Booknon-fictionBookfeminism, feminist art, exhibition, abstraction, art education

This journal is the first issue of the Women's Art Forum, a women artists' collective established in 1978 (Melbourne, Australia), in connection with the Women's Art Register.The Women's Art Register is an Australian collection of national significance, documenting the work of Australian women artists from the 19th, 20th and 21st centuries.First issue of the Women's Art Forum, reporting on the state of feminist art in Australia in 1978. 100 pages. B/W text and illustrations. Articles include artist drawings, stories, histories of women artists, and reports, advocating and representing Australian women artists.Published by the Women's Art Forum of Victoria. Printed by Sybylla Co-operative Press Ltd.

Edited by Lyn Pool and Kerri Hall28 page A4 booklet with articles on Australian women artists. Black and white.ewa narkewicz, guerilla girls, lyn pool, kerri hall, merren ricketson, pat hillcoat, janice florence, judy horacek, brigid cole-adams, carol bryan, meg beckett, luciana perin, maryanne coutts

NoneDiptych prints of a nude woman reclining on her right side. Her right hand is curving up to wrap over the top of her head. Her left arm is behind her body, out of sight. A darker area at the base of image indicates a blanket on which she is reclining. Background is featureless.Front: Artists proof E.D.6 (lower left) "Reclining nude" (centre) B. Oag (lower right) (pencil) Back: (no inscriptions)nude, female artist, women, women artist

Phonograph record with red Capitol label (Allan's) Side A: The Little Shoemaker Side B: Sobbin' Women Artists: The Textor SingersCP-339

Art collection Previously located in History House. Previous Exhibition:"In a picture land over the sea ...Agnes Goodsir 1864-1939." Exhibition developed by Bendigo Art Gallery and toured from May 1998 to June 1999. Item of the Month, exhibited in Portland Foyer April 2005.Portrait of a woman dressed in black. The woman appears to be seated and is facing the viewer. She wears a black overcoat with a blue, red and white scarf. She also wears a black hat with a gold clasp. The plain background is predominately grey. The work is framed in a gilded, moulded frame and has an exposed canvas.Front: Agnes Goodsir Back: A clear plasstic pocket is attached to the backing board and contains: a fragment of an old French label and a small fragment of paper with the signature "R.D...." on it.female artists, female artist, agnes goodsir, women artist, female portrait, portrait painting, portrait, cherry

Produced by the VCE Consultative Committee: Women's Art Register in 1991 at a time when art courses in secondary schools had little material to use in relation to Australian women artists. An invaluable resource for secondary school teachers to broaden the scope of student knowledge about women artist's and thereby offer alternative role models for art students. This slide kit and booklet is a comprehensive, practical resource which provides a rare snapshot of women's art practices in the early 1990s. It is an excellent resource for research and teaching purposesKit containing 74 page booklet and 36 slides, activities, artist's comments and other source materials. Published in 1991 by the Women's Art Register. Artists include Elizabeth Gower, Sally Smart, Wendy Stavrianos, Pam Hallandal, tori de Mestre, Lyn Moore, Deborah Halpern, Tracey Moffat & Jill Orr. Cover image by Jill Orr, 'Walking on Planet Earth'elizabeth gower, sally smart, wendy stavrianos, pam hallandal, tori de mestre, lyn moore, deborah halpern, tracey moffat & jill orr.

This is a book written by Caroline Jordan about colonial women artists in Australia. It gives information on women artists whose achievements have been discounted in the past because they were labelled ‘amateurs’. This book is of interest because it provides information on colonial women artists and has important background details that will be useful to those studying early women artists in other towns and districts. The author visited Warrnambool as part of her study of early women artists. This is a hard cover book of 224 pages. It contains sections on Acknowledgements, Prologue, five chapters, Epilogue, Abbreviations, Notes, Bibliography, Sources of Illustrations and Index. The cover is cream-coloured with gold lettering and the dust cover has a grey background with a colour image of an artist’s work on the front cover and a colour image of a woman on the back cover. The book has many black and white and colour illustrations. women artists in australia, caroline jordan

