Black and white photo of Sara Witt.witt, sara, william, shire of nunawading

Abyss Studio was one of a number of fashion labels established by Sara Thorn and Bruce Slorach in the 1980s and 1990s. From 1986 to 1992 the pair also operated the Galaxy Emporium where they stocked their own designs as well as those of fellow Fashion Design Council members. Abyss was a street wear label and, like many independent designers at the time, was concerned with creating culture through clothing.T-shirt featuring 'Daisy Bone' and mouse printaustralian fashion, fashion design

177 p.non-fiction"Melbourne in the 1890s - women can't vote and unmarried mothers are social outcasts. Frances, a young journalist, believes in equal rights for women and their right to have children outside of wedlock. In 1905, pregnant and alone, she boards a steamship for London. Closely intertwined with the lives of Frances and her daughter Sally are the lives of Frances' best friend Ethel and her husband, author Charles Chomley ... As an adult in rural Wales, Frances' daughter Sally must learn to reconcile the past, her origins, and the loss of loves ones. Gardening becomes her passion. This intriguing double biography shows how women's lives are shaped by society's expectations and how social norms have changed. The book follows the lives of two strong women - Frances Fitzgerald Fawkner and Sara 'Sally' Rainforth"--Back cover.berwick (vic.), frances elmes, frances fitzgerald fawkner, sara 'sally' rainforth, charles chomley, ethel a'beckett, dr thomas elmes

"Videos reveal church at work - Fourteen video cassettes which reveal the church community at work both in Australia and abroad are being offered for the establishment of video libraries…"B & W photograph of SaraHeilbronn standing behind a pile of videos and a telephone.C&N identification.ecumenical mission, video library, heilbronn, sara

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

The handbook was conceived in response to the many queries that NETS Victoria receives with regard to mounting and touring existing exhibitions, and its purpose is to address the many practical aspects of this subject.The handbook was conceived in response to the many queries that NETS Victoria receives with regard to mounting and touring existing exhibitions, and its purpose is to address the many practical aspects of this subject.travelling exhibtions - technique, (ms) sara kelly

In 1912 Mr R.E.Sara was the Assistant Secretary of the Learmonth ANA Branch No 75.Section of original collection of photos showing all members of the Learmonth ANA Branch No 75 in1912.This black and white photo is of Mr.R.E. Sara. It is rectangular in shape with a curved cutout top,set in a brown woodgrain mount and is in the second row and fourth from left.Mr Sara's name is inscribed in white at the botom of photo.LEARMONTH ANA BRANCH NO 75. PRESENTED TO C.MEDWELL ESQ. BY HIS FELLOW MEMBERS AS A MARK OF ESTEEM & APPRECIATION OF VALUABLE SERVICES RENDERED TO THE BRANCH AS SECRETARY. LEARMONTH 1912.learmonth ana branch no 75, r e sara assistant secrtary 1912

A 1945 wartime cookery book by Sara Dunn of the Herald Melbourne. Sold for 1/- (One Shilling).Wartime Cookery Bookbooks, cookery

Blue leather sandals with blue & white striped straps in "thong shape"Sara. 6. Made by Irco. (two palm tree drawings)shoes, footwear, sandals, ladies, thongs

Rex Hollioake, Appeal Chairman, turns the sod for the redevelopment of Kelaston, whilst long-term resident Mary Tiernan and her family look on. A workman pulls down a fence post bordering the site for the redevelopment.7 x colour photographs of the first sod turningMary Tiernan - resident with daughter + 2 granddaughters Sara (6) and Olivia (4) Rex Hollioake - Appeal Chairman turing the sod.kelaston home (ballarat), association for the blind, rex hollioake, mary tiernan

Photograph identified by Sara Rowe as Maria (possibly) - her great, great grandmother on 2/8/2012.Black & White reproduction of portrait of one of the West family girls possibly Maria.maria west, sara rowe, phillip west

Invitation in Hebrew for a farewell party for teacher Sara Segal, 1946. Please contact [email protected] to request access to this record.1940s

.4) Left to right: Ray Cottsell (Librarianship lecturer), Tetty Sartika, Sara Wirawar (visiting lecturer, Director of Hasanuddin University Library, Indonesia and Thelma Rungkat (Head of Librianship) at Sovereign Hill, September 1988.ray cottsell, tetty sartika, sara wirawar, thelma rungkat, librarianship, library, sovereign hill

.1 These are 35 photocopied pages of an exercise book. The cover is green with black writing. The pages contain handwritten material and mathematical exercises and maps. .2 These are 17 photocopied pages of a exercise book. The cover is brown with a mottled pattern. The pages contain handwritten material, mathematical exercises and maps. fictionschool exercise bookschool exercise books, panmure state school, vickers family of panmure

An identity card issued for civilian registration of British Subjects during World War II. This card was issued to Emma Sara Morgan of 48 Foam Street, Elwood.Brown card printed in black on both sidesPostmarked 7 April 1942 St Kilda. Card number 22914. Handwritten name, address and signatures of cardholder and witness. Handwritten additional reference numbers for official purposes.wwii, world war ii, civilian identification, id cards