coloured linocut'. Lower right 'M. Lovett'. Verso '44' encircledmildred lovett, tasmania, linocut print, tasmanian berries, australian women printmakers, leviny collection, buda, castlemaine -
Buda Historic Home & Garden Castlemaine
Linocut print, Hydrangeas, c 1925
Acquired by Kate Leviny. The Leviny daughters were friends with Ursula Ridley Walker. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.Ursula Ridley Walker is a little know Australian woman artist who was working in many artistic fields during the first part of the twentieth century. Buda holds the largest public collection of Walker's work in Australia.Print by Tasmanian woman artist, Ursula Ridley Walker, depicting blue hydrangeas in a dark blue jug with a green octagonal plate in the background. Mounted and framedLower left: 'Hydrangeas' Lower centre: '- Coloured Lino Cut -'. Lower right: 'Ridley Walker 5/50'.ridley walker, linocut print, australian women printmakers, hydrangeas, leviny collection, buda, castlemaine, 1925, ursula ridley walker, tasmanian artist -
Koorie Heritage Trust
Booklet, Barrett, Charles et al, Blackfellows of Australia, 1936
Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.43 p. : ill. ; 28 cm.Contents: The Aboriginal Environment - Birds and Reptiles; Whence came the Blackfellow. The Natural Man - Tattooing: ornamental scars. The Tribes of the South - Down the Darling. Tribes of Central and Northern Australia - The Aruntas; Wilderness vanishing; Untamed Tribes.The Tasmanian Race - Doomed people.Tribal Organisation - Public opinion; The Council of Old Men; Tribal Classification; Tribal Naming; Dual Classes; Totemism.Daily life of the Blacks - Making fire; Cooking methods - the native oven; Vegetarian diet; Miscellaneous foods. Weapons and Implements - Classes of Stone; Quarries; Weapons of wood - spears; The Boomerang; Shields; Water vessels and Carriers; Baskets and Dilly-bags.Medicine-men and medicine - Faith cures; Rain-making. Mia-Mias, Whurlies and Gunyahs - Tripod fires; Two-storey huts. The Aboriginal as an Engineer - Weirs and fish traps; Wells and Rockholes. Wild White Men; Dances and Games - Children's toys. Black Police and Tracking - Tribal Mixture; The Blacktrackers; Trained from infancy. Navigation - The Bark Canoe - Calm-weather Craft. Aboriginal Art - Animal Tracks; Old Camp-fires. Blackfellow Music and Bards; Death and Burial - Wailing Women; Relics of Lost Tribes; Decorated skulls; Creation myth pole. Language - Letter-sticks. Myths and Legends; Mission work among the Blacks - Spheres of Service; The Mission Stations.aboriginals, australian - social life and customs -
Koorie Heritage Trust
Book, Kaberry, Phyllis M, Aboriginal woman : sacred and profane, 1939
Dr. Kaberry's work is a distinct contribution to our knowledge of Aboriginal life, and to our study of the position of women. I regard it as an honour not only to be privileged to write the Introduction to her book, but also to have been closely associated with her work both in the field and in the study since her post graduate days. A.P.Elkinxxxi, 294 p., [8] leaves of plates : list of ill., map ; 23 cm.Dr. Kaberry's work is a distinct contribution to our knowledge of Aboriginal life, and to our study of the position of women. I regard it as an honour not only to be privileged to write the Introduction to her book, but also to have been closely associated with her work both in the field and in the study since her post graduate days. A.P.Elkinwomen, aboriginal australian -- western australia. | aboriginal australians -- western australia -- kimberley. -
National Wool Museum
Clothing - Overcoat, Dominex, c.1970
This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing -
National Wool Museum
Functional object - Wool Winder, pre. 1950
Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration -
National Wool Museum
Book, Knitting, Patons Knitting Book no. 708
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Coats Patons and contains knitting patterns for mens and womens garments. The skirt modelled on the front cover and on page 13 is acknowledged as being a 'Kenneth Pirrie Creation'. Kenneth Pirrie was an Australian fashion designer from the 1960s who appears to have worked in Melbourne and Sydney.Patons / KNITTING / BOOK No. 708 / Latest young fashion - long / stockings or socks with / sweater to match in / TOTEM or TYROL / Two-of-a-kind sweaters, / for him and you, in TOTEM, / ARIEL and MOHAIR / A sweater or shift in TOTEM: / a man's cardigan in JET / 2'3 / PATONS . BEEHIVEknitting handicrafts - history, coats patons (australia) limited, pirrie, mr kenneth - kenneth pirrie creations, knitting, handicrafts - history -
Koorie Heritage Trust
Book, Bell, Diane, Listen to Ngarrindjeri women speaking =? Kungun Ngarrindjeri Miminar Yunnan, 2008