Eleanor Constance (Nornie) Gude was born in 1915 in Ballarat, Victoria to Stella Rehfisch and Walter Gude, musician and violin teacher, and conductor of the St Patrick's Cathedral orchestra and choir in Ballarat. Her parents met when Stella was 27 and the 42-year old Walter was teaching her the violin. Nornie and her sister Gilda were both raised in Ballarat before moving to Melbourne on the eve of World War II. She was accepted into the Ballarat Technical Art School at 15 because of her advanced skill in painting, and trained there from 1931-1936. She won the esteemed MacRobertson Scholarship in art worth £100 a year. She later went on to the National Gallery School from 1936-1939, studying with Sidney Nolan and Charles Bush, and became the first woman to win the National Gallery Students Travelling Scholarship. Gude won many awards for her painting both while at school and throughout her career. Her work is represented in collections at the National Gallery of Victoria, Parliament House, and the Art Gallery of Western Australia, as well as regional collections in Ballarat, Geelong, Castlemaine Art Museum, and Bendigo.Portrait of Nornie Gude while a student at the Ballarat Technical Art Schoolnornie gude, ballarat technical art school, 1931-1936, women of note, artist, macrobertson scholarship, 100 pound per year, national gallery school, 1936-1939, sidney nolan, charles bush, first woman national gallery students travelling scholarship, parliament house, regional collections, ballarat, geelong, castlemaine, bendigo, national gallery victoria, eleanor constance gude

Art CollectionThe picture depicts trees with emus hiding amongst them. The trees are a cluster in the middle of a white background that gradually gets darker around the bottom and top edges. Mounted on a wooden backing which extends further then the picture, giving it a natural frame. No glass.Front: Malseed (brown paint, lower left.) Back: 1969- (Yellow circle sticker, top) 114 (small white sticker, top) Portland Art Gallery Trust (just short of top, white chalk) Nancy Malseed Environment 111 (1969) (strip of white paper, printed, top right) Malseed Environment 3 N.F.Scema, portland artists society, nancy malseed, female artist, women, women's art

CEMA Art Collection Winner of 1965 Portland Art Society Art Prize for category Any other medium.The drawing depicts the burnt remains of a mountain top. In the foreground are two mountain edges which are black with a patch of blue and patch of orange/brown. In the background are remains of several burnt tree stumps on a purple/brown ground. The work has a thin wooden frame, white painted hessian and glass.Front: M Macqueen 64 (signature, lower right, black chalk) Back: MARY MACQUEEN "BURNT MOUNTAIN" (1964) (lower left, typed label) 1964 (upper right, yellow sticker and also pencil)female artist, women, landscape

From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire

Image of a stone cottage. Two windows, one either side of a green front door. There are two chimneys on a grey roof - one at either end. The right hand side of the cottage has ivy growing up the side. There are gardens to the front of the cottage. Neat bushes with flowers. The sky is blue/grey.Signed bottom left - FMell female artists, female artist, women, portland botanic gardens, curator's cottage

Dry point etching. Circular, taupe and black foliage. Trees can be seen in the image, branches, bush and undergrowth. Limed wood frame, single window mount.Front: 'Facet of a Silent Site v/s Herthe Kluge-Pott 2001' - pencilfemale artists, female artist, women

CEMA Art Collection Winner of Portland Artists' Society Prize for category Oil.The painting portrays a standing female figure. She has straight black hair which sits just above shoulder length. she has a short fringe. She wears a blue and green dress with orange markings. She is depicted as looking at the observer and holds something in her right hand which is held across her body. The background is a mixture of purple, green and blue. The work has a thick wooden frame and exposed canvas.Front: - 63 AMOR (lower right, black paint) Back: ELMA AMOR HERBST "GIRL" (1963) (lower left, typed label)cema, portland artists society, female artist, women, female artists, female portrait, portrait painting, portrait

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image depicts a bluestone building. In the foreground, to the front of the building is grass in shades of green and yellow. The building is in the middle of the image and has a reddish lower building to its right. There are trees either side of the buildings. Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

