Created for Ballarat Apron Festival to present Ballarat's Aboriginal history, to be displayed along side the Festival's Ballarat Apron. Oil painting on handmade treated canvas apron. Two large thick cotton ties at waist and loop for neck. marlene gilson, ballarat, wadawurrung, aboriginal

Two black and white photographs of a bride, Marlene Lilburne, daughter of Daylesford grocer Tol Lilburne. Marlene married a Sewell. marlene lilburne, st peter's catholic church daylesford, sewell

The East Kew Women’s Club was formed on 20 July 1945 as an experiment amongst local women, who felt that there was a need for some organised group to give full scope to their various interests and hobbies. In the beginning, they met at the house of their founder, Mrs Eric Thake, 48 Harp Road, East Kew, but the growth and interest was so rapid that it was soon necessary to find a larger meeting place, so the group moved to the Harrier’s Pavilion in Victoria Park, Kew. At the fifth meeting of the group, a committee was formed, and a constitution adopted on 4 December 1945.The Club was aimed to be non-political, non-sectarian and open to women from any locality. The Club’s motto was “To Help others, Improve Ourselves, and Foster the Community Spirit”. The first twenty years of the Club was recorded in a small, nine-page publication “East Kew Women’s Club : Twenty Years 20-7-1945 - 30-7-1965”. Following the closure of the Club in 1973, after twenty-eight years, its records were deposited with the Kew Historical Society and are thus available for research into the history of women’s groups in the post war period in Australia. The Society holds the Club’s Minute Books of Meetings (1953-73), Attendance Registers (1959-73), Visitors Book, and sundry items of print ephemera published by the Club.Black and white photograph of Marlene Higgins, an Aboriginal girl who was sponsored by the East Kew Women's Club. The photograph is stuck into one of their registers.east kew women's club, community organisations -- kew east (vic.), aboriginal and torres straight islander

Painting depicting a female nude with dark hair standing in a landscape with lake and three white trees. Signed and dated lower right 'Clifton '63'.clifton pugh, painting, portrait, landscape, marlene, female nude

+Additional Keywords: Reading from Left to Right: Back row boys: 1. Alan Carter, 2. ??, 3. Maurice Henry, 4. Peter Van Ketwich, 5. Douglas Hume, 6. ??, 7. John Callam, 8. ??, 9. ??, 10. ??, 11. Peter Gluth, 12. ??, 13. Geoff Edwards, 14. Len Armfield, 15. Ray Davidson".(incorrect list)Written on backing sheet, "Ringwood High School. 1956?" No children are identified.Paper list with photographs reads, "High School - Bedford Rd. Ringwood. Photo Pupils Form 1C. Reading from Left to Right. Back row boys: 1. ?, 2. Keith Anderson, 3. Peter Zaff, 4. Jim Ord, 5. ?, 6. ?, 7. ?, 8. Bernard Whitney, 9. ?, 10. ?, 11. ? 12, ?. Boys sitting front: Robert Crutchfield, 2. ?, 3. ?, 4. ?, 5. John Smart, 6. Ronald Crutchfield. Girls standing: 1. ?, 2. Norma Walsh, 3. ?, 4. ?, 5. ?, 6. ?, 7. Sandra Davenport, 8. Margaret Williams, 9. Margaret Norwood, 10. ?. Girls sitting: 1. Kathleen Lower, 2. Valma McLean, 3. Sandra Tindall, 4. Gilliam Morris, 5. Esma Bradley, 6. Jill Pump, 7. Judy Byrne, 8. Shirley Kofeod, 9. Marlene Mangels, 10. ?, 11. Myrna Cooper, 12. Elizabeth Hinchcliffe.

