This style of bonnet was commonly worn outdoors by women in South West Victoria in the late 1800s - early 1900sThe bonnet is significant as a typical of women's outdoor headwear in Australia in the late 19th and early 20th century.Ladies outdoor bonnet, white cotton with narrow mauve stripes and small flowers. Bonnet is trimmed with frills and straps to tie under the chin. Dated late 19th to early 20th century.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ladies bonnet, outdoor bonnet, hat, bonnet, headwear, ladies clothing, late 19th century bonnet, early 20th century bonnet, women's fashion, australian fashion, australian millinery

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.The hat was owned and worn by Lilian Cohen.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. 1920s navy blue felt cloche hat. The irregular border of the cloche is highlighted by a ruched band of emerald green velvet. The hat is part of the McIntyre Collection.Nilhats, australian fashion - millinery, fashion accessories, mcintyre collection, lilian cohen

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

An article in the Melbourne Age (2 March 1978, p. 25) recorded the retirement of Clare Ralph of Goullet of Melbourne (active 1953-78). "One of Australia's most talented milliners, Clare Ralph, of Goullet, is selling her business because she wants to spend more time in her garden. "I have been in the business for 25 years and last week I turned 60 and so I thought now is the time," Mrs. Ralph said at her Richmond shop yesterday. ... Mrs. Ralph is selling cheaply $10,000 for the label, which also covers sportswear, and tenancy and lease of the premises which have a showroom and workroom. ... Mrs. Ralph is as unpretentious as the relaxed Goullet styling which brought the new concept of millinery to Australia non-hatty hats with none of the "Melbourne Mum" quality so rife at the time. She said she started off making hats rather than dressmaking because she couldn't afford to buy the three yards of material necessary for a dress. "I wanted to get out of the house and so I did millinery night classes at Caulfield Tech." Her first efforts were sun-hats of natural straw which Mrs. Ralph trimmed extravagantly … "gold fishnet and braiding and sparkly jewels all over the crown. "They were ridiculous but a lot of fun," she said. She carted them by train to the city and nervously showed them to a store buyer. After the meeting, she couldn't face taking the samples home again on the train and left them. Before she could collect them, to everyone's amazement particularly Clare Ralph's, they had been sold. "The next thing was people were asking me what I was going to do for winter. I hadn't thought I was in the industry. I just thought I had sold a couple of sun hats and that was marvellous because I needed the money," she said. If the new buyer is interested, Clare Ralph will continue designing hats on a consultancy basis for them, which would be great for all the fans she has collected since those crazy sun-hat days.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Wide brimmed woman’s hat designed by Clare Ralph of Goullet of Melbourne, constructed of white stiffened fabric with a white fabric cord surrounding the crown of the hat.Label: Designed by Goullet of Melbournegoullet of melbourne, clare ralph -- milliner, women's clothing -- hats, headwear

