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 part of the English magazine "Woman and Home" and contains knitting patterns for mens, womens and babies clothes.Presented with WOMAN AND HOME / Easy-to-Wear KNITTING FOR ALL / In / 4-Ply / In / Double / Knittingknitting handicrafts - history, woman and home, knitting, handicrafts - history

Dark, black and white photographic reproduction of an earlier photo showing a woman holding a baby and 5 men, all standing in front of a shop. Horse drawn hearse on the right. Sign on shop reads: "Jasper Bros. | Coachbuilders - Blacksmiths | Undertakers - &c | Horses Carefully Shod"On back of photo: "Hearse - horse drawn, owned by Jasper Bros." "Hannah holding Edith, Stephen, ___, ___, Joseph, Samuel" On top right of back: "35" in circle, "27" and "1893"hearse, funerals, blacksmiths, coachbuilders, jasper family

Jim Keogh owned Lot 7 of the Village Settlement. When the new CRB road went through c1920 his block was cut through leaving a small triangle of land on the high side of the CRB road. He built a shop on this piece of land. The store burned down 31/12/1939. The woman on the step in this photo is Win Woodcock.Sepia image of a woman standing in front of a wooden store. Handwritten inscription on reverse by John Lundy-ClarkeJim Keogh's shop on the north west corner of Falls and Main Roads. Opposite diagonally from St Michael's Church of England. photo Nov 1926.jim keogh, keogh, store, shop, crb road, win woodcock

Photograph shows Ivy Child standing in a garden - probably at the Child property holding a large bunch of daisies. Ivy had her own garden at the family home. Photograph c early 1940s. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Ivy married Henry William Burgess (1906 – 1968) in 1944.Black and white photograph of a woman holding a large bunch of flowersivy child, ivy may child, child family, garden

Mrs Eliza Jeeves, wife of Ellis Jeeves, standing in the garden outside the Mountjoy Guest House in Kalorama. Eliza was one of six daughters of Thomas Hand and Eliza Hand, (nee Erith) who owned the Mountain Grange property. Eliza and Ellis ran the Mountjoy Guest House from 1908 and Eliza ran it alone after Ellis's death in a buggy accident in 1921 until just before her death in 1943. Black and white photograph of woman standing in garden outside a house with the balcony rails visible.ellis jeeves, erith hand, mountjoy, eliza jeeves, eliza hand

Woman's grey felt hat with felt bow and feather trim. Has a string to hold in place when worn. Label reads "Original model From Stella Long, 14 Block Arcade Melb 638507." c. 1950s. Owned by Mrs Jean Robinson.

Feathered hat with brim. Beautifully layered black, white and light tan feathers on entire hat with black feather trim. No label. Elastic band sewn inside. Main frame of the hat possible made of straw. c. 1960/1970s. Owned by Mrs Jean Robinson.

Grey felt hat with grey felt trim, hat elastic and comb fitted inside. Label inside the hat says "from original model. Stella Long, 14 Block Arcade Melbourne 654 8507". c. 1950s. Owned by Mrs Jean Robinson.

Correspondence between Aaron Beattie Esq from Beattie Physical Culture College Melbourne and E. Hilmer Smith Esq about Girls’ Physical Culture Classes in July 1928. It was intended to aid the Sydney Legacy Club establish classes for girls. Excerpts include the following information: "I would suggest that you form a special C/tee to handle the Physical Culture work. . . . I would suggest that special care be taken to see that none but fully-qualified and trained teachers handle the children - this is all important. . . . We charge every child 5/- per year, payable quarterly. We have been most fortunate here with the girls section. An old friend of mine - Mrs Gillies - is our Hon. Directress. She was - until her marriage - in charge of all Physical Culture training in the State Schools of Victoria, and is a wonderful woman. She takes complete charge, appoints her own staff and so on. We pay some of her assistants from £2.2.0 to £5.5.0 per term of 12 weeks. The class was formed in May last year with 42 girls - we now have 121, and they have left the boys far behind. Enclosed you will find a copy of our measurement chart, which is an important part - every child should be recorded before starting, and again at the end of the year. I am also sending you a copy of our Demonstration Programme. This show was given after the girls had been going for 10 months, and it was a wonderful success - all these things help to bring success, and children seem to want these things to keep them going. . . . We spend about £600 per year on our Children's Work and nearly all of that goes to the Physical Culture side." The correspondence is a good snapshot of the undertaking of Melbourne Legacy running girls' club at that point in time and that Melbourne Legacy was trying to help Sydney Legacy establish a similar program. Legacy was only 5 years old at that time and already the importance of the physical culture classes for girls was underway.Set of three typed and dated handwritten letters on paper between Aaron Beattie Esq, and E Hilmer Smith Esq. 00126.1 on Legacy Club letterhead. 00126.4 on Commonwealth Bank notepaper.girls' club, junior legatee, girls' classes, aaron beattie