Waa Waa – Crow Feathers is a painting from Aunty Marlene Gilson’s 2022 exhibition ‘Bunjil Wour Kun Ya – Spirit of My Ancestors’. This work tells the story of Waa-Waa, the first Wadawurrung to see a white man, Matthew Flinders and his crew surveying the southern Australian coastline near the You Yangs on 1 May 1802. Speaking to Wyndham Art Gallery’s curatorial framework themes of Foregrounding, Habitat and Localism, the work portrays in Wadawurrung lore the first sighting of a European and acknowledges Australian First Nations peoples original and ongoing connections with land, history, politics and knowledges of place. The scene is overlooking the You Yangs which is deeply connected with the local place and habitat of the Werribee Plain. Aunty Marlene Gilson is a Wathaurung (Wadawarrung) Elder living on country in Gordon, near Ballarat. Marlene Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist’s meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. australian first nations art, cultural story, australian painting, wathaurung, female artist

Aunty Marlene Gilson is a Wathaurong (Wadawurrung) Elder who lives on Country in the Ballarat area. A self-taught artist, Gilson has received considerable acclaim and attention for her painting of historic encounters, in particular with regard to the retelling of events in which early colonial depictions excluded First Nations people. Marngrook Football depicts the first game of Australian Rules football played between Ballarat and Geelong while a parallel game of Marngrook takes place within view.

Marlene Battista and Debbie Gray with two children Lake Tyers VictoriaColour photograph of sandcastle competition at Red Bluff showing Judges Marlene Battista and Debbie Gray with two children Lake Tyers Victoriasports, surf lifesaving, clubs

'Marlene D' owner Brian BoldingColour photograph of a scallop fishing boat on the slips at Eastern Wharf. Name of boat not indicated, registration number V5R but identified as Marlene D. Lakes Entrance Victoriaboats and boating, fishing industry, slipway

PHOTOGRAPH COPY OF CLUB HOTEL BUILT 1870 AND CLUNES MUSEUM BUILDING 1860. THIS PHOTOGRAPH WAS ON DISPLAY AT SMEATON MILL OPEN DAY 2001. CLUNES HOTELS - NOW AND THEN..1 COLOURED PHOTOGRAPH CLUB HOTEL, CLUNES AND CLUNES MUSEUM WITH FOUR MALE PATRONS AND DOG STANDING ON FOOTPATH. .2 LAMINATED COPY OF THE ABOVE PHOTOGRAPHREVERSE SIDE - ENTERPRISE VISION PTY. LTD. ABN. 95 005 604 544. COPYRIGHT CLUNES, VICTORIA.club hotel, clunes museum

Former Pleasant Creek Hospital site. Sometimes referred to as Pleasant Creek Special School and sometimes Pleasant Creet Training Centre.Yellow Cardboard Cover with Green PrintPLEASANT CREEK SPECIAL SCHOOL STAWELL No. 4549 Bold Print - 50th Anniversary Celebration November 13th and 14th, 1987 1937 - 1987stawell education

Marlene is a proud Wadawurrung artist, who currently lives in regional Victoria. Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist's meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. Matrices and images made by the artist at Wunggurrwil Dhurrung Community Centre, and editions printed at Negative Press. Edition of 4 + A/P. Printed by Trent Walter at Negative Press. public art, australian first nations art, printmaking

Transfer drawing made at Wunggurrwil Dhurrung Community Centre, and screen printed at Negative Press. public art, australian first nations art, printmaking

Marlene is a proud Wadawurrung artist, who currently lives in regional Victoria. Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist's meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. Matrices and images made by the artist at Wunggurrwil Dhurrung Community Centre, and editions printed at Negative Press. Edition of 4 + A/P. Printed by Trent Walter at Negative Press. public art, australian first nations art, printmaking