From - theladynelson.org.au T The original Lady Nelson was built at Deptford, in England, in 1799, for service to the Transport Office on the River Thames. She was designed with sliding keels (centre boards), a device invented by Captain John Schank of the Royal Navy to allow surveying in rivers and shallow water ways. On completion she was selected for exploration services in the Colony of New South Wales and sailed for Port Jackson on 18 March 1800 under the command of Lieutenant James Grant. A brig of 60 tons, she carried a crew comprising the commander, two mates and twelve seaman. As she left the River Thames sailors on nearby ships ridiculed her because of her size and shape, calling her, as she sailed past, 'His Majesty's Tinderbox'. At Portsmouth on the 9th February 1800 she was fitted with four brass carriage guns, three to four pounders, in addition to the two guns already on board. Because of the heavy load she was carrying she was very low in the water, having only two feet nine inches freeboard amidships. The ship finally left Portsmouth on 17th March 1800 as part of an East Indian Convoy. From 1800 to 1825 the Lady Nelson operated around the Australian Coast and fulfilled a variety of roles including exploration, surveying, forming settlements, shifting goods and people around the colonies and capturing pirates. She played pivotal roles in the European settlement of Hobart, Northern Tasmania, Melbourne, Newcastle, Port Macquarie and Northern Territory. Those onboard charted much of Bass Strait, Port Philip, Newcastle, Port Macquarie and (with the Investigator) the coasts of northern New South Wales and southern Queensland. She also has links to other locations around the East Coast such as Trial Bay in NSW and the Mt Gambier area of SA. After 25 years of service while trading on the island of Baba the Lady Nelson was overrun by the islanders, the crew was killed and the ship stripped and later burnt and sunk. A replica of the Lady Nelson was built in the 1980s.Image of a tall ship in sail. The ship is flying both the Aboriginal flag and the Australian Flag. It sails on a calm sea. There are figures on the deck - four in total. The image is mounted on cream board and framed in dark timber. Etching, hand coloured,.Front: 'Lady Nelson A/P BT' - hand written, pencil in between etching and mount Back: Artist's business card glued to back of etching, lower left hand corner:ady nelson, femal artists, female artist, women

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image of a bluestone building to the back of the painting. Next to it is a smaller reddish building. In front of the building there is grass and shrubland. Trees are to either side of the buildings. The sky is blue with white clouds.Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

CEMA Art collectionStreet scene with three buildings and a fenced area. The centre focus of the work is two small buildings. The building on the left is yellow with red roof and green door. Standing in front of the house is a female figure with red shirt and white skirt. The building to the right is pale yellow with green roof, red chimney and green door. There is a Norfolk Pine tree behind the middle house. The image is depicted using straight lines in pen for the outline of the buildings and for some of the details.The work has plain wooden frame with a mount and glass.Front: Old Cottages Richmond St.Portland Ruth Denny 1967(black, handwritten) Back: Sticker:DEAN'S MU 8291 FOR FRAMING 346 LT.COLLINS ST., MELB. NO. 20438 Yellow sticker: 3034female artists, female artist, women, portland street scene, portland, richmond street

Booknon-fictionSixteen illustrated essays by various writers on the works and practice of women surrealists working in Europe, the United Kingdom and the United States in the 20th century.surrealism, merit openheim, leonora carrington, valentine hugo, remedios varo, leonor fini, elléouët

non-fictionA history of Australian women artists, the lives and practice of 24 women are covered to redress their absence in critical and art historical records. painting, water colour, portraiture, print making

This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique

20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#40 3 News from the Register 4 Unique artworks by Melbourne “re-emerging “ artist. Veronica Caven Aldous 5 Art among the guntrees – an unusual gallery at Tanja Kerry-Anne Cousins 6 Karen Ferguson’s Pear Tree (memento mori) Penny Peckham 7 Plus, Loris Button, Sally Miller & Maryanne Coutts Dr Nola Stratford 9 Women’s Suffrage in Victoria – Exhibition Margaret Gurney, A bare and beautiful exhibition 10 Art and Healing, paintings by Rosemary Mangiamele- Julianne Lewis 11 Sufferance: women’s artists’ books State Library of Queensland 12 Wise Reflections Dr Alison Richardson 14 Give up today… Naomie Sunner 15 Opportunities 17 Back issues 19 Membership details veronica caven aldous, kerry-anne cousins, karen ferguson, penny peckham, loris button, sally miller, maryanne coutts, dr nola stratford, margaret gurney, rosemary mangiamele, sufferance: women’s artists’ books state library of queensland, dr alison richardson, naomie sunner

Colour photograph. Gallery space on ground floor corridor. Art is coloured abstract paintings from an unidentified artist. Two women appear right of frame. Taken from the corridor towards the south of the QVWC building towards the entrance and Lonsdale street.art exhibitions, historic buildings, cultural structures and establishments

Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Mary Burrowes, aunt of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small ruby glass and crystal jug which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold coloured paint. "Mary Women's Exhibition 1907"vase, glassware, decorative items

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Alice Yardy nee Dinsmore, grandmother of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small green glass vase with gilt edge which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold lettering. "Alice Women's Exhibition 1907"vase, glassware, decorative items

Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja