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Eltham District Historical Society Inc
Photograph, W.J. Burman, Sarah Shillinglaw, c.1875
... on her left ring finger. In this image her hair style and dress... her hair style and dress is typical of the early 1870s ...Sarah Shillinglaw married Charles Edward Aldous in June 1880. In this image she is depicted without any wedding ring on her left ring finger. In this image her hair style and dress is typical of the early 1870s. Photographer W.J. Burman operated from 94 Gertrude Street, Fitzroy 1874-1875. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, sarah aldous (nee shillinglaw 1854-1925), 1874-1875, 1875, w. burman photographer 94 gertrude st fitzroy -
Eltham District Historical Society Inc
Photograph, Unidentified Shillinglaw Family Female, 1911
... approximately 40 years and is dressed and with a hair style typical... to be aged approximately 40 years and is dressed and with a hair ...The back of the photo is inscribed "To dear Lizzie with love and best wishes from Nellie, Xmas 1911" - Lizzie being Elizabeth Ann Shillinglaw, daughter of Phillip and Sarah Shillinglaw born 1879. The woman in the photo appears to be aged approximately 40 years and is dressed and with a hair style typical of the fashion of 1911. This would make her birth year around the early 1870s. The only Nellie present in the family tree as currently understood is Helen (Nellie) Lyon born 1897 who came to Eltham from Mildura with her mother and brothers in 1913. She married Arthur Edward Bird however she is a generation younger and the dates do not fit. The only other known Nell is Ellen May Bird, daughter of George and Janet Bird, born 1892 so she too is a generation too young. "To dear Lizzie with love and best wishes from Nellie, Xmas 1911" on reversemarg ball collection, 1911, elizabeth (lizzie) ann shillinglaw (1879-1972), female shillinglaw 1, nellie, unknown -
Seaworks Maritime Museum
Doll
... supported by black base. Hair is in traditional style with ornaments ... supported by black base. Hair is in traditional style with ornaments ...Japanese doll in traditional dress standing upright supported by black base. Hair is in traditional style with ornaments "WMA 43" Japanese writing in pencil at base -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, 1 lady's hat pin black, c1900
... , usually by the hair that was styled in a Chignon or French Roll... to the head, usually by the hair that was styled in a Chignon ...A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part. The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires. 1 long, lady's, steel, hat pin , padded and covered in black linen decorated with spherical shaped black sequins bonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Ornaments, lady's hand mirror, c1900
... and she used it when applying make up and styling her hair.... table and she used it when applying make up and styling her hair ...A lady's hand mirror usually lay on her dressing table and she used it when applying make up and styling her hair.A lady's small ,dressing table, silver plated, hand mirrormoorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, jewellery, mirrors -
Glenelg Shire Council Cultural Collection
Artwork, other - Mannequin torso, 1920-1930
... /gold helmet style 'hair', red lips, brown weye liner, silver.../gold helmet style 'hair', red lips, brown weye liner, silver ...Female plaster mannequin torso with head, no arms. Brown/gold helmet style 'hair', red lips, brown weye liner, silver painted pretend earrings. Socket in base for insertion of polemodel, model making, mannequin -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, 1 lady's hat pin, c1900
... to the head, usually by the hair that was styled in a Chignon... by the hair that was styled in a Chignon or French Roll style ...See 00630 A A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part. The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires. A short, lady's steel hat pin, padded and covered in red and gold felt in a spiral patternbonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, 1 lady's hat pin, c1900
... to the head, usually by the hair that was styled in a Chignon..., usually by the hair that was styled in a Chignon or French Roll ...See 00630 A A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires.A short steel lady's hat pin with a gold coloured metal ball at top with filigree decorationbonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 01.05.1974
... styles, some with long hