The Victorian Archaelogical Survey managed this study onbehalf of the Ministry for Planning & Environment. The study was intended to provide a brief history of Aboriginal and European occupation and use of the area and an outline of the geography of the chief areas of cultural heritage concern, with recommendations for protection of significant cultural sites and recommendations for further research, survey and consultation.115 p., photocopy, unbound. Illus., mapsplenty river, fiona weaver, victorian archaeological survey

Excerpt from Lower Plenty River Archaeological Survey by Fiona Weaver. Section 5 on Aboriginal archaeological sites in the Lower Plenty River area.A survey of First Nations sites in the Lower Plenty River area.Copy of part of book.lower plenty river, aboriginal sites

Archaeological survey of the Lower Plenty River undertaken in 1989-1990 by Fiona Weaver for the Board of Works. Indigenous heritage sites along the Plenty River are examined and recommendations made for the preservation and to lessen the impact of development on these sites.Printed on white A4 paper. Approx 92 pages (not numbered). Illus., maps. 2 copies.plenty river, board of works, aboriginal heritage sites, fiona weaver

An undated newspaper article announcing an archaeological survey of the Plenty Valley corridor to be undertaken by Isabel Ellender and Fiona Weaver. The findings were published separately by Ellender and Weaver.Digital copy of newspaper articleplenty valley, plenty river, victoria archaeology, victorian archaeological survey, isabel ellender, fiona weaver

Several artists showcased their talents at the "Artists on Were Street" event. Mel Macklin creates digital paintings. Fiona Haase is a basket weaver. Patrick Ryant is a portrait artist and Leanne Ipsen is a painter. 2 page news article, text and colour images.artists on were street, montmorency, artists, mel macklin, fiona haase, patrick ryant, leanne ipsen

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration