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Women's Art Register
Book - Anthology, Jeanette Hoorn, Strange Women. Essays in Art and Gender, 1994
The masculine landscape tradition was seen as the 'true' national identity in the early 20th century while the new Modernist painting of women was seen as marginal and incidental. This text looks behind the commonly held narratives of art criticism to present a new reading of gender in Australian painting.Booknon-fictionThe masculine landscape tradition was seen as the 'true' national identity in the early 20th century while the new Modernist painting of women was seen as marginal and incidental. This text looks behind the commonly held narratives of art criticism to present a new reading of gender in Australian painting.grace cossington smith, thea proctor, margaret preston, grace crowley, hilda fix nicholas, sybil craig, ethel carrick -
Ithacan Historical Society
Photograph, Governing Council of Greek Women, Melbourne 1917, 1917
The photograph is of members of the Governing Council of Greek Women in Melbourne in 1917. A number of the women were from Ithaca. The organisation was created to offer social interaction for Greek women who had settled in Australia in the early years of the twentieth century and was part of the Greek Orthodox Community of Melbourne and Victoria. Back row L-R: Mrs. A Raftopoulou, Miss Sigala, Mrs. E. Peppa. Middle row L-R: Miss E. Nomikou, Mrs. K. Kyriazopoulou, (President), Mrs. K Mavrokefalou (Vice-president), Mrs. N. Mari. Front: Mrs. B. Zografou. A black and white portrait style photograph of eight young women. The translated caption is printed below the photograph in Greek: THE GOVERNING COUNCIL OF GREEK WOMEN, MELBOURNE 1917 gocv, committee, auxilliary -
Ithacan Historical Society
Photograph, Spot Cafe, Mildura, c1925
Some Ithacans on arrival in Melbourne moved to the larger regional country towns and opened food vending businesses. John (Ioannis) Raftopoulos (Fiakas) was one such Ithacan who established himself in Mildura. He opened the Sport Cafe in Langtree Avenue. The Spot was an elegant and sophisticated establishment and as well as serving meals, also served the latest sundaes and cool fountain drinks. By the late 1930s he had also opened a milk bar in Mildura’s Astor Theatre. Raftopoulos was a true entrepreneur and ran a number of business in the Mildura and Red Cliffs. John's father, Efstathios Raftopoulos (Levendis) arrived in Australia in 1895 and John soon followed. John's brother-in-law Dimitrios Vlassopoulos arrived from Ithaca in 1922 and opened the Golden Key Café in Red Cliffs. Dimitrios had previously spent about 10 years in America where he gain knowledge and experience in the food and hospitality business. The Golden Key Café shared similarities with the Spot Sundae ‘Parlor’. Ithacan settlement in Mildura area dates back to the early 1900s. A black and white photograph of the interior of a cafe. There are five waitresses and two waiters; three of the women are behind a counter and the other two are standing beside the tables which are lined up on either side of the restaurant. One of the waiters is at the rear is behind a counter while the other is in the background. The restaurant is adorned with Christmas decorations and potted plants. -
Ithacan Historical Society
Photograph, Ithcan Picnic, c 1940s
From its earliest days, the Ithacan Philanthropic Society has conducted an annual family picnic held at country towns on Melbourne's urban fringe. For many years Bacchus Marsh was a popular venue where this picnic group was photographed. Women would prepare delicious traditional Greek food and families would group together to enjoy a wonderful picnic spread. The annual Ithacan Picnic has been a very important event on the society's social calendar. In the early days, as many of the families ran family businesses such as fruit shops, fish shops and cafes, Sunday was the only break they had away from their work. The picnic gave them a chance to relax and to catch up with extended family and friends. Today the picnic continues to be an extremely popular day for the members where generations of Australian Ithacans get the opportunity to reunite. A black and white photograph of a large group at a picnic standing and sitting around and enjoying a picnic meal which has been spread out on the ground. Three cars are parked in the background under the trees. -
Bendigo Historical Society Inc.