The design of this small disc is from the Australian Colonial period. The cedar wood desk was made in Australian by Foy & Gibson in the 1880s, most probably in the business’s works in Collingwood, Victoria. The heavy brass locks fitted into the desk drawers were made by the famous Hobbs & Co of London, mid-late 19th century. In 1860 the business changed hands but the locks were still branded Hobbs & Co. The desk is branded with the symbol of Victoria’s Public Works Department. There is currently no information on when, where and by whom this desk was used. However, a very similar desk with Hobbs & Co. locks is on site at the Point Hicks Lightstation in Victoria and was formerly used by the Point Hicks head light keeper there. Other light stations also have similar desks from the P.W.D. (see also ‘Desk, Parks Victoria – Point Hicks Lightstation, Victorian Collections’.) HOBBS & CO., LONDON Alfred Charles Hobbs, 1812-1891, was American born. He became an executive salesman in 1840 for renowned lock manufacturer Day & Newell. His technique of exposing the weaknesses of people’s current locks was very successful in generating sales. He represented Day & Newell at London’s Great Exhibition of 1851, competing with other lock makers. Through the Exhibition he became famous for picking the best trusted Bramah and Chubb locks. Hobbs’ fame led him to found his own company in 1851 then register it in 1852 as Hobbs & Co., London. Hobbs was awarded the Telford Medal by the British Institution of Civil Engineers in 1854 for his paper 'On the Principles and Construction of Locks'. In 1855 the very successful company added partners and became Hobbs, Ashley and Co. In 1860, it traded under the name of Hobbs, Hart & Co. and was based in Cheapside London, where the business remained. Hobbs then returned to America, having sold the complete company to John Mathias Hart. He briefly returned to attend the 21st anniversary celebrations of the successful business in 1872. Hobbs kept himself busy in America, inventing and manufacturing firearm ammunition, for which he held several patents. He passed away there in 1891, a month after his 70th birthday. FOY & GIBSON Mark Foy wan an Irish draper who migrated to Bendigo, Victoria in 1858, attracted by the gold rush. He lived and worked in the area, establishing a drapery business. In the 1870s he moved to Melbourne where there were better prospects for expansion. He chose a place in Smith Street, Collingwood, a suburb of Melbourne, and started his business at the rear. In 1883 Foy retired, bringing in William Gibson as a partner, and then transferred his own share of the company to his son Francis Foy. Not long afterwards Francis sold his half share to Gibson, and the business continued under the name of Foy & Gibson. Francis Foy and he and his brother Mark Foy (junior) moved to Sydney. They established a business there in 1885, named after their father, Mark Foy. Gibson added to his business by starting his own manufacturing works from 1887, producing clothing, millinery, furniture, bedding and hardware for his stores. The factories, warehouses and stores complex became one of Victoria’s largest employers. He set up branches of his stores in Perth, Brisbane and Adelaide and two more branches in Melbourne. Foy & Gibson (usually referred to as Foys) became one of Australia’s largest retail department stores. In 1931 Foy’s little house in Collingwood was still part of the entrance to Foy & Gibson Emporium. In 1955 the company was bought out by Cox Brothers. Later on the stores were sold to various businesses such as David Jones, Woolworths and Harris Scarfe. In 1968 Cox Brothers went into receivership, ending almost 100 years of the business known as Foy’s. The former Foy & Gibson Complex is registered by Heritage Council Victoria. “Designed by William Pitt, this magnificent 19th and early 20th century complex of factories, warehouses and showrooms saw the production of a remarkable range of goods for Foy & Gibson, Melbourne’s earliest department store chain”. (Quoted from the Plaque erected by the Collingwood Historical Society 2007) P.W.D. – Public Works Department, Victoria The desk is stamped “P.W.D,” signifying that it is from the Public Works Department in Victoria, which operated from 1855-1987. The department was responsible for, among other things, the design and supply of office furniture and equipment for public buildings and organisations. This desk is significant historically as it originated from Foy & Gibson, a colonial Australian company that had a positive and strong impact on employment, manufacturing and retailing in Melbourne, Victoria and Australia. The significance of Foy & Gibson to Victoria’s and Australia’s history is marked by the Collingwood Complex being registered in both Heritage Victoria Register (H0755, H0897 and H0896) and National Trust Register (B2668). This locks on this desk are significant for their connection with their manufacturer, Hobbs & Co, who invented a lock that surpassed the security of any other locks produced in the mid-19th century. Desk; Australian Colonial cedar desk, honey coloured. Desktop has a wooden border with a rolled edge and a fitted timber centrepiece. The four tapered legs are tulip turned. Two half-width drawers fit side by side and extend the full depth of the desk. The drawers have dovetail joints. Each drawer has two round wooden knob handles, a keyhole and a fitted, heavy brass lever lock. Inscriptions are on the desktop, drawers, desk leg and lock. Made in Australia circa 1880 by Foy & Gibson, lock made by Hobbs & Co, London.Impressed into timber frame of one drawer “FOY & GIBSON” Impressed into lock “HOBBS & CO / LONDON”, “MACHINE MADE”, “LEVER” Impressed along the front edge of the desktop [indecipherable] text. Impressed into the timber of right front leg “P. W. D.” below a ‘crown’ symbol Handwritten in white chalk under a drawer “206” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, desk, cedar desk, colonial desk, 1880s desk, australian colonial furniture, furniture, office furniture, office equipment, australian made furniture, colonial furniture, colonial hardware, foy & gibson, alfred charles hobbs, hobbs & co london, hobs & co lever lock, cabinetry lock, machine made lever lock, p.w.d., public works department victoria, day & newell, great exhibition of 1851, bramah lock, chubb lock, telford medal 1854, cheapside london, mark foy, mark foy – bendigo draper, smith street collingwood, william gibson, foy & gibson emporium, foy & gibson complex, cox brothers

