This book developed from a project undertaken by the Orbost Women's Awareness Group. It began as an activity in learning how to conduct "Oral Histories". With a substantial amount of information resulting the group decided to publish the information in the form of this book. Orbost Women's Awareness Group was originally the "Orbost Women's Pulp Mill Association" created in 1989 to disseminate information about a proposed pulp mill planned for the area. When the proposal became non viable the group continued to meet as an awareness group. It continues today as the Orbost Women's Awareness Group.This book is a research tool for those interested in the timber industry of East Gippsland.A spiral bound 44pp book with a photo of the forests of East Gippsland on the cover. The title is in cursive writing in white print. it contains the personal stories and b/w photographs of both women and migrants who have been associated with the timber industry in East Gippsland. timber-industry east-gippsland orbost-women's-awareness-group

Sparx is an anthology of writing by the Society of Women Writers Victoria76 p., black and white text, paperback.poetry, prose

Australia : Women's Section, Liberal Party of Australia, Victorian Division, c1996 viii, 172 pages : illustrations ; 22 cm. non-fictionliberal party of australia. victorial division. women's section -- history., women -- political activity -- victoria -- history.

A newspaper article about the 10th Anniversary of the War Widows Guild published on 23 November 1955. The War Widows Guild was founded by Mrs Jessie Vasey. She was the wife of Major-General Vasey and during the second world war she became secretary of the AIF Women's Association, a body which sought to help soldiers' wives. Her work with this body drew her attention to the plight of war widows. After Major-General George Alan Vasey died in an aircraft accident on 5 March 1945 she became a widow herself. At the end of the war Mrs Vasey founded the War Widows Guild. This reproduction on display board may have been for an exhibition of Guild memorabilia at some time. The Victorian War Widows Guild closed in 2021. Some items, including this board, were donated to the Legacy archive for preservation. It was possible for a widow to be members of both Legacy and the War Widows Guild. Both organisations helped war widows in various ways.A record of the work done by Jessie Vasey and the War Widows Guild.Newspaper article 'Women can get along' reproduced on a display board for signage of an exhibit.war widows guild, jessie vasey, wwg

Produced by the VCE Consultative Committee: Women's Art Register in 1991 at a time when art courses in secondary schools had little material to use in relation to Australian women artists. An invaluable resource for secondary school teachers to broaden the scope of student knowledge about women artist's and thereby offer alternative role models for art students. This slide kit and booklet is a comprehensive, practical resource which provides a rare snapshot of women's art practices in the early 1990s. It is an excellent resource for research and teaching purposesKit containing 74 page booklet and 36 slides, activities, artist's comments and other source materials. Published in 1991 by the Women's Art Register. Artists include Elizabeth Gower, Sally Smart, Wendy Stavrianos, Pam Hallandal, tori de Mestre, Lyn Moore, Deborah Halpern, Tracey Moffat & Jill Orr. Cover image by Jill Orr, 'Walking on Planet Earth'elizabeth gower, sally smart, wendy stavrianos, pam hallandal, tori de mestre, lyn moore, deborah halpern, tracey moffat & jill orr.

Celebrating 110 years of women serving women since the opening of the first women's hospital. Folded A3 printer paper to make 4 pages of A4 content. Purple, red, green and gold accents. Mostly black text. Coloured photos throughout.newsletter, historical site, official event, cultural structures and establishments

Book "Good Talk - The extraordinary lives of ten ordinary Australian women" Edited by Rhonda Wilson. Aqua surround to black and white photo of woman and girl. Title is in pink letters.women, jean brett, florence burke, flo byrne, jenny connor, gwen davis, emily edwards, nellie mclarty, lois nicholl, nellie walsh, lucy wilson

39 pages

39 pages

Harry HALPEN This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching of a bullfighter. art, artwork, halpern, bullfighting, harry halpern, available

Two women with possum shins and stolesPhoto mounted by Big Hill Art and Framing

Coloured photo of Women with 3 Boysto be entered

Handwritten notes by H. G. listing names of women, with notes on family connections in some cases and brief list of their achievements including Nellie Ibbott, Charis Pelling, Beautrice Morrison, Ethel Osborne, Mavis Gill, Helen Knights/Harbeck, May Smart, Mrs A.M. Peake. Addressed to Journalist Helen Gillman and includes photocopy of article published about Charis Pelling (04966) Women as a group have frequently been excluded from official histories in the past. These research notes are an effort to compile a list of the contribution of local women, historically, to the development of the Shire of Eltham 2 pagesharry gilham collection, women, nellie ibbott, charis pelling, beautrice morrison, ethel osborne, mavis gill, helen knights, helen harbeck, may smart, a. m. peake

Warrnambool has never done justice to the women who shared their menfolk the hardships of the pioneering days. Silent Lives fills a void in the history of Warrnambool and surrounding districts, during the early decades 1840s to 1910, providing a narrative about some of the people, in particular women, missing so far in our documented history. Elizabeth O'Callaghan has meticulously researched the period, drawing on early newspapers, diaries, letters, unpublished family histories, honour board listings as well as public documents such as hotel licensing and teacher records held in the Public Record Office of Victoria and State Library of Victoria. By their unremitting labours and self-sacrifice the pioneering women of Warrnambool and district helped to lay the foundations of our communities today.This publication is of significance as it documents the lives of 19th century women in Warrnambool and district between 1840 and 1910 covering Aboriginal women, schools and teachers, specialist teachers of art, writing and cookery, sporting activities, political and charitable activities, how the law treated women, medical treatment, and the everyday lives of women and their families. It contains images of art produced by some of these women.A4 size book with photograph of 7 women and 3 children in c1890sworking clothing and long white aprons, sitting and standing in front of a hedge with washing draped over the hedge. The two girls on the right are wearing wide-brimmed hats. The title is in white print on a band of dark blue across the middle. The bottom third features an early image of Warrnambool and the author's name in dark blue.Elizabeth O'Callaghan/November 2017warrnambool, history of warrnambool, 19th century women, women pioneers, silent lives, elizabeth o'callaghan, cover design james colquhoun

This edited collection of women's correspondence constitutes an important historical record of the experiences of Aboriginal women during a crucial period of social change. In particular the letters are valuable for the insight they offer into the impact on Aboriginal communities of government legislation and mission policies and the women's assertion of their entitlement to freedom and agency. Written by 81 different women, the letters cover such issues as children, family, religion, land, housing and material assistance.maps, b&w photographsvictorian aboriginal women, correspondence, government policy

Left to Right, Elenor Musumeci, Jill Riddler, Myriam Scott, Unknown Four women outside standing in front of an entrance sign.Entrance in white raised letters on a grey stone block.biarri

Collected by Dorothy Brumby in relation to Great Western ResearchGroup portrait of 20 men women and boys with trees in background

Hornbuckle women- Emma (Raileigh), Sarah (Nixon) and Mary (Knox)local identities

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A black and white photograph of two women seated on a park bench. The women are Mrs Wright and her daughter Laura Wright. They are seated in the Sturt Street gardens. Ballarat Town Hall is in the background.Written in pen - Mrs Wright & Laura. Taken in Sturt St Gardens, Ballarat. 16/10/22, F.W.(au)frank wright, mrs wright, laura wright, ballarat, sturt st gardens, ballarat town hall

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