Book - LONG GULLY HISTORY GROUP COLLECTION: FOOTPRINTS ON THE SANDS OF TIME
Book titled Footprints on the Sands of Time: Bendigo's Citizens, the 1909 Bendigonian Annual and Community History with a grey tone cover with images of Sir John Quick, Amy Castles, Amy and Eileen Castles and Anthony Palamountain on the front and back covers. La Trobe University, Bendigo The Ninth Sir John Quick Bendigo Lecture 2 October 2002. Lecture by Professor Jeff Brownrigg, Head of Research and Outreach ScreenSound Australia, Canberra. Mentioned in the book is Sir John Quick, Some women of the early 20th Century, Bendigo's singers and opera singers and why communities all over Australia must face up to the challenges of global media by first recognizing the value of their own stories. Mentioned at the back of the book is a brief mention of Professor Jeff Brownrigg's career, John Quick's career and a list of The Sir John Quick Bendigo Lecture Series from 1994 to 2001.bendigo, history, long gully history group, the long gully history group - footprints on the sands of time, professor jeff brownrigg, research and outreach screensound australia, la trobe university bendigo, sir john quick, bendigonian annual, bendigo school of mines, british empire, alfred deakin, sir william lyne, king o'malley's commonwealth bank, telstra, sir frederick holder, robert garran, john mckay, the mirror, henry gyles turner, fischer, state library of victoria, bishop reville, bendigo evening news, bendigo independent, bendigo advertiser, melbourne university, melbourne age, richard twopenny, mr donald clarke esq, bendigo's butter factory, madame carandini, amy sherwin, nellie melba, oscar commetant, shamrock hotel, constitutional convention adelaide, frederick holder, edmund barton, catherine helen spence, elizabeth nicholls, women's christian temperance union, mary lee, rose scott, susan margery, maybanke anderson, vida goldstein, bendigonian annual, amy castles, alice crawford, edward allan bindley, joseph castles, mercy conent, freeman's journal, catholic press, therese radic melba, state library of victoria, cardinal moran, de quiros, bulletin, john norton, d headon, j brownrigg, lili sharp, eileen castles, mike sutcliffe, melbourne argus, frank cusack, david horsfall, alvin tracey, melbourne's advocate press, amy sherwin, frances saville, lalla miranda, hugo gorlitz, samuels family, louis august samuels, kate (catherina) samuels, madame benda, mathilde marchesi, emily dyason, erna (lovie) mueller, the german chapter, german heritage society bendigo, bertha rossow, hamilton hill, beatrice english, anthony palamountain, alfred bottoms, a c bartlemann, dorothy penfold, dr penfold, penfold gallery, pauline bindley, e a bindley, willie murdoch, sister mary tarcisia, sisters of mercy, peter dawson, bendigo's chinese populatin, masonic hall, ashman's dry-cleaners, walter murdoch, lily baxter, walter savage landor, robert garran, ada colley, australian journal of communication, michelle matthews -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Denman-type obstetric forceps associated with Dr Ronald Alder and Dr George Cuscaden (Sen.), Weiss, London
Ronald Alder states that these forceps were used by Dr Cuscaden Senior, who "was an honorary at the Royal Women's Hospital during his time there. He did work with radiation in treatment of cancer of the cervix in the early days." (Ronald Alder correspondence, 18 Jul 1997)Stainless steel obstetric forceps consisting of two blades with bakelite handles. "WEISS/ LONDON" and "R.ALDER" inscribed on both blades.obstetric delivery -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Equipment - Gravigard IUD associated with Dr Lachlan Hardy-Wilson, Searle Laboratories
Copper intrauterine devices (IUDs), first marketed in the early 1970s, represent an important contraceptive option for 150 million women worldwide. The method is safe, rapidly reversible, inexpensive, highly effective, long-acting (up to 20 years for some products [1]), and non-hormonal; these attributes make it unique and desirable for many users. However, increased bleeding and pain cause up to 15% of users to have the device removed within the first year [2]; still higher percentages tolerate some level of these side effects yet retain use of the method. In one study, 67% of women using the TCu380A complained about menstrual side effects within the first year of use [3]. (Hubacher et al, 'Side effects from the copper IUD: do they decrease over time?', 2009)This is one of a collection of items received from the practice of Dr Lachlan Hardy-Wilson, FRCOG, Launceston, Tasmania.Sealed Gravigard IUD in original box. IUD and inserter are sealed inside a sterile plastic pocket. The box is made of cardboard and has an orange top panel with white sides. Text printed on the front of the box reads '1 Sterile Pack/Gravigard*/contraceptive/copper/contraceptive/FRAGILE/Do not bend or crush/SEARLE'. Text printed on side of box reads 'Made in England Supplied by Searle Laboratories, Division of Searle Australia Pty. Ltd., Sydney, Australia'.intrauterine device -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Equipment - Two Gravigard IUDs associated with Dr Lachlan Hardy-Wilson, Searle Laboratories