The Ballarat School of Mines was a predecessor institution of Federatin University Australia. The scrap books were kept by the librarians and related to topics of interest to the Ballarat School of Mines, its students and its staff. 17 December 1954 - Ballarat Junior Technical School Headmaster's Report 05 February 1925 - Ballarat School of Mines Museum closure 25 February 1925 - War Trophies Museum 06 May 1925 - Ballarat's Museum. Where is it? Some Interesting Facts 14 May 1925 - White Flat Reserve 21 June 1928 - Ballarat School of Mines Procession 14 March 1929 - Mr A.D.R. Galloway - An Australian Abroad - Tragic end. 1929 - Technical Education 17 October 1929 - Agricultural Engineering 15 February 1930 - Ballarat School of Mines Student Association 20 February 1930 - 61s Annual Meeting of the Ballarat School of Mines 02 June 1930 - R. Young in Belgium and visits battlefields including Hill 60. 19 February 1931 - School Hostel Suggested 14 April 1931 - Frank Pinkerton Obituary 15 October 1921 - Life at Mt Isa (E. Loveland) 18 February 1932 - Discussion on Teachers College (Ballarat Teachers' College) 11 July 1931 - Phoenix Model Locomotive donation to the Ballarat School of Mines 06 May 1932 - The Mt Isa Country 11 Oct 1932 - Death of F.W. Alsopp (former SMB student) 21 January 1933 - Education In Victoria: Will a New Era Open 28 September 1933 - New Teaching System Explained by the Minister 17 February 1934 - Trip to New Guinea (A.F. Heseltine) 19 April 1934 - Early Ballarat - Address by Nathan Spielvogel 30 August 1934 - Ballarat Junior Technical School Tennis Court 23 August 1934 - Welding plant and Battery 17 June 1935 - Men about Town - A.F. Heseltine 21 June 1935 - Vocational Guidance 16 July 1935 - Ballarat School of Mines (history) 03 August 1935 - Men About Town - William H. Middleton 10 August 1935 - A.E.C. Kerrballarat school of mines, martha pinkerton, scrap book, a.w. nicholson, john lynch (junior), mount lyell, leslie evans, leslie blake evans, herald shield for athletics, ballarat school of mines museum, motor mechanics' classes for ladies, farm engineering, villers bretonneux carvings, trengrove, museum, port pirrie, j.i. simpson, reuben s. russelll, ballarat technical art school, charles harvey, elliott gower, la gerche, c. curnow, applied art, macroberston scholarship, ballarat school of mines procession, rag, vale park tree planting, smb ball, pottery classes, delineascope, mica smith scholarship, james peart, burma mnies, smb excursion to western australia, kalgoorlie, elsie mckissock, war trophies, warwick smith, spencer street bridge, war museum, richard j. young, alfred mica smith obituary, reginald callister, john rowell, sewerage installation, h.h. smith, w.h. middleton, olive scott, dolly whitehead, vale park, ballarat war museum opening, repatriation classes, sewerage at the ballarat school of mines, australian coals, j.p. ellsworth, yallourn, w.g. walker, reunion, norfolk island pine, mica smith memorial, jessice smith, harry fern, t. henderson, bhp, john adam, ols students' association, l.b. curnow, laura crouch, signwriting, excursion, port pirrie excursion, albert potter, pearl fricke, technica school sports, percy trompf, ballarat school of mines battery, albert mclean, a.d.r. galloway, alan douglas richard galloway, r.j. young, alan ludbrook, r. timpe, ballarat ironworkers and polytechnic association, h. jolly, carpentry, harold jolly, millinery classes, phoenix model locomotive, s.j. morgan, r.d. bannister, juvenile industrial exhibition, w.h. shaw, j.c. winds, f.h. davis, h.r. worland, w.t. magee, l. george, l. balhausen, white flat oval, resue from yarrowee creek, e. berriman, ballarat teachers' college, reg mcconnell, mount lyell co, munro reaper, munro reaper model, weaving classes, mervyn trimmings, briquette dust, edna findlay, jean rogers, n. mccallum, jessie glass, classroom ventilation, art metal, charles fenner, levi molyneux, olice scott, poster competition, kerr grant, w.h. steane, h. caddy, colvin smith, claude creelman, robert colins, stan hillman, n.c. heathcote, egg collection, john alexander, nornie gude, charles deane, graham hopwood, roswald john dart, max wilson, new battery, jess hopwood, william middleton, a.e.c. kerr, hand weaving classes, m. martin, a.h. leeson, mona rogerson, lorna bailey, prospectors classes, edwin robinson, kalgoorlie vist, railway locomotive

Stuart Hats commenced manufacturing hats in about 1948 and closed their factory in Orbost around 1953 probably because of the high transport costs. The company's head factory was in Melbourne. The hats made in Orbost were sold all over Australia as well as in Melbourne at Myers and David Jones. Orme Andrews Ladies' Wear was the only store in Orbost to stock the locally produced Stuart Hats. The building became first a Dry Cleaners and then a private home.Stuart Hats was a significant manufacturing business in Orbost in the 1950's employing nearly 20 local people.A woven straw hat with a wide brim. It is a natural colour with braid as a hat band. Inside are two sewn on pieces for a pink tie.millinery stuart-hats clothing accessories hats

Prior to the 1960s, hats were worn by all men. Aluminium hat stretchers were generally in use from the 1920’s. The hat was placed on the aluminium dome shaped piece. When the handle was turned, the dome section split vertically, one section moving away from the fixed half. A graduated scale along the side indicated the size. This item was possibly used in the hat factory in Orbost. Stuart Hats commenced manufacturing hats in about 1948 and closed their factory in Orbost around 1953 probably because of the high transport costs. The company's head factory was in Melbourne. The hats made in Orbost were sold all over Australia as well as in Melbourne at Myers and David Jones. The building became first a Dry Cleaners and then a private home.This item was possibly used by Stuart Hats which was a significant manufacturing business in Orbost in the 1950's employing nearly 20 local people.A hat stretcher consisting of an aluminium dome-shaped piece (on which the hat was placed) and a metal winder. It has been mounted onto a wooden baseOn wooden base : "Restored by John Mundy"millinery hats hat-stretcher

Historically this item could be a valuable antique worn originally by a wealthy upper class woman. The fine hand painted pictures with gold boarders and porcelain body suggests the item was bought either in Europe or Britain and brought into Australia in the late 19 th to early 20 th century by a wealthy landed gentryThis item is a reflection of both the fashion mode of the 1800s to mid 1900s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHead of pin is six sided, domed top made of porcelain. Two sides have hand painted pictures of grapes, two sides with flower arrangement , two sides detailing cypress tree tips of branch, top has flowers and leaves with hidden small birdshat pin, porcelain hat accessory, millinery clothing