"Aunty Marlene Gilson is a proud Wadawaurrung traditional owner and Elder. Her multi-figure paintings work to overturn colonial narratives by re-contextualising the representation of historical events. Learning Wathaurung history from her grandmother, Marlene began painting in 2008 as a form of therapy, while recovering from an illness. She has received considerable accolades and most recently exhibited a series of works in the Sydney Biennale (2018). The artist’s meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Marlene has developed an extensive body of work which relates to her ancestral lands which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Marlene was invited to create a new work for the Darebin Art Collection that either related to the City of Darebin or her traditional lands. She chose the subject of Bundoora Homestead for this new commission and has included First Nations people alongside colonial settlers and members of the Smith Family enabling an opportunity to reflect on the incredible history of Bundoora Homestead and its surrounds. This painting brings Aboriginal people and Colonialists into the one space living harmoniously and in doing so reminds us that reconciliation may be a possibility. ""We visited Bundoora Homestead and farm, what an amazing place. In my research I found that Mr Smith built a stone hut for the Aboriginal people to stay when they visited. They bred cattle and horses, Wallace being the greatest sire in Australia and is buried on the property. They had three gardeners and four children, which I have painted in the garden with Mr and Mrs Smith seated watching the children play. Thank you for allowing me to look into the history of John and Helen Smith. I hope I have captured their life and amazing Homestead and surrounds. 31.8.18"""

non-fictionA Warmbrunn family history including burials in Harkaway Cemeterybeaconsfield (vic.), warmbrunn family, harkaway cemetery

The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989. The book "The First of its Kind" was published in 2015. Printed in Bendigo by "Bendigo Modern Press". A short list of memories of attending the NDSN nursing course at Lister House Bendigo by Marlene Perriman (Dates and PTS unspecified). A short list of memories of attending the NDSN nursing course at Lister House Bendigo by Marlene Perriman (Dates and PTS unspecified).all documents were regarding the compilation of the ndsnga inc. book "the first of its kind"

Images taken of staff at QBIC Industries in 2000, including Tracey Millwood, Marlene Austin, Wayne Ford, Keith Smith, Jeanette Matthias (finance and admin manager),Sue Camps, Henry Chichowski and Craig Gardner, as well as the QBIC frog box and showroom wall.14 col. photographs of staff members1 - Tracey Millwood, 2000 2 - Employment officer Marlene Austin at keyboard demonstrating large print, 3/00 3 - Staff storeman Wayne Ford, 2000 4 - Craig Gardener, Storemanqbic industries, tracey millwood, marlene austin, wayne ford, craig gardner, keith smith, henry chichowski, sue camps, jeanette matthias

Barbara GARDINER (nee HEGARTY) married Robert GARDINER, at Holy Trinity Church, Port Melbourne on November 1 1958. The dress was made by Barbara's mother, Alice HEGARTY (nee MOTT). The bridesmaids dresses were made by Margaret Conn who was one of the bridesmaids.B&W photograph of Barbara HEGARTY with her bridesmaid, and sister, Marlene HEGARTY at home before her wedding to Bob GARDINER. Marlene is 12 years younger than Barbara.weddings, celebrations fetes and exhibitions, domestic life, religion - anglican (holy trinity), robert (bob) gardiner, barbara gardiner nee hegarty, marlene mcpherson nee hegarty

Photocopy of photograph: 1962 Marlene Hazeldene ?? written in pencil on bottom of photocopy. On rear of sheet, photocopy of photo of Marlene Hazeldene, holding lucky ticket sheets and wearing Bendigo Easter Fair Mitchell Street, Popular girl sash.bendigo, bendigo easter fair, marlene hazeldene 1962

Barbara GARDINER (nee HEGARTY) married Robert GARDINER, at Holy Trinity Church, Port Melbourne on November 1 1958. The dress was made by Barbara's mother, Alice HEGARTY (nee MOTT). The bridesmaids dresses were made by Margaret Conn who was one of the bridesmaids.B&W photograph of Barbara HEGARTY on her wedding day with her father Bill and her bridesmaid, and sister, Marlene entering Holy Trinity Church through a crowd of onlookers. Barbara's veil is blowing in the wind. L-R Bill HEGARTY, Barbara HEGARTY and Marlene HEGARTY. weddings, celebrations fetes and exhibitions, domestic life, religion - anglican (holy trinity), robert (bob) gardiner, barbara gardiner nee hegarty, william (bill) hegarty, marlene mcpherson nee hegarty