A description of typical women's roles in 19th and 20th century families, and changes that have occurred since World War II.5 p text and photographswomen in australia, women's roles, home duties, housework

Amy Isobel Huxtable was born in 1919 and moved to Bendigo in her teens. She completed her education at Bendigo High School before attending the Bendigo Business College. She then worked as a copywriter for local radio station 3BO for 8 years. She then moved to Melbourne to work in advertising before travelling to England in 1950 to study the new medium of television, still not available in Australia. In 1953 she returned to Bendigo and became the Eats Social Editor of the Bendigo Advertiser. This role led to a permanent position as the Women's Social Editor and later the editor for all Women's Affairs. Initially she wrote under the pen-name "Toora" but later used her own name. She remained in this position until her death in 1980. Throughout her life she was heavily involved in the development of women's roles and their status in life. A five page document detailing the life and contributions of Bendigo Advertiser editor Amy Huxtableamy huxtable, bendigo advertiser

Relates the story of Australian women in politics, the women’s movement and the role played by women from inside and outside of politics from the 1920’s to the 1980’s This book provides an account of the influence women have had on the political agenda in the period 1920 to 1980. White paperback with green text and purple figure a a woman standing at a microphone on front cover. Text in purple on the back cover. 235 pages Lesley Scholes written in black pen inside front cover.australian women's movement 1920-1980, warrnambool, marian sawer, marian simms, a woman's place

This iron is typical of the electric irons used in the 1950s. It didn't have a thermostat like the irons that followed so care had to be taken not to leave it on too long. Women in their domestic role used irons.The Kiewa Hydro Electric Scheme commenced in the late 1940s when Mt Beauty township was created. Amongst the shops in the main street was an SEC shop which sold electrical items. "Creda" Electric Iron with plug-in cord. A metal steel base iron with a wooden handle and a thumb rest. The handle is bolted onto the iron with 2 large screws. The cord is coloured maroon except where it is repaired with black tape. The cord socket plugs in behind the handle of the iron. CREDA Cat. No 6; Man. No.; Volt 200; AMPS 2.7 iron, laundry, household, electric, pressing clothes, domestic

Pix magazine volume 15 no. 19 May 12, 1945. The war in Europe souvenir issue. The magazine has 31 pages, price 6 pennies. Features in this issue: Britain faced Hitler alone in 1940 - Many races united against common enemy - Allied leaders' words inspired their nations - Color maps reveal changing face of Europe - Picture diary shows five year pattern of war - Jardine paints second front landing in colors - Rise and fall of fascism - Women shared role in fight for freedom - Danger of armistice in Europe - War closes in on Japan, Pacific color map - Proud records of Australia's fighting men - Four great powers shared burden of struggle - World found time too laugh at war - Famous pictures epitomised war's tragedy.books, magazines, war in europe

.1) Book. Hard cover. Printed images of WWII women in armed forces, nursing & land army. Bottom image is photo of modern females in RAN. Red & blue printing. 108 pages, illustrated photos & maps. .2) DVD - Australian Government Department Veterans Affairs. Changing roles of women, 1899 - today. Images identical to front cover. .3) CD Rom identical cover to .2) above.books reference/military, audio-visual technology - audio/visual accessories, illustrations-prints, military history

This iron was used by women, in their domestic role, to press the clothes from the mid 19th century. Coal embers were put inside, heating the base of the iron, to press the family's clothes and linen. Small bellows were used to fire up the embers to keep the iron hot. In the Kiewa Valley the embers would have been from the local hard wood growing on the farms.Ron White worked for the SEC on the Kiewa Hydro Electric Scheme. The iron belonged to his mother. Ron remembers being a boy of approximately 8 years of age, watching his mother do her ironing with this charcoal iron in the c1920s.This iron is made of cast iron. It has a hinged lid so that coal embers can be put inside for heat. The lid has a curved funnel. Bellows are used to blow air into the iron and keep the coals burning. It has a wooden handle and a lever (also with a wooden handle) to open the lid. There is a 2 and a half centimetre hole at the back of the iron to check the coals. The hole has a swivel cover.There is an embossed "S" on the swivel cover.iron, laudry, household, charcoal, antique, domestic, pressing clothes

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

This iron was used to press clothes prior to the spirit and electrical irons becoming available circa 1930s - 1950s. The main body of the iron was placed on a flat heated surface of a stove (wood, coal or gas fired). It was mainly used by women in their domestic role, ironing the family's clothes and linen. In the Kiewa Valley the supply of coal or gas was not available or too expensive than the locally cut hard wood trees. Ironing was time consuming as the iron had to be heated, used and then reheated to the required level of application. Kiewa Valley farmers' wives used these irons having heated their stoves with local timber from their farms. This iron is made of cast iron. The handle is a hollow cylinder and is 70 mm above the solid 30 mm base. Presumably the handle was wrapped and/or threaded with cloth to protect the hand from the heat of the iron. The iron would have been heated on the top of a stove.6 Metters KFB Victoriairon, laundry, domestic, antique, pressing clothes, household