Oliver Gilpin (1874-1942), chain store proprietor, was born on 8 July 1874 at Seven Creeks near Euroa, Victoria, fourth child and second son of William Gilpin, farmer, and his wife Dinah, née Barton, both from Tyrone, Ireland. He was educated at local state schools and became a draper's assistant at Euroa. A testimonial as 'an energetic, pushing salesman, a careful stock-keeper … honest and industrious' gained him city experience with Ball & Welch Ltd, drapers, in their Carlton store. He used an inheritance to open a drapery store at Korumburra, south Gippsland, in 1895, moving to Rutherglen in the upper Murray valley in 1899. Frustrated by irregular stock deliveries, he moved to Fitzroy, Melbourne, in 1902, seeking a warehouse and the benefits of combined supplies for effective development of country trading. By 1905 he was producing many stock items at Northcote and had established retail outlets at Bendigo and Warracknabeal. Branches at Echuca, Numurkah and Yarrawonga followed in 1906, with ten more in 1907. He moved his city establishment to East Malvern in 1911, and had opened forty shops by 1920 and seventy-four by 1928. All were managed by women, on a strictly cash basis. Drapery remained the main line, supplemented by ironmongery, crockery, school requisites and toys. Gilpin saw the Depression years as a challenge. Between 1928 and 1931 he established eighteen new branches, including two in Tasmania, at Devonport and Ulverstone. The chain included South Australian branches at Mount Gambier, Millicent and Renmark, twenty-five stores in southern and western New South Wales, and ten in suburban Melbourne. Gilpin's Chain Store News was issued monthly. In 1944 Foy & Gibson acquired a controlling interest in Gilpin's business and in 1951 the chain was bought by G. J. Coles & Co. Ltd for £1,250,000. Three wooden blocks used to display hats. 9042.1 Slightly head shaped on top 9042.2 Light timber, flat on top, a wedge at back. 9042.3 Dark timber, flat on top.hat blocks, millinery, haberdashery, gilpin, korumburra

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green woman’s hat created by Harbig of Melbourne with a large border of flowers and leaves in shades of green. The crown of the hat is swathed with pale green silk gauze.Label: Harbig. Melbourne, New York, Parismilliners -- harbig, women's clothing -- hats, floral hats

Latiners was a Melbourne millinery company owned by Rupert Vincent Kirsch during the 1930s and 1940s. Originally located at 310 Flinders-lane, in 1934 the company shifted to 20 Dawson Street Brunswick. An article in the Melbourne Age newspaper recorded that the (illustrated) extensive factory was nearlng completion.(The Age, 10 July 1934). As well as producing hats in the factory, Latiners also imported hats into Australia. The Dawson Street factory is now listed on the Victorian Heritage Database as 'Of regional significance as one of the largest hat manufacturing businesses in Melbourne and architecturally important for its bold use of rendered forms.'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Deep purple coloured straw girls’ hat retailed by Latiners featuring a maroon ribbon at the base of the crown and a multicoloured fabric posy of flowers on the rim. The straw hat is irregularly layered to give the impression of folds.Label: Latinerslatiners -- 310 flinders lane, latiners - dawson street -- brunswick, rupert vincent kirsch, women's clothing -- hats

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Rounded hat covered with ivory coloured silk, simulated flowers attached to a stiffened net. Label: Harbigmilliners -- melbourne (vic.) -- harbig, women's clothing -- hats, headwear

The 'flat' hat dominated millinery design in the 1950s. Most women sourced their hats from numerous Melbourne or suburban milliners while others purchased the products of French designers. A number of Australian companies were licensed to reproduce French designs. In very rare cases, Australian women purchased directly from a French couturier's collection. This inverted flat 'saucer' hat is an example of the latter.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners. This feather hat was donated by Marion Blatchley, a resident of 7 John Street, Kew, a member of the Society, and a collector of vintage fashion items. In terms of fine workmanship, it is the highest quality hat in the collection.A fashionably flat woman’s hat with an inverted rim. The whole is covered in tiny iridescent dark feathers. A numbered label stitched to the interior of the hat identifies that the hat was made in Paris, France. The label includes a stamped number 9102 and a handwritten ‘Col 10’.Label: Stamped number 9102 and a handwritten ‘Col 10’.hats, women's clothing, costume accessories, french fashion - 1950s

This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work for significant organisations and institutions . Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013. The 1981 Rotary International Pacific Region Conference was held in the Royal Exhibition Building, Melbourne, between 26 and 29 November 1981. More than 5,000 Rotarians from around the Pacific attended the conference in Melbourne to discuss 'The Future of the Pacific Region'. Speakers included the Honourable Malcolm Fraser, Rotary International President Stan McCaffrey, President Elect Horoji Mukasa, Ranald McDonald, representing the media, Sir Ian McLennan, representing industry, Japanese former Ambassador Nobuhiko Ushiba and Philippines Deputy Consul General Mrs Minerva Falcon, both representing diplomatic services, as well as other Rotarians. A limited number of plaques were produced from quality imported porcelain.This item represents a major event held in Melbourne for Rotary International and is also the work of a prominent artist from the Wodonga district.2 ceramic plaques designed by Betty Barberis for the emblem of the 198T Rotary International Pacific Region Conference held in Melbourne in 1981. The plaque bears the Rotary emblem, slogan and other text as well as an image of a kangaroo and lyre bird.In top banner: "SERVICE - ABOVE - SELF" In central circle: "ROTARY INTERNATIONAL" around 1981 In lower banners: "PACIFIC REGIONAL CONFERENCE / MELBOURNE AUSTRALIA".betty barberis, rotary international, 1981 rotary international pacific region conference