When the Ngarrindjeri women of South Australia asked Diane Bell if she would work with them in the running of some workshops to develop a booklet about culture and governance, none of them realised quite where it would take them. The Ngarridjeri women of South Australia reveal their thoughts, daily challenges, and visions for the future in this moving book. The stories range from charming and delightful to jarring and shocking, and delve into matters both social and personalÑincluding the Hindmarsh Island bridge controversy. Serving as a model for how indigenous and non-indigenous women can jointly write a book, this narrative can help indigenous women in other communities develop their own collective history and visions for the future.xiii, 145 p. : ill. (chiefly col.), ports. ; 25 cm.When the Ngarrindjeri women of South Australia asked Diane Bell if she would work with them in the running of some workshops to develop a booklet about culture and governance, none of them realised quite where it would take them. The Ngarridjeri women of South Australia reveal their thoughts, daily challenges, and visions for the future in this moving book. The stories range from charming and delightful to jarring and shocking, and delve into matters both social and personalÑincluding the Hindmarsh Island bridge controversy. Serving as a model for how indigenous and non-indigenous women can jointly write a book, this narrative can help indigenous women in other communities develop their own collective history and visions for the future.ngarrindjeri (australian people) -- social life and customs. | women, aboriginal australian -- south australia -- social life and customs. | oral tradition -- south australia. | storytelling -- south australia. | hindmarsh island (s.a.) -- social life and customs. -
Koorie Heritage Trust
Book, Barwick, Diane et. al, Handbook for Aboriginal and Islander history, 1979
Contents: Archaeology Isabel McBryde; Archives H.J. Gibbney; Artefacts and museums Carol Cooper, Isabel McBryde; Australian Institute of Aboriginal Studies Diane Barwick, Jane Forge, James Urry; Biography: writing a life story Diane Barwick, Nan Phillips, Tom Stannage; Censuses and other population records L.R. Smith; Court and police records: evidence for Aboriginal history Tom Stannage; Genealogy: tracing family history Diane Barwick, Diane Bell, Francesca Merlan; Government - Government publications on Aborigines Brownlee Kirkpatrick; Government committees and Royal Commissions David H. Bennett. Guardians of history - Aboriginal heritage and the Australian Heritage Commission Josephine Flood; Historical Societies Nan Phillips, Tom Stannage. Land rights - Land rights: recent events and legislation Anita Campbell, Diane Bell, Diane Barwick; Land rights: an introductory bibliography Nicolas Peterson. Language: resources for research Luise Hercus, Francesca Merlan; Libraries James Urry; Maps and mapping John von Sturmer; Missions: settlements, sponsors, sources of information James Urry; Music Alice Moyle; Newspapers Andrew Markus; Oral history interviewing Peter Read; Photographic records - Koorie studies: records of the South Coast Yuin walkabout Guboo Ted Thomas; Photographs old and new Colin Roach; Films and film-making David McDougall; Publishing your work Shirley Andrew, Diane Barwick; Sport: resources for research Michael Mace, Bill Rosser; Tape recording Bryan Butler; Torres Strait Islands: information available in Papua New Guinea Peter Bolger; War and Aborigines Hank Nelson; Women in Aboriginal society: resources for research Diane Barwick, Diane Bell.xv, 187 p. ; 25 cm.Contents: Archaeology Isabel McBryde; Archives H.J. Gibbney; Artefacts and museums Carol Cooper, Isabel McBryde; Australian Institute of Aboriginal Studies Diane Barwick, Jane Forge, James Urry; Biography: writing a life story Diane Barwick, Nan Phillips, Tom Stannage; Censuses and other population records L.R. Smith; Court and police records: evidence for Aboriginal history Tom Stannage; Genealogy: tracing family history Diane Barwick, Diane Bell, Francesca Merlan; Government - Government publications on Aborigines Brownlee Kirkpatrick; Government committees and Royal Commissions David H. Bennett. Guardians of history - Aboriginal heritage and the Australian Heritage Commission Josephine Flood; Historical Societies Nan Phillips, Tom Stannage. Land rights - Land rights: recent events and legislation Anita Campbell, Diane Bell, Diane Barwick; Land rights: an introductory bibliography Nicolas Peterson. Language: resources for research Luise Hercus, Francesca Merlan; Libraries James Urry; Maps and mapping John von Sturmer; Missions: settlements, sponsors, sources of information James Urry; Music Alice Moyle; Newspapers Andrew Markus; Oral history interviewing