Contents: p.1-3; Origins, arrival in Australia; p.4-9; How they lived - camp sites, dating (including carbon dating); p.10-27; Physical appearance, skin colour, hair, clothing, body ornaments, cicatrization; exchange system, distribution of food, marriage &? sexual relations; the tribe - structure, relationship to land, territory, gives map showing locations of tribes, New South Wales, Victoria &? eastern South Australia, leadership, government, division of labour, status of women, estimated population at white settlement, density of population (Victoria); p.28-31; Language - names &? naming, reproduces Wembawemba vocabulary, notes use of secret languages, gives 12 rules for pronounciation; p.32-53; Religion, spirit beliefs, totemism, moieties, phratries, marriage rules; mythology, gives eaglehawk &? crow myth from Lake Victoria &? other myths illustrating origins of fire &? natural rock formations, mythical beasts (Bunyip, Mindie), stellar beliefs; magic, medicine men, powers, native remedies for sickness, describes ceremony held in Melbourne, 1847 to avert evil, sorcery, pointing bone, love magic, rain makers; messengers, appearance, etiquette, message sticks; p.54-71; Rock art, motifs, colours, decorative art, engraving of utensils, rock engravings, manufacture &? use of pigments, engraving techniques; trade system, objects bartered, meeting places for trade (Victoria), map shows possible routes (south east Australia); corroborees, purpose, body ornaments &? decorations, musical instruments; p.72-93; Ceremonial life, marriage, punishment for infidelity, birth, childhood, games &? amusements, initiation, etiquette of visiting tribes, details of ceremony, womens role, earth figures &? ground designs, bull roarers, female puberty ceremonies; p.94-133; Shelters, fire making, cooking, construction of canoes, wooden implements, use of reeds, animal skins &? sinews, shells; stone tools, cylindro conical stones, scrapers, knives &? microliths; hunting weapons, spear, other methods pits, nets; fishing methods &? spears, traps; food sharing, womens responsibilities for collecting, digging stick, cooking methods, insect foods, plant foods, water resources; manufacture &? use of spears, spear throwers, shields, clubs, boomerangs; inter- &? intratribal fighting; p.134-147; Death, disposal of body - eating of the dead, burial, cremation, platform exposure, dendroglyphs (N.S.W.), Aboriginal burial grounds (Darling &? Murray Rivers), mourning, widowhood, kopi caps (N.S.W.), causes of death, inquest ceremonies, revenge expedition, after death beliefs; p.148-157; The end of the tribes white settlement &? its impact on Aboriginal life, friction between natives &? settlers, establishment of Protectorates; copiously illustrated throughout.maps, b&w illustrations, b&w photographswemba wemba, murray river, darling river, lake victoria

Historically this item was used before the spirit and the electrical iron took over Circa 1930s -1950s. The main body of the iron was placed on a flat heated surface of a stove (wood, coal or gas fired). It was mainly used by women in their domestic role, ironing the family clothes and linen. In the Kiewa Valley the supply of coal or gas was not available or too expensive than the locally cut hard wood trees. This particular iron was an improvement on the fixed handled iron because it allowed (by use of its easily detachable handle) to use multiple bases and thereby allowing a constant heat supply to be maintained and not having to waste time for a base to reheat to the required level of application.The significance of this item was that it allowed for a faster method of ironing clothes and linen. It's invention was a progress towards reducing the time it took to undertake a very labour and intensive domestic function. The reduction of time taken for this household duty provided women great flexibility to undertake other activities. These type of improvements to basic domestic tasks liberated housewives not only physically but also mentally from the isolation of the home environment.This flat iron has a removable, clip-on handle. The handle and its release knob are of wood. The base of the handle together with the heavy flat body are made of cast iron. The body of the iron is oval shaped tapered at each end and is 40mm thick.Underneath the handle frame and on the main body, on one side, in raised lettering is "Mrs Potts" and on the other side "Iron". Both are clearly visible when viewed from an aerial position. Under removable handle and on a plate (screwed onto the main body) is "No 2"iron, antique, household, pressing clothes, domestic, laundry