This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work including these badges for the Australian Antarctic Research Expedition in 1982. Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013.This item represents an important research organisation in Australia and was created by an highly recognised artist from Northeast Victoria.A framed montage of 2 cloth badges designed for the Australian Antarctic Research Expedition in 1983, a pin featuring a penguin, a business card and a note written by the artist and donor Betty Barberis nee Barton.On sign above badges:' THESE BADGES WERE DESIGNED FOR THE -/ AUSTRALIAN ANTARCTIC / RESEARCH EXPEDITION 1982/ By BETTY L. BARBERIS In the top left corner: "It is with very great pleasure I give these treasures to Wodonga Museum/ Betty Lorraine Barberis (Barton) 1927 / 2 -1-2011"betty barberis, anare, australian antarctic research expedition

This item was created for Wodonga Historical Society by the artist, Betty L. Barberis in 2009. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work, including this banner created for Wodonga Historical Society and featuring the Wodonga Water Tower. Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013.This banner was created by a renowned and highly regarded artist from Northeast Victoria.A large velvet banner created for the Wodonga Historical Society by noted local artist Betty L. Barberis. It is mounted on a pine rod and features an image of the water tower in Wodonga, Victoria. The majority of the banner is hand stitched.Around the edge of the central image: "Wodonga Historical Society Victoria.wodonga historical society, betty l. barberis

In February 2001 the National Council for the Centenary of Federation called upon Australians to nominate someone whom they felt had significantly affected their lives, their community or our country. Thousands of these heroes and quiet achievers were selected. Betty Churcher, a member of the National Council, chaired the Peoplescape Selection Panel. Nominators then made life size, cutout figures to represent their "hero". The sculptures were installed in alphabetical order, on the hill at Parliament House and down to the Federation Mall in Canberra, each with a plaque at its base outlining the individual's achievement. This portrait was painted by Betty Barberis to represent her mother "Dolly" Barton. Dolly raised 12 children, lived through 2 World Wars and the depression. She kept the family dairy farm running whilst her husband was serving in World War 2 whilst still supporting the war effort through the Red Cross and CWA and the church guild. Betty’s great body of work included landscapes, banners, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She was also an art teacher of 22 years. Betty passed away at The Grange, Wodonga on 26 November 2013.This portrait was created by a renowned and highly regarded artist from Northeast Victoria for a national celebration of the centenary of Australian Federation in 2001.A large oil painting depicting a portrait of Dolly Barton, mother of the artist Betty L. Barberis. The painting includes representations of her 12 children, her farming way of life, her commitment to the community and to the war effort. The image was painted on to yellow corflute for exhibition. It has since been covered with perspex to protect the image.betty l. barberis, myrtle ann 'dolly" barton, peoplescape 2001