Copper intrauterine devices (IUDs), first marketed in the early 1970s, represent an important contraceptive option for 150 million women worldwide. The method is safe, rapidly reversible, inexpensive, highly effective, long-acting (up to 20 years for some products [1]), and non-hormonal; these attributes make it unique and desirable for many users. However, increased bleeding and pain cause up to 15% of users to have the device removed within the first year [2]; still higher percentages tolerate some level of these side effects yet retain use of the method. In one study, 67% of women using the TCu380A complained about menstrual side effects within the first year of use [3]. (Hubacher et al, 'Side effects from the copper IUD: do they decrease over time?', 2009)This is one of a collection of items received from the practice of Dr Lachlan Hardy-Wilson, FRCOG, Launceston, Tasmania.Two sealed Gravigard IUDs. IUD and inserter are sealed inside a sterile plastic pocket. Manufacturer information is printed on a cardboard insert which holds each IUD inside the pocket.intrauterine device -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Equipment - Medical case used by Dr Reginald Worcester
Reginald George Worcester (1903-1972) was a highly regarded obstetrics and gynaecology specialist. Between 1930 and 1933, Worcester was the Medical Superintendent at the Royal Women's Hospital. He obtained his MRCOG in England in 1935, and on his return to Australia was appointed as a university tutor in obstetrics and gynaecology. In 1939, he was appointed as the honorary gynaecologist to outpatients at the Royal Women's Hospital. Worcester served with the AIF during World War II as C.O. of the 17th Field Ambulance in Darwin and as A.D.M.S., Northern Territory Force, and the 2nd/9th Australian Army Corps from 1942 to 1943. His major war service, however, was undertaken in Borneo and Moratai, commanding the 2nd/1st Australian C.C.S. and the 2nd/9th Australian General Hospital. Worcester acquitted himself admirably during the war, with company commander Hubert Smith praising his contribution in no uncertain terms: " His [Worcester's] success as C.O. of a Field Ambulance resulted from a complete understanding of what the unit should be able to do in the transportation of casualties in the field, as well as of the usual medial functions. He organized both with efficiency and at all times difficult decisions were made with humility and good humour. The personal qualities which made him such a calm and considerate consultant never left him, even in the most dangerous and trying circumstances of war." Worcester's time in the army greatly affected his health, but despite this he was able to build a strong and reputable practice upon his return to Australia. As outlined by Arthur Hill, Worcester " was appointed in turn to the following important posts: Honorary Outpatient Obstetrician and Inpatient Gynaecologist to the Women’s Hospital (1946-1948); Honorary Gynaecologist to Prince Henry’s Hospital (1946-1963); Guest Examiner in London for the R.C.O.G. (1953); Examiner in Obstetrics and Gynaecology for the Royal Australasian College of Surgeons (1957-1964); Visiting Gynaecologist to the Repatriation General Hospital, Heidelberg 1963- 1967); and first Victorian Members’ representative (1947-1950) and later Fellows’ Representative (1953-1960) on the Australian (Regional) Council of the R.C.O.G. To these posts he brought the benefits of clear thinking and critical awareness. In 1949 he was elected F.R.C.O.G." In early 1967, Worcester suffered a hemiplegia which left him with an impaired gait and paralysed his right hand. Although unable to do major surgery, he returned to part-time practice by September 1967. His ill-health persisted though, and he was retired from practice in 1970. (Source: (1973), REGINALD GEORGE WORCESTER. Medical Journal of Australia, 1: 770-771.)Brown leather medical case. The case has a solid frame and is rectangular, with a leather handle at top. There are two locks on the top of the case, and a metal clasp on either side to fasten the bag closed. The case is embossed with the letters 'R.G. WORCESTER' on top, in a position between the two locks and below the handle at bottom centre. The inside of the case is lined with a canvas bag that is buttoned to the case with press studs. The inside of the case also contains a loose canvas bag on which is handwritten 'BAG No/THREE/ R.G. WORCESTER'. The loose canvas bag has a metal zipper at opening.'R.G.WORCESTER'obstetrics, surgery -
Yarra Ranges Regional Museum