The Lavers Hill Hotel was established in about 1906. The publicans were Messrs. Hedley, Tom McGrath, Pat Harrington and F. Betteridge. When Tom McGrath was publican the hotel boasted 20 rooms and first-class stabling. Pat Harrington when publican supported the local football club when it was formed, and soon after owned the General Store from 1924 until 1926. When a census officer collecting statistical information asked Mrs Harrington, "What does your husband do?" the answer quickly came, "Well now, what could you say Pat has ever done." The hotel burnt done in 1930.B/W. Harrington's Laver Hill Hotel, with one woman approaching the hotel from the left and three people on a very long, two-dimension veranda.lavers hill; hotel;

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Woman's bone and white paper fan with metal finger ringfashion and textiles collection, fashion accessories, fans, concertina fans, finger rings

The Southern Cross Hotel on the corner of Bourke and Exhibition Streets was opened in 1962. It was built on the footprint of the Eastern Market. The hotel was closed in 1995 and demolished in 2003. Ernest 'Nitz' Dorn was a photographer at the hotel with his own studio in the building. Customised packet of Southern Cross Hotel matches faced with a photograph of a woman on the front.Southern Cross Hotel Melbourne, Australia / Photography by Ernest Dorn / 63 8930matches, ernest dorn, southern cross hotel

Dorethy Rabinov’s Melbourne-based brand Ricki Reed "became an international success story. Her brand catered to “the petite and young, people who like smart simple dress” and popular with the women lib groups due to her comfortable smart pantsuits. The Ricki Reed’s brand often favored synthetic fabrics designed to keep up with the life of an active, busy woman. Through out the decades, Miss Rabinov dabbled in prairie gowns, tailored pant suits, bold colours and floral prints. Spanning over three decades Miss Rabinov kept Ricki Reed at the front of fashion, keeping ahead of trends and on the bodies of fashionistas." (Source: 'House of Darlington' website). This dress was owned, worn and donated by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Sleeveless embossed white cotton high waisted cocktail dress designed by Ricki Reed of Melbourne.Nilricki reed, women's clothing, evening wear, australian fashion - 1960s, mcintyre collection

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the sitters in this mid 19th century pair of portraits is as yet unidentified. The locket was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Small hinged locket made of tortoiseshell inlaid with mother-of-pearl, silver and gold. The locket is designed to be worn as a pendant. The two hand-tinted encased oval portraits are of an elderly woman on the left and an elderly bearded man on the right. The inlaid locket is probably Indian given the style of the floral inlay on the front and reverse. The portraits do not appear to be daguerreotypes, ambrotypes or tintypes and require further technical investigation.henty family, australia - early settlers

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the woman in this mid 19th studio portrait is as yet unidentified. The daguerreotype was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Three quarter length studio portrait of a female member of the Henty family, taken using the daguerreotype photographic process, and encased in a standard daguerreotype frame made of tooled leather, velvet and gilt metal. The woman is dressed in a silk dress, typical of the 1860s, with a lace collar and bonnet. She appears to be holding a locket in her right hand.henty family, australia - early settlers

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the woman in this mid 19th studio portrait is as yet unidentified. The tintype was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Small tintype of a female member of the Henty family. The hand-tinted close-up studio image is of an unidentified member of the family. The sitter's hair is parted in the middle as was typical of the period. She wears a dark dress with a white collar and a cameo at the throat.henty family, australia - early settlers, tintypes

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the woman in this 1920s studio portrait is as yet unidentified. The photograph was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Oval convex portrait of an as yet unidentified member of the Henty family. The unsigned photograph mounted on a metal backing is sepia tinted. It shows a woman, photographed at an oblique angle, gazing at the photographer. Her dress and hairstyle allow us to date the portrait to the 1920s.henty family, australia - early settlers