Peter Read; Photographic records - Koorie studies: records of the South Coast Yuin walkabout Guboo Ted Thomas; Photographs old and new Colin Roach; Films and film-making David McDougall; Publishing your work Shirley Andrew, Diane Barwick; Sport: resources for research Michael Mace, Bill Rosser; Tape recording Bryan Butler; Torres Strait Islands: information available in Papua New Guinea Peter Bolger; War and Aborigines Hank Nelson; Women in Aboriginal society: resources for research Diane Barwick, Diane Bell.australian aborigines, to 1979. historical sources. | aborigines, australian -- history. | genealogy. | torres strait islanders -- history -- sources. | aboriginal australians -- genealogy. | aboriginal australians -- history -- sources. | aboriginal australians -- history. | aboriginal australians -- history -- archival resources. | aboriginal australians -- history -- library resources. | aboriginal australians -- history -- bibliography. -
National Wool Museum
Photograph
Photo depicts the Federal Mills basketball team. Back: Gladys Rand, Mavis Anderson, Nellie Bawden, Lyla Dorling. Front: Jean Mawson, Eva Fagen, Jean Devlin. Mrs Alsop was a mill worker from early 1930s till early 1970s. She worked at Federal and Foster Mills in Geelong District and Yarra Falls, Melbourne. Between the 1920’s and 1950’s the YWCA, Blue Triangle and local committee of representatives organised an Inter House Athletics Day for Girls in Geelong and Melbourne. Local Geelong business, such as the surrounding woollen mills, business firms and church clubs would form teams of seven women to compete in a variety of sports such as bowls, basketball, hockey, cricket and soccer. Events such as these were organised to encourage women to participate in competitive sports and network with other women in the workforce.FEDERAL MILLS / FWMtextile mills sporting teams, textile mills staff, federal woollen mills ltd, sport, textile mills - sporting teams, textile mills - staff -
National Wool Museum
Ribbon
Won by Nellie Alsop when a member of the Federal Mills Basketball team. Mrs Alsop was a mill worker from early 1930s till early 1970s. She worked at Federal and Foster Mills in Geelong District and Yarra Falls, Melbourne.GEELONG WOMEN'S BASKETBALL / ASSOCIATION / A GRADE CHAMPIONS / 1947textile mills - sporting teams textile mills - staff sporting teams, federal woollen mills ltd geelong women's basketball association classweave industries pty ltd, sport, textile mills - sporting teams, textile mills - staff, sporting teams -
National Wool Museum
Ribbon
Won by Nellie Alsop when a member of the Federal Mills Basketball team. Mrs Alsop was a mill worker from early 1930s till early 1970s. She worked at Federal and Foster Mills in Geelong District and Yarra Falls, Melbourne.Geelong Women's Basketball / Association / A GRADE PREMIERS / 1948textile mills - sporting teams textile mills - staff sporting teams, federal woollen mills ltd geelong women's basketball association classweave industries pty ltd, sport, textile mills - sporting teams, textile mills - staff, sporting teams -
National Wool Museum
Photograph, Geelong Girls Inter House Sports, 1950: Diggers Team, 1950
Photograph of the Diggers team who participated in the Geelong Girls Interhouse Sports, 1950. The Diggers team was possibly drawn from those who worked at the RSS Mill. Members of the team are J. Gellately, V. Hobbs, N. Trigg, H. Trigg (Captain), L. Gration, M. Bromley (Vice-Captain), L. Hobbs, B. Harriott, G. Harriott (coach). Between the 1920’s and 1950’s the YWCA, Blue Triangle and local committee of representatives organised an Inter House Athletics Day for Girls in Geelong and Melbourne. Local Geelong business, such as the surrounding woollen mills, business firms and church clubs would form teams of seven women to compete in a variety of sports such as bowls, basketball, hockey, cricket and soccer. Events such as these were organised to encourage women to participate in competitive sports and network with other women in the workforce.GEELONG GIRLS INTER HOUSE SPORTS, 1950 / DIGGERS TEAM / J. Gellately V. Hobbs N. Trigg H. Trigg (Captain) L. Gration M. Bromley (Vice-Captain) / L. Hobbs B. Harriott G. Harriott (Coach)textile mills - sporting teams, sport -
Whitehorse Historical Society Inc.
Clothing - Womens Suit, 1980's
Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female -
Whitehorse Historical Society Inc.
Memorabilia - Tea Towel, 1999
Reproduced for Centenary of Federation 1901 - 2001Tea Towel. Reproduction of a World War II poster titled 'JOIN US' featuring five uniformed service women with the words 'in a VICTORY JOB'. Across the bottom 'APPLY AT YOUR NEAREST NATIONAL SERVICE OFFICE'.(C) AUSTRALIAN WAR MEMORIAL 2001manchester, work cloths, domestic items, cleaning