Photograph, Rational Dress Picnic, Fernshaw, Vic Watt's River, c. 1895
This is an early stereoview by George Rose. The women in the picture wears 'Rational Dress', which referes to a dress reform during the late Victorian era. THe reform was particulally realted to womens undergarments which were modified to be more comfortable and less restrictive. Stereographic photo - Rational Dress Picnic, Fernshaw, VIC., Watts River Printed in brown along left edge : Rose's Stereoscopic Views,- / Australian Seriies. Printed in brown along right edge: Sold only by George Rose, - / Publisher, Windsor, Melbourne. Printed underneith image: 743, Rational Dress Picnic, Fernshaw, VIC, Watts Riverrose series, fernshaw, rational dress, watts river -
Dutch Australian Heritage Centre Victoria
Book, J.T. Swartsenburg, Het Geslachtsleven van de Vrouw (Female Sexuality) by Anna Fischer Dückelmann, 1918 (original German Title pub. 1902)
Dr.Fischer-Dückelmann wrote numerous books and papers in 13 languages. She believed female and family health, emotional as well as physical would counteract the evils of war.The popularity of this early 20th century publication (half a million copies printed) points to a desire among Dutch women to become more educated about their own bodies and their role in the family.A 216pp hardcover book describing female sexuality. It includes a fold-out colour plate of the female body and numerous other illustrations. -
Clunes Museum
Document (Collection) - BOOKS, Clunes Free Lending Library et al, FREE LENDING LIBRARY - CLUNES, 1884-1912
clunes free lending library, record keeping, australian womens association, medical unionclunes free lending library, record keeping, australian womens association, medical union -
Clunes Museum
Book, Fred Cahir, My Country All Gone The White Men Have Stolen It - The Invasion of the Wadawurrung Country 1800-1870, 2019
INDIGENOUS HISTORY OF AUSTRALIA WRITTEN BY FRED CAHIRSoft Cover book , depicts a young Aboriginal women wrapped in a possum skin cloak standing in front of an early topographical map of Port Phillip. 348 pages.INDIGENOUS HISTORY OF AUSTRALIA WRITTEN BY FRED CAHIRwadawurring, fred cahir, indigenous history -
Tatura Irrigation & Wartime Camps Museum
Map - Map - Photocopy, New Guinea Escape Route
At the end of January 1942 there was only about 250 men left in Wau, as the women and children had been evacuated by air a little earlier. With no planes to take the men they had to make their own way to Port Moresby and then travel by ship to Australia. Some men went down to Salamaua and made their way along the north coast, but small groups also made their way over the Owen Stanley Ranges; rafting down the Lakekamu RIver to Yule Island and by boat to Port Moresby. Donor Vanessa Kiessling's Father was part of the second group, and had drawn a detailed map of their route. This might be the same route taken by Rev. Willi Hertle (Ref C0750)Photocopy of New Guinea map showing escape routePlan of surveyed route from Edie Creek to Bulldog Dromepapua new guinea, escape, map, wau, willi hertle, kiessling -
Tatura Irrigation & Wartime Camps Museum
Document - Memoir, Hermine Wedel, Memories of Tatura, July 2014
An account of the author's family background & early life, more particularly those events leading to their internment in Tatura, Victoria, Australia during World War 2. The author's parents (author Hermine Wedel, nee Strauss) were of German nationality & practicing as missionaries in New Guinea. Upon the outbreak of WW2, those German nationals were ordered to the coast by the Australian authorities and the men were transported to internment camps in Australia. The women remained behind, reporting regularly to the authorities, until they too were brought to camps in Australia at the end of 1941. They were eventually reunited in a family camp for internees, Camp 3 at Tatura, in 1943. They were released from the camp to work in Australia in 1947 and the family returned to New Guinea in 1949, and eventually went back to Germany. The author also briefly recounts her marriage & married life in Brazil & Germany. 13 page document, A4 paper. 7 pages of English translation, 6 pages German original. world war ii, internee camps, civilian internees, german internees, camp 3, tatura, new guinea, strauss, stuerzenhofecker -
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. -
Buda Historic Home & Garden Castlemaine
Photograph, Bertha Leviny with her daughters, a grandson and dog, 1906
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
Domestic furniture, Timber hand-carved boot stool, c1900
The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines -
Buda Historic Home & Garden Castlemaine
Domestic furniture, Arts and Crafts embroidered draught screen, c1900
This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique -
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