The Alexandra Gardens in Cotham Road, Kew were opened by the Governor of Victoria in 1910. The first curator of the gardens was George Pockett, who with his brother is credited with the layout of the gardens. The gardens were constructed on land originally owned by the King family of 'Madford' in Wellington Street. The land on which the gardens were developed was originally the back paddock of 'Madford' which was purchased by the Borough of Kew in 1906.A rare and early photograph of the gardens showing clearly the changes to the layout and planting during the 1920s. Small, sepia coloured photographic positive of a woman standing beside a path and bridge in the Alexandra Gardens in Cotham Road, Kew.Annotation verso: "Alexandra Gardens Kew 1927"parks and gardens -- kew (vic.), alexandra gardens -- kew (vic.), george pockett

The Alexandra Gardens in Cotham Road, Kew were opened by the Governor of Victoria in 1910. The first curator of the gardens was George Pockett, who with his brother is credited with the layout of the gardens. The gardens were constructed on land originally owned by the King family of 'Madford' in Wellington Street. The land on which the gardens were developed was originally the back paddock of 'Madford' which was purchased by the Borough of Kew in 1906.A rare and early photograph of the gardens showing clearly the changes to the layout and planting during the 1920s. Small, sepia coloured photographic positive of a woman with a suitcase standing on a gravel path in front of a semi-circular garden bed in the Alexandra Gardens in Cotham Road, Kew. The main plantings in the rock-bordered bed are varieties of palms. A wooden bridge can be seen to the woman's leftAnnotation verso: "Alexandra Gardens Kew 1927"parks and gardens -- kew (vic.), alexandra gardens -- kew (vic.), george pockett

The Alexandra Gardens in Cotham Road, Kew were opened by the Governor of Victoria in 1910. The first curator of the gardens was George Pockett, who with his brother is credited with the layout of the gardens. The gardens were constructed on land originally owned by the King family of 'Madford' in Wellington Street. The land on which the gardens were developed was originally the back paddock of 'Madford' which was purchased by the Borough of Kew in 1906.A rare and early photograph of the gardens showing clearly the changes to the layout and planting during the 1920s. Small, sepia coloured photographic positive of a woman standing on the grass in front of a garden bed in the Alexandra Gardens in Cotham Road, Kew. The Centennial Rotunda, built in 1910, can be seen in the background. Annotation verso: "Alexandra Gardens Kew 1927"parks and gardens -- kew (vic.), alexandra gardens -- kew (vic.), george pockett

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 68 Park Street, Hawthorn 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. The woman named as Mattie was Martha Dunham Brooks b1892, Camberwell. She was the daughter of Arthur 'Empire' Brooks and his wife Mary Jane Wilson who lived at 21 York Street. They also had twin boys: Thomas Moffat Brooks – b. 1899, Surrey Hills; d. 1906 and Edwin Dunham Wilson Brooks – b. 1899, Surrey Hills; d. 1971 Heidelberg. The donor remembered the later as a builder of 11 York Street. Martha m. Clifford Ernest Cairns in 1935. Mattie Cairns was the donor's godmother. This is part of a large donation of material from the Deakin, Mair and Young families. This is part of a large donation of material from the Deakin, Mair and Young families all of which had connections with Surrey Hills / Mont Albert.A black & white photo of a man, a women, 2 women, a girl and a young lady beside a car in a country setting. The girl is bending to pat a dog.On rear: "Mum Dad Mair / Shirl Isabel Mattie / Digger - Cliff Cairns / Dog" in blue biro. Thought to be Beryl Mair's handwriting. "LILY" and "DAVE" in lead pencil above Mum and Dad. Photographer's stamp "653" in blue ink.dave mair, david miller mair, lilly vipond deakin, lily vipond mair, shirley inez mair, isabel lillian mair, mattie brooks, martha dunham brooks, cars