Seven seated and fifteen standing men dressed in suits around a long table in a panelled room hung with formal portraits of men. A trophy sits on the long table amongst loose paper sheets. Research by project volunteer, Fiona Collyer: The Commercial Travellers’ Association of Victoria (CTA) was formed at a meeting of 40 commercial travellers held at the Duke of Rothesay Hotel, 24 Elizabeth Street on 1 December 1880. Their charter was to advocate for better working conditions for commercial travelling salesmen, including improved accommodation at discounted rates and travel concession fares. At first by locomotive, horse and buggy, steamers and horseback, later also by motor car and motorcycle, “The Man on the Road” went into the back-blocks of the country to extend the interests of commerce to the stores and households of Australian regional towns and isolated settlements. Affiliated organisations existed in all states and New Zealand and in 1895 they integrated to form the United Commercial Travellers’ Association of Australasia (UCTAA). By the turn of the 20th century, the Victorian branch of the CTA had 421 Association Members and 520 Club members. The CTA continued to hold meetings in leased rooms in hotels and offices until 1898 when they commissioned purpose-built premises at 190-192 Flinders Street (extant, now the Macstore, next to former Metropolitan Gas Company Buildings). Designed by leading architectural firm of brothers H.W. & F.B.Tompkins (Dimmey’s Model Store, Swan Street, London Stores, Herald and Weekly Times, Myer building, Diamond House, Centreway Arcade, Manton’s Store) in the Queen Anne Revival style at the cost of £20,000, the four storey building had a facade of red Northcote bricks and an entrance of Pyrmont stone. It was very modern for the time, featuring elevators, offices, bars, kitchen, dining, card and billiard rooms and 31 bedrooms with shared bathrooms for the footsore travellers. However, despite adding two storeys in 1901, and another storey and a basement in 1905, they soon outgrew their premises, and in 1912 the CTA commissioned a new building at 328 Flinders Street. At this time, buildings in Melbourne were constrained by the city height limit of 132 feet (40 metres)- the maximum height of firefighting ladders. The new CTA building was the tallest building in Melbourne until 1932 when regulations changed allowing the Manchester Unity Building to be built. The new CTA headquarters was the epitome of comfort and luxury with cutting edge facilities to ease the fatigued salesman and prepare him for another stint on the road. General Secretary, James Davies travelled to Britain and America to acquire the very best and latest innovations. After visiting the new premises, Punch magazine 11 June 1914 reported “furnishings, appliances, and labour-saving conveniences which were more than up to date- they were up to-morrow.” The Edwardian Baroque style building was again designed by architects H.W. & F.B. Tompkins at the cost of £100,000 and built by contractors F.E. Shillabeer and Sons (Nicholas Building, Kellow-Falkiner Pty Ltd car showroom). The nine storey plus basement building is of steel frame construction with concrete floors. The ground floor facade is of grey granite and above that it is faced with cream glazed bricks chosen to combat discolouration from the pollution emitted by Flinders Street Station trains across the road. The facade is decorated with mascarons, gum leaf trim and balconies with classical style balustrade. The club was entered through revolving doors into a two storey high, circular, domed lobby with white columns, American oak panelled walls and intricate mosaic flooring. The ceiling is festooned with plaster gum leaf and gum nut detail, a theme that is repeated throughout the building. The basement kitchen had modern, labour saving appliances that would be the envy of any Edwardian housewife, including an electric toaster, a potato peeling machine, heated dumb waiter, dishwashing machine and electric refrigeration and cooking. It serviced the commodious second floor dining room which seated 200 people and the cafe/breakfast room, 80 people. Members were permitted to entertain their lady friends there for afternoon tea between the hours of 3 and 5 pm every day, except Sunday. The members’ facilities included a barbershop, clothes pressing machine, boot cleaning chair, pipe and cigar stall with electric humidor, public telephones, lockers and safe deposit. The building was serviced with five elevators, a built in vacuum cleaning plant, hot water radiators and linen and postal chutes. The first floor was devoted to business and relaxing, containing the Board, Writing, Reading and four Business Rooms. The board room had Queensland maple panelling with huge blackwood tables topped with blue morocco and golden tortoise-shell trim and cane bottomed chairs. Large framed photographs of past presidents since 1884 lined the walls. The Reading Room ran the whole width of the building. Arthur Streeton’s painting “Between the Lights, Princes Bridge 1888” and Frederick McCubbin’s “Looking North from Mount Macedon” were hung there, as well as paintings by renowned Australian artists Hans Heysen, Walter Withers, John Mather, Jan Hendrik Scheltema. The Argus 30 May 1914 quipped “Around the walls hang evidences that the commercial traveller's soul has not been killed in his pursuit of commerce”. The blackwood panelled room was furnished with Queen Anne style tables and chairs and green leather armchairs with inviting rocker foot rests allowing weary travellers to relax after traversing the railways and dusty roads of Victoria while planning their next sales trip. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 noted “An attendant will be constantly employed on this floor to take care of the stationary supply, to tidy up newspapers, and generally study the convenience of members.” The third floor was for amusements with billiards, a bar and four rooms for playing cards, dominoes and chess. The huge billiard room had seven Alcock billiard tables including a table in a partitioned match-room for tournaments, exhibitions and matches. The walls were lined with members’ cues and for spectators, comfortable lounges with marble topped tables and electric bell pushes for drinks service. There were 150 bedrooms over five floors, each with their own telephone and wash basin and five suites with a private sitting room attached. There were four bathrooms per bedroom floor and capacious, well-lighted shaving rooms. Top rate club tariff for bed and breakfast - 6 shillings, if called for a country train leaving Melbourne before 8am - 4 shillings, suite and breakfast- 9 shillings, sixpence. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 reported “All “early calls” will be made from the Club Office to Bedrooms by means of the Telephone, so that instead of waking everybody else up on the corridor, only the member concerned will know that it is his unpleasant duty to get up.” The new CTA premises was widely regarded as the finest club in the Southern Hemisphere. The CTA also built the adjacent six storey Commerce House with 52 sample rooms for travellers to display their wares with the remainder rented to retail businesses and a post and telegraph office. After the CTA moved into their new, larger premises in 1914, neighbouring department store Ball & Welch expanded into the former CTA. The CTA saw themselves in a nation building role and were an influential lobby group to the Government. They advocated for inter city trunk telephone lines, standard gauge railway lines between NSW and Victoria, improved roads and highways, the Murray River water scheme and maintaining the White Australia Policy. They were very active in fund raising for the war efforts. The CTA offered its members support in other ways with benevolent funds for widows and orphans, mortuary, accident, sickness and an annuities fund for members over 65 years. There were scholarships for members’ children and home purchase scheme to assist with home ownership. A secondary membership scheme provided access to non commercial travellers (men only) to its exclusive club premises. They also organised social events and activities such as billiard tourneys, golf tournaments, dances and an annual “Smoke Social” which was a social event where men gathered for a formal dinner, community singing, lectures, speeches and of course, to smoke! Daylesford born James Davies OBE, (1865-1931) worked at the CTA for 50 years, starting as an office boy and working his way up to General Secretary and editor of the monthly trade journal for UCTAA members, “The Traveller” (1890-1905, later “The Australasian Traveller” 1905-1924 and then “The Australian Traveller” 1925-1976) and the annual colour supplement magazine “Australia To-Day” (1904-1973). “The Australasia Traveller” featured commentary on the issues of the day like wars, tariffs and trade, articles on new products and hotel recommendations and their rates and lots of advertising, especially alcohol, tobacco and accommodation in regional hotels. There were regular columns, each illustrated with a line drawing and these included “Our Immigration Record” a state by state summary of arrivals of “desirable immigrants” to Australia, while bemoaning the declining (white) birth rate. The column followed the arrival of British boys sent to Australia as agricultural apprentices to work on rural properties which were short of labour. Between 1913-1928, 1750 “Barwell Boys”, some as young as 14 years of age arrived in South Australia to work. NSW had a similar program known as the Dreadnaught Boys Scheme where 5595 boys immigrated between 1911-1939. The boys were considered of “good British stock”. There was a “Home Page For The Ladies” showcasing the latest fashions in women’s clothing, millinery and hairstyles and tips and trends in home furnishings.