Illustration - Watercolour, Dorothy Leviny, Original Wallpaper Design by Dorothy LEviny, 1906
Original design by Dorothy Leviny, aged 25, while she was a student at the Bendigo School Of Mines under the tutelage of Arthur T. Woodward. Woodward, who had come to Australia from Britain, was a renowned proponent of the Arts and Crafts Movement in Australia during the late nineteenth and early twentieth centuries. Dorothy Leviny, along with two of her sisters, entered a number of items in the First Australian Exhibition of Women's Work, Melbourne, 1907, and was awarded second prize for one of her wallpaper designs. Dorothy Leviny was the ninth child born to noted colonial silversmith and jeweller, Ernest Leviny, and his wife, Bertha (nee Hudson).This original wallpaper design by Dorothy Leviny is one of few that remain in existence from the early twentieth century showing the influence of the British Arts and Crafts Movement in Australia.Original wallpaper design made by (Bertha) Dorothy Leviny painted in watercolour. The repetitive floral design consists of pale pink bell-shaped flowers with green stems and leaves. Paper, card, watercolour paint.'D. Leviny /06'.dorothy leviny, watercolour painting, arts and crafts movement, 1906, buda, castlemaine, arthur t woodward, bendigo school of mines, exhibition of womens work 1907, wallpaper design, illustration -
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
Book, Bonwick, James, The wild white man and the blacks of Victoria, 1863
Contents: Life of Buckley; James Morrill; Blacks of Victoria; Early Stories of the Blacks; Physical Appearance; Intelligence; Character; Clothing & ornaments; Homes & food; Hunting; Songs & dances; Women and children; Marriages; Infanticide & Cannibalism; Weapons; Religion & Superstition; Missions; Diseases; Death & Burial; Language; Origin of our Natives; Conflicts of Whites & Blacks; Native rights & British rule; Protectors & Native Police; Government of Tribes & numbers; Civilisation; Decline; Appendix.90, iii pages : illustrations ; 22 cm.Contents: Life of Buckley; James Morrill; Blacks of Victoria; Early Stories of the Blacks; Physical Appearance; Intelligence; Character; Clothing & ornaments; Homes & food; Hunting; Songs & dances; Women and children; Marriages; Infanticide & Cannibalism; Weapons; Religion & Superstition; Missions; Diseases; Death & Burial; Language; Origin of our Natives; Conflicts of Whites & Blacks; Native rights & British rule; Protectors & Native Police; Government of Tribes & numbers; Civilisation; Decline; Appendix.buckley, william, 1780-1856. | aboriginal australians -- victoria -- social life and customs. | victoria -- social life and customs. -
Koorie Heritage Trust
Journal - Periodical, Barrett, Charles, Northern Australia
This book covers the far northern parts of Australia, from Queensland to the Kimberleys and the romantic ports of the north-west, where early navigators made landfalls. Tthe photographs, many of them unique, were taken on sea and land expeditions, the latest in 1939, when a 1200 miles' cruise was made in the mission boat Larrpan, from Darwin to the farthest east coast of Arnhem Land.pp40; illus; 27 cm.This book covers the far northern parts of Australia, from Queensland to the Kimberleys and the romantic ports of the north-west, where early navigators made landfalls. Tthe photographs, many of them unique, were taken on sea and land expeditions, the latest in 1939, when a 1200 miles' cruise was made in the mission boat Larrpan, from Darwin to the farthest east coast of Arnhem Land.aborigines-northern australia, port essington, northern australia-aborigines-fishing, aboriginal women-northern australia-food gathering, goulburn island, elcho island, caledon bay, milingimbi, wessel islands, thursday island, wyndham, broome., aboriginal art - cave paintings -
National Wool Museum
Archive - Advertisement, Challenge Woollen Mills, 1961
Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Advertisement, Challenge blankets, ElectracolourFirst Time Ever!/Clan Murray Challenge Blankets/Bring You New Colours Glowing like Early Morning Sunlight/Electracolour/from New Swiss Miracle Dyes/Still with the Super Luxury of Kitten-soft Double "Perma-Nap" Finishwool, blanket, blanket fever, challenge, advertisement, australian women's weekly -
Koorie Heritage Trust
Book, Barlow, Alex et al, Bosses ourselves : the story of Aboriginal self-government, 2001