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Beryl initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 68 Park Street, Hawthorn 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. The woman named as Mattie was Martha Dunham Brooks b1892, Camberwell. She was the daughter of Arthur 'Empire' Brooks and his wife Mary Jane Wilson who lived at 21 York Street. They also had twin boys: Thomas Moffat Brooks – b. 1899, Surrey Hills; d. 1906 and Edwin Dunham Wilson Brooks – b. 1899, Surrey Hills; d. 1971 Heidelberg. The donor remembered the later as a builder of 11 York Street. Martha m. Clifford Ernest Cairns in 1935. Mattie Cairns was the donor's godmother. This is part of a large donation of material from the Deakin, Mair and Young families. This is part of a large donation of material from the Deakin, Mair and Young families all of which had connections with Surrey Hills / Mont Albert. Mattie Brooks' father was a significant figure in early Surrey Hills.A black & white photo of 2 women, a girl and a lad beside a car on the sand at the beach.On rear: "Mum Mattie / Shirl / Digger (Cliff Cairns / Dog" in blue biro. "MATTIE BROOKS / LAD UNKNOWN" Thought to be Beryl Mair's handwriting. Photographer's stamp "653" in blue ink.beach, lily vipond mair, lilly vipond deakin, mattie brooks, martha dunham brooks, mattie cairns, martha dunham carins

The post office opened at this location in 1912. It was demolished in 2000. Post office history in the area: Until 1883 when the railway came through to Surrey Hills, this was essentially a rural community of scattered farms. Land subdivisions soon occurred along the railway line and limited postal services followed soon after, although a ‘permanent’ home for the post office was two decades away. George Sim Junior is acknowledged as our first postmaster; he opened a post office on 1 October 1884 in his father’s general store at 619-621 Canterbury Road, a few doors down from the Surrey Hills Hotel on the corner of Union Road. Over the next 20 years, the Surrey Hills Post Office moved several times into temporary, shared accommodation – in 1889 into Woodhead’s Corner Store at 364 Canterbury Road; then in 1895 to No 376, Hansen’s Exchange Building, part of Hansen’s Terrace (demolished) and in 1901 to 109 Union Road, on the corner of Windsor Crescent. Following Federation in 1901, the new Commonwealth Government established the Postmaster-General's Department to provide postal services to the nation. Many of the post offices constructed in the following years reflected a growing sense of Australian pride and nationalism. It was 1914 when building commenced on the ‘purpose-built’ post office at 609 Canterbury Road, Surrey Hills. Described as “a polychromatic Federation Freestyle building”, it served as the local post office for nearly 85 years until sold by the Commonwealth Government in c1999, after which the post office moved to the current, less prominent site at 100 Union Road. For nearly 10 years under private ownership, the building was successfully adapted for use as the base for two businesses, Gargoyles and Dragons and later the Surrey Sculpture Studio, and fortuitously the historic integrity of the building was maintained. However although renovated in the 1990's, structurally sound and of historic significance, it was not protected under local or commonwealth heritage legislation and was demolished soon after sale. This is an early image of a demolished building which should have been protected. In 1991, when the City of Camberwell conducted a heritage study, (which still informs the basis of the City of Boroondara’s heritage guidelines for this part of the municipality,) the post office was owned by the Commonwealth Government. As such, it could not be considered for heritage listing by the local authorities. Some years later, the Commonwealth and Australia Post rather belatedly recognized not only that post offices have heritage and social value, but also that the architecture of post offices as community buildings is important. A heritage management scheme was developed for the buildings they own or control under the Environment Protection and Biodiversity Act 1999. Unfortunately, the Surrey Hills Post Office had been sold and demolished before this was finally enacted in 2004. Black and white image, perhaps from a post card, of Surrey Hills post office at 609 Canterbury Road. The building is flanked by a picket fence. There is a woman, a dog and a man in front of the entrance. The man is in uniform - possibly a postal employee.post offices, canterbury road, businesses, surrey hills post office, surrey sculture studio, gargoyles and dragons

Kodak Model 1A Junior folding camera that uses size 116 film. Owned by donor's mother. Jess Cameron Shannon (nee Gilbert). This was my mother's camera and took many snaps of her family in Orbost, East Gippsland, moved with her to South Yarra as a young working woman in the 1930s, then on out to Warrandyte in 1951 with her young family.Kodak Model 1A Junior folding camera. Kodak Model 1A Junior folding camera.Kodakdepression era, kodak australia, shannon, ms gael - national wool museum