“Children’s Corner for Dear Little Folks” which featured puzzles, jokes and stories and members could send in photographs of their children. “Road Echoes” devoted to “The Man On The Road” and his doings. “Face Massage, Smiling is the Best Face Massage”, the humour page full of jokes and funny stories. “Railway Rumbles” news of innovations, timetables, tickets and grumbles about lavatories, food and drinking water on trains and at railway stations. And in case we forget that members had a home away from their CTA home, gardening tips with “The C.T. as Gardener”column. The annual magazine “Australia To-Day” was a vehicle to promote Australia here and overseas as a modern, prosperous country with abundant opportunities and pleasant climate. It sought to showcase its manufacturing, agriculture and tourism and encourage British immigration to Australia. The magazine featured articles about recently arrived migrants at work, quirky native flora and fauna, beach culture, recreation and the Australian way of life in the settler nation. Many of the articles were written by politicians of the day, including Robert Menzies. The UCTAA commissioned original artwork for the front covers and feature articles of “Australia To-day” from leading Australian artists. These included Norman Lindsay, Frederick McCubbin, Napier Waller, Lionel Lindsay, Hans Heysen, C Dudley Wood, Louis McCubbin, Penleigh Boyd, Louis Buvelot, Christian Waller and Ellis Rowan and her Australian wildflowers. Some of the photographs in “Australia To-Day” were provided by state and federal government departments as well as manufacturers, newspapers and mining companies. Amongst of the credited photographers was Helmut Newton who later earned world acclaim as a fashion photographer and architectural and industrial photographer Wolfgang Sievers (unfortunately their photographs remain in copyright and aren’t available online). Also featured was Richard C. Strangman, a professional photographer from Canberra, William Howieson of Melbourne, who has 22 photographs in the collection of NGV, Tasmanian wilderness photographer Frederick Smithies, Athol Shmith, portrait photographer and educator from Melbourne, Gordon de Lisle, a Melbourne commercial, industrial, aerial and society portrait photographer. (One of Gordon’s assignments was as the stills photographer for the 1959 movie “On The Beach” filmed in Melbourne). Photographs taken by acclaimed Antarctic and official war photographer Captain Frank Hurley OBE for Adelaide’s Centenary were also featured. The Australian Government was keenly aware of the influence and quality of the UCTAA publications. On 1 June 1914 The Age reported that to advertise Australia in Great Britain and elsewhere, the Department of External Affairs purchased 6500 copies of “Australia To-Day” magazine for £515 to distribute free to “places where they are most likely to come under the notice of a desirable class of immigrants.” In 1950, the office of Prime Minister Robert Menzies ordered 2550 copies of that year’s issue of “Australia To-Day” for the Department of Commerce and Information to distribute. The CTA donated their archives to University of Melbourne Archives which includes original artworks and photos used in “Australia To-Day” (Melbourne University has digitised 1114 photos) and sundry items including trophies, ashtrays, commemorative souvenirs, menus, a rare “Safechek” sovereign changer, a bust of James Davies and even a CTA embossed wash bowl and chamber pot. After the death of General Secretary James Davies in 1931, the CTA held the annual “James Davies Memorial Cup” golf tournament at various Melbourne golf courses, the winner receiving a splendid silver cup. “Table Talk” magazine photographs from 29 June 1933 depict the travellers beautifully (and I would say correctly) attired in tweedy plus fours, Fair Isle knitwear, flat caps and of course fringed brogues. I have been unable to ascertain whether the trophy in our photo is for golf or another CTA social activity. The CTA Victoria membership peaked in 1951 with 4,672 Aassociation members and 3,693 Club members. In 1959, Hollywood came to Melbourne when film stars Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire descended to film ‘On the Beach,’ directed by Stanley Kramer. The film is based on the bestselling Neville Shute novel about the aftermath of World War Three, a nuclear war that has obliterated most of the Northern Hemisphere. Radioactive dust is heading toward Australia and everyone is preparing for death. Scenes with Anthony Perkins were filmed in the CTA billiards room as the exclusive Pastoral Club. Anthony Perkins’ character, Lieutenant Commander Peter Holmes of RAN tells Gregory Peck’s character, Commander Dwight Lionel, that The Pastoral Club is…”A mahogany and polished brass sort of place-some people claim it was the stuffiest club in the Commonwealth” before assuring him that despite shortages, the club is likely to have some Scotch left. In a scene at the Pastoral Club two, old (probably red faced) codgers discuss the challenge of drinking all of the 400 bottles of Gould Campbell vintage port in the club wine cellar before they succumb to radiation sickness in five months time. The NGV has 12 photographs in their collection of wardrobe stills of Ava Gardner modelling costumes designed by the Fontana Sisters of Rome for “On The Beach”, taken by Italian photographer G.B.Poletto. During the filming, Gregory Peck and his family stayed at “Kurneh” 206 Domain Road, South Yarra, the former home of three times Grand Slam winner Norman Brookes. Through the decades, Australian society was changing and in order to stay relevant, the CTA had to change too. In 1971, two women were elected for club membership, although they were only granted limited access to the club’s facilities and in 1972, women were invited for the first time to participate in the previously men only annual “Smoke Social”. In 1975, dwindling membership forced the closure of The Commercial Travellers’ Association building and in 1977, the building was sold, with the CTA ceasing to operate in 2014. It was the end of the road for the “Knights of the Road”. In 1992, the CTA building at 328 Flinders Street was placed on the Victorian Heritage Register in recognition of its architectural and cultural significance. The building has been meticulously restored with many of the original fittings, decorative plasterwork, mosaic flooring, stained glass windows, columns, chandeliers and the panelling made from Australian timbers retained. After renovations the building became first the Euro Asia Hotel, then the Duxton Hotel and in 2005 The Rendezvous Hotel, Melbourne. In tribute to the history of the building and the film “On The Beach”, the Rendezvous Hotel has the Ms Ava Bar, Perkins room, Mr Tompkins restaurant, Commerce Room and the Davies Room. References: COMMERCIAL TRAVELLERS' ASSOCIATION OF VICTORIA. (1899, May 27). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 25. Retrieved February 21, 2025, from http://nla.gov.au/nla.news-article138615498 COMMERCIAL TRAVELLERS. (1914, May 30). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved February 13, 2025, from http://nla.gov.au/nla.news-article7272511 NEWS OF THE DAY. (1914, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 8. Retrieved February 19, 2025, from http://nla.gov.au/nla.news-article189414314 COMMERCIAL TRAVELLERS' "AT HOME." (1914, June 11). Punch (Melbourne, Vic. : 1900 - 1918; 1925), p. 32. Retrieved March 19, 2025, from http://nla.gov.au/nla.news-article129699692 https://archives.library.unimelb.edu.au/nodes/view/69669 https://vhd.heritagecouncil.vic.gov.au/places/757 http://www.pikitiapress.com/blog/2015/1/26/australia-today Commercial Travellers at Yarra Yarra (1933, June 29). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 6. Retrieved February 28, 2025, from http://nla.gov.au/nla.news-article149547845 https://archives.library.unimelb.edu.au/nodes/view/537460 https://viewer.slv.vic.gov.au/?entity=IE7420895&file=FL19171568&mode=browse https://www.history.sa.gov.au/wp-content/uploads/2021/03/Barwell_Boys_Catalogue-compressed-compressed-compressed.pdf Australia Today," 1927 (1926, December 11). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 15. Retrieved March 17, 2025, from http://nla.gov.au/nla.news-article223844810 https://blogs.unimelb.edu.au/librarycollections/2020/12/19/an-inhabited-space-helmut-newtons-lovers/ https://www.ngv.vic.gov.au/explore/collection/artist/2075/ https://www.ngv.vic.gov.au/?s=Poletto+&type=collection https://rendezvousmelbourne.com.au/digital-history-tour/Photographer notations on slide: "Commercial Travellers Group B6".clubs, department stores, 1930-1939, commerce, manufacturing, federation/edwardian style architecture, railways, tourism, games, agriculture