Vintage Australian book for the homemaker c1958. The book is published prior to granting of equal pay, affirmation of women's rights, acceptance of working mother and career woman as the norm . The book reinforces the socially accepted concept of the married homemaker and mother as perceived at the time, now the idealised concept is questioned. At the time of publication and reprints this book was envisaged to empower women. Whether' a teenager, career woman,a young married or mother' as a 'guide, philosopher, and friend' The editor Alleyne Jukes was born in Warrnambool to Charles and Mary Jukes of the Floral Farm Warrnambool. She attended Braemar Grammar School and Warrnambool High School. She lived and worked in Melbourne as a journalist and secretary living in St Kilda and Elsternwick 1949, Bentleigh 1954, Oakleigh 1963. In 1961 she gathered together a number of writers and consultants to produce Woman's World, a book designed as the woman's Bible to enable her to have access to expert advice and information about home and outside work fields.The book was hailed at the time at the time as the only work of its type produced entirely for Australian conditions and was an immediate success appealing to a wide range of readers. A similar subject book of smaller size and format has been sighted 'The People's Home Library', 1910 reprinted in 1923 by RC Barnum published by The Oceanic Publishing Company. A Library of three practical books, Medical 478 pp, Home Recipe 238 pp and Home Stock 315pp.This book is a guide for everything from how to answer a telephone correctly to sorting out marital problems. A reference guide for how to be a complete and successful young woman. Courses on Beauty, Fashion, Poise and Personality, Cooking,Every Wise Woman, Love and Marriage, The Home, The Family and Interests and Hobbies. This book has significance for Warrnambool as Alleyne Jukes was born in Warrnambool and has strong family connections to the district.A hardback reference book 'Woman's World' with a cream vinyl binding of flecked fabric outside cover and spine. Gold gilt lettering for the title and a gold gilt rose motif on the front; gold gilt lettering and publisher's name on the spine; plain back cover. The endpapers are repeated of black and white pen ink drawings showing the roles of women on varying splashes of a vairety of mono-coloured backgrounds. A general index on page 602 plus cooking index page 606 and dressmaking and sewing index page 607. The 607 pages are printed on thick, gloss white paper for 64 pages and coarser, white matt paper for the remainder. The table of contents lists a pictorial Introduction and nine chapters (courses) 'that is a 'bible' to the woman 'cares' and is vital to her as her femininity'. The editor has a heading "WOMAN" The Unacknowledged Specialist" and signed with her printed signature...Alleyne Jukes.' No dedication included although a text from Proverbs.alleyne m jukes, woman, self improvement, 'bible', warrnambool

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.Bronze and gold embroidery and bead work on black mesh.needlework, beading, sewing, sew, hamilton-smith collection, hamilton-smith, ellwood, handmade, domestic, women, women's history

Hetti Perkins introduces this collection of reproductions of of Western Arnhem Land bark paintings, rock art, woven fibre art and wooden sculpture that was exhibited by the Art Gallery of NSW in 2004, emphasising the cultural foundations of the Kuninjku artists, their beliefs, artistic conventions and innovations. The book includes interviews with traditional rock and bark artists (including some language), and essays describing the connection of the people to the land, their spiritual beliefs and their art. There are also reproductions of works on paper and woven forms and an essay on the role of women in producing these art forms. An essay by Professor Jon Altmann is entitled "Brokering Kuninjku Art: Artists, Institutions and the Market. A chronolgy details the history of aboriginal art in the area, there are biographies of the artists whose works were included in the exhibition, a list of the works themselves, a glossary of place names, art terms, aboriginal, linguistic and anthropological terms, and a select bibliography. The list of contributors includes, as well as the two mentioned above, Dr Murray Garde, Apolline Kohen, Steven Miller, Cara Pinchbeck and Dr Luke Taylor.Colour photographs

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Joan Lindros - Geelong Environment Council Joan Lindros has been a mentor to community environmentalists across the Geelong region and beyond for many years. In 1972 she was a foundation member of the Geelong Environment Council. She was also instrumental in the Save the Otways campaign that resulted in the Great Otway National Park. Joan is an inspirational leader, tenacious advocate and a gentle person. In 2001 she was inducted into the Victorian Honour Role of Women. She continues to be involved in the Friends of Buckley Falls who have been working and advocating for the protection and restoration of the Barwon and Moorabool River Reserves for nearly forty years. Photo at Buckley Falls lookout by Nicole Marie.Image showing an environmental portrait of a woman leaning against wooden railing with trees, a river and a waterfall in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, buckley falls

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This collar was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.A white cotton collar from the Edwardian period with broderie anglaise embroidery. hamilton-smith, hamilton-smith collection, needlework, clothing, sewing, embroidery, women, domestic, edwardian

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.White hand stitched lace doily c.1920stextiles, sewing, handiwork, women's history, domestic, craft, family

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Haeusler Collection Handmade Cotton Napkin with Decorative Bordertextiles, sewing, handiwork, women's history, domestic, craft, family, social history, haeusler collection, haeusler, wodonga

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. These thimbles belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. They were used in the family home between 1919 and 1928 during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Two alloy tailors thimbles dating from the early 1900ssewing, thimble, thimbles, sew, haeusler, haeusler collection, wodonga

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.A handmade white pillow sham with needlework.textiles, sewing, handiwork, women's history, domestic, craft, family, social history, hauseler, haeusler collection, wodonga