This bodice belonged to Mary Crombie, an early Victorian dentist, who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. Mary Margaret Crombie (1884-1971) was born at Coan Downs Station near Walgett, northern New South Wales, where her father Henry was station manager. After Henry’s untimely death in 1895, Mary and her mother loved for a few years with family members in St Kilda, before moving into a cottage of their own, ‘Rosewood’, at 42 Asling Street, Brighton around 1899. From here, Mary attended Oberwyl Ladies College in St Kilda and later the Australian College of Dentistry, one of only a few women to study dental surgery at the time. She was apprenticed to Ada Tovell (1865-1932), one of Victoria’s first female dentists, who had her own practice in Collins Street. Mary graduated in 1907 and the following year moved with he mother to Yarram in South Gippsland, where she took over the running of a practice owned by Sale dentist Charles Trood, eventually purchasing it from him in 1915. Speaking to a Brighton newspaper in 1961, Mary said she believed that she was the first woman to start a dental practice in Gippsland. For some locals, this took a little getting used to: “Many were amazed, and had some misgivings, when they found that the local dentist was a woman,” she said. “I always remember a huge farmer (he was about 6 ft. 4 in.), who had fortified himself at the local hotel to face the ordeal of visiting the dentist. He almost turned and ran when he saw me. … He was still more amazed when I pulled out his tooth without undue trouble.” The farmer was the best advertisement she could have asked for, telling everybody about the diminutive lady dentist who had calmly extracted his tooth. Mary practiced in Yarram until her retirement in 1949. After selling her practice she returned to Brighton, where she spent the last two decades of her life residing at 25 Oak Grove. Following her death in 1971, her relatives in Brighton donated a number of items from her home to BHS.Black satin bodice, boned, with black faceted glass buttons down the front. High collar. Both collar and cuffs are edged with a black net ruffle. Two rows of seven black crochet-covered buttons at each cuff, fastening with loops. Stray brown threads poking through fabric around the collar, shoulders and back indicate that these areas may originally have featured lace embellishments.mary crombie, 1900s

Barbara Weir (b. 1945-03/01/2023) Born: In the region of Utopia, North East of Alice Springs, formerly known as Derry Downs Station Language: Anmatyerre and Alywarr Country: Atnwengerrp, Utopia Region, North East of Alice Springs, Northern Territory One of the Stolen Generation, Barbara Weir was removed from her Aboriginal family at the age of nine, and she was raised in a series of foster homes. Reuniting with her mother, Minnie Pwerle, in the 1960s, Weir eventually returned to her family territory of Utopia, 300 kilometres northeast of Alice Springs. Active in the local land rights movement of the 1970s Barbara Weir was elected the first woman president of the Indigenous Urapunta Council in 1985. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted auntie Emily Kame Kngwarreye. Highly experimental in her approach, Barabara Weir tried many mediums before travelling to Indonesia in 1994 with other artists to explore batik technique. She returned full of ideas on how to develop her own style which has since evolved to a more expressive abstract form. Grass Seed is part of her Dreamings and is associated with women’s ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Barbara Weir's paintings include representations of particular plants and "dreamings". Inspired by a small grass found in Utopia called Lyaw, Munyeroo or Pigsweed, Barbara's Grass Seed paintings consist of a series of small brush strokes that overlap and weave to create a swaying effect. This Dreaming tells the story of grass seed that is part of the bush tucker found in the region of Utopia. This seed is collected, crushed to a fine powder and is then used to make a bread, very similar to damper. The people of Utopia were still using this seed as late as the 1950s. During that time the seed grew in abundance but as the years passed there were very few good seeds to be found due to bullocks roaming the land and eating the grasses. The people then began to eat a substitute that the white man provided, and today very few Aboriginal people collect these seeds. art, artwork, barbara weir, aboriginal, dreaming, stolen generation, acrylic on linen

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.A triptych commissioned for the Federation University Mt Helen A-Building Staircase.aboriginal, abstract

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriignal education centre collection

leni (1960s- ) Born Melbourne Wotjobaluk "leni is both a long story and a short life. A Wotjobaluk woman, born in Melbourne in the sixties, adopted into a non-Aboriginal family and raised by true destiny on country in the Wimmera. leni was reunited with her mother and extended family in her late teens. Simple swift sentences with complex challenging undertones. Thus began an ever evolving and endlessly deep cultural and personal exploration which has passionately consumed, confused, enticed and enriched her since. leni’s creativity is inspired strongly by her cross cultural heritage, learnings and loves, failures and fears, passions and dreamings. This artwork has its own determination and authenticity. leni’s work constantly explores concepts of the past and present. leni has exhibited in the Koorie Heritage Trust, The Convent Gallery, Kirret Barreet Gallery, Gallery on Sturt, Tussock Gallery and others. Her work has been commissioned by various organisations, public and private collectors.aboriginal, aboriginal education centre collection