Aboriginal self-government in the past and at present is related. A well presented book suitable for upper primary/early secondary students. In this book, the story of Aboriginal self-government, then and now, is told. Read about the traditional importance to Aboriginal people of their senior men and women and how the arrival of European settlers disrupted forever the way Aboriginal people organised their society and governed themselves. Learn about the struggle of Aboriginal people for the right to self-determination and about the role of bodies such as ATSIC. -- Back cover.32 p. : col. ill., maps, ports. ; 28 cm.Aboriginal self-government in the past and at present is related. A well presented book suitable for upper primary/early secondary students. In this book, the story of Aboriginal self-government, then and now, is told. Read about the traditional importance to Aboriginal people of their senior men and women and how the arrival of European settlers disrupted forever the way Aboriginal people organised their society and governed themselves. Learn about the struggle of Aboriginal people for the right to self-determination and about the role of bodies such as ATSIC. -- Back cover.aboriginal australians -- history -- juvenile literature. | aboriginal australians -- politics and government -- juvenile literature. -
Koorie Heritage Trust
Book, Bunce, Daniel et al, Australasiatic reminiscences of twenty-three years' wanderings in Tasmania and the Australias, 2000
This book is a reprint of the original journal entries of Daniel Bunce prior to 1857. A journal style record of travel within Tasmania and Australia for a period of 23 years beginning in March 1833. Arriving in Port Phillip in October 1839 early observations of the colony are most interesting. Chap.4; incidents in relation to the Aborigines at Hobart town; Chap.8; Tasmania - womens life, body decoration, clothing and scarification; Chap.9; Native chiefs with Buckley, the Wild white man; Chap.11; Journey to Westernport with natives (Derrimut, Benbow and Yammabook), foods - kangaroo and native porcupine; duties of women; Chap.12; Leichhardts journey, native names of flowers, fruits, etc. (Condamine River area); foods, treacherous natives near Fitzroy DownsThis book is a reprint of the original journal entries of Daniel Bunce prior to 1857. A journal style record of travel within Tasmania and Australia for a period of 23 years beginning in March 1833. Arriving in Port Phillip in October 1839 early observations of the colony are most interesting. Chap.4; incidents in relation to the Aborigines at Hobart town; Chap.8; Tasmania - womens life, body decoration, clothing and scarification; Chap.9; Native chiefs with Buckley, the Wild white man; Chap.11; Journey to Westernport with natives (Derrimut, Benbow and Yammabook), foods - kangaroo and native porcupine; duties of women; Chap.12; Leichhardts journey, native names of flowers, fruits, etc. (Condamine River area); foods, treacherous natives near Fitzroy Downsleichhardt, ludwig, 1813-1848. | leichhardt expedition, (1846-1847) | botany -- queensland. | botany -- tasmania. | queensland -- discovery and exploration. | tasmania -- description and travel -- to 1850. | victoria -- description and travel -- to 1850. | body - decoration. | body - scarification. | settlement and contacts - colonisation - 1788-1850. | costume and clothing. | food - meat - echidna. | settlement and contacts - explorers. | food. | hunting. | gathering - honey. | food - meat - kangaroo / wallaby. | language - vocabulary. -
Whitehorse Historical Society Inc.
Book, Australian Filet Crochet - Weekly Times Book of Patterns
Till CollectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Blue book Australian Filet Crochet - Weekly Times Book of Patterns. Picture of filet crochet piece with house & tree and spray of leaves on left side. Underneath is written 'Original Designs by Australian Women' price Two Schillings. Across bottom is written ' The Whole of the Contents of this book are protect4ed by Federal Copyright Act 1912. 46 pagesbooks, handcrafts -
Netball Victoria
Photograph, Sidney Riley Studios, 1930
This is a team photo of the Victorian State Women's Basketball (Netball) Team in 1930. This picture was taken in Brisbane where the interstate carnival was held in 1930..Players such as Edith Hull, Ethel McCarthy featured throughout the 1930s and 1940s which featured significant tours from NZ (by NZ in 1936 and then to NZ in 1948). Many of the players photographed in this 1930 picture represented Victoria for many years to come, making this an early appearance from a dominant Victorian Team.Team photo of the Victorian Women's Basketball Team of 1930.Sidney Riley Studios Queen St. Brisbane Back row L to R: Grace Tenpony, Margarey Reilly, Ethel McCarthy, Phyllis McDonald, Val Tasker. Front row L to R: Tixie Renfree, Elsie Johnson (Ferris), Jodie Harrison (umpire), Edith Hull, Hazel Wilkins womens basketball, women's basketball, netball, victoria, netball victoria, 1930, 1930s,victorian team, womens netball, women's netball, sport, vic, grace tenpony, margarey reilly, ethel mccarthy, phyllis mcdonald, val tasker, tixie renfree, elsie johnson, jodie harrison, edith hull, hazel wilkins, netball australia -
Ararat Gallery TAMA
Textile, Frances Burke, Goanna, c. early 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.