White paperback book . Title on the cover and spine label are royal blue and red. There is a spine label taped to the base of the spine. The front cover contains a black and white photograph of a group of children in pinafores being led by three older girls wearing blouses and ties, down a paved street.non-fictionEveryone knows that the Young Women’s Christian Association offers safe accommodation and healthy activities for women and girls. But there is much more to the YWCA than hostels and hockey sticks. – Back in 1911 the YWCA was debating equal pay for women, and in the 1920s it ran classes in sex education and psychology. After World War 2, the focus shifted to helping ‘New Australians’ and rebuilding war-torn communities in Japan and Singapore. In the ‘60s and ‘70s the ‘Y’ continued to set the pace, helping working women and single mothers, and running youth clubs and after-school programs. The YWCA also spread its wings during those years of expansion, setting up groups in Papua New Guinea, the new mining towns of north-west Australia and in isolated rural communities. – Whether it was teaching millinery or English as a second language, working for equal rights and social justice, or running employment agencies and cafeterias for working girls, the YWCA has always been there – helping women and meeting their changing needs in a changing world. – The Dauntless Bunch is the story of the women who, through their faith and energy, brought warmth, love and humour to the work of the Young Women’s Christian Association. – This is their story ....... - from Troveywca-australia, young women's christian association, women's organisations