Historical essay and timeline of the Women’s Art Register, including Vision Statement, Chronology, Publications, Associations, Overview of the unique Women’s Art Register including significant events and actions.Display copy of the softcover promotional booklet published by Women’s Art Register in 2005, with essay by Juliette Peers and design by Josephine Fagan. Contents: About the Women’s Art Register; Vision Statement, Pulications, Liasons and Associations, How to use the Women’s Art Register, Advocacy and Leading Issues, Chronology, Short HIstory of the Women’s Art Register, Membership Form, Resources and KitsThe word Corrections is handwritten on the cover.

The changes in the metal observable on the interior of both these lead nipple shields suggests that this pair was well used. One can only imagine the long-term effects. Perhaps significantly, the lid of the box is stained with the distinctive purple of gentian violet. The underside of the lid claims “They are in no way likely to be injurious to the infant”. Allen & Hanbury’s catalogue of c1901 lists these as costing 1/- per pair.Two nipple shields, lead, moulded, 6cm diameter, with "England" impressed on inside. In original manufacturer's circular cardboard box.breast feeding

non-fictionhealthcare

For many it seemed that Vietnam had forever been a battlefield and yet, in April 1975, a strange peace fell over the country.vietnamese conflict, 1961-1975

A remarkable, thoroughly researched and detailed record of "Dunera" internee artists with examples of their varied styles of water and colour paintings, sketches and cartoons. Vivid reminders of the whole experience of internment in Australia during World War 2 for these men. Launched at the Jewish Museum in St Kilda, Sunday July 8th and Monday July 9th at Readings Books in Melbourne.Visual history of camp life of the Dunera boysBlue soft cover, with front cover painting by Emil Wittenberg. Painted at Tatura on 23rd May 1941, depicts a group of Dunera internees behind barbed wire. B/W and colour photos, sketches, paintings and watercolour.To the memory of Amirah Inglis. A photograph of Kenneth Stanley Inglis, 7 October 1929 - 1 December 2017dunera boys

SoftcoverAuthor's inscription - "To Patricia With Love Alastair Sept 2000"walsh st library

Clarence College Stawell Awarded to M Telfordstawell education

Acrylic on canvasSigned and dated 'E Harrison 03' in lower left corner of painting.

Acrylic on paperSigned and dated 'E Harrison 04' in lower left corner of painting.

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

A book regarding promoting museums, galleries and exhibitionsA book regarding promoting museums, galleries and exhibitionsA book regarding promoting museums, galleries and exhibitionsmuseums, art galleries, shows and exhibitions

A paperback book of 58 pages with text and black and white photographs stapled together with a cardboard cover and a coloured reproduction of a painting by George Rowe of an early race meeting in Sunbury. non-fictionA short local history covering 140 years of European Settlement in Sunbury from 1836 to 1972. The booklet was produced by Dr. John Patterson with help from local Sunbury people.local history, sunbury, dr. john patterson

This script of three books includes Robin Boyd's 'The Puzzle of Architecture', as well as a book on De Gaulle and the history of Christianity. It was broadcast on ABC Radio program "Morning Call" on 1 March 1966.Two typewritten pages with a Compliments of ABC card dated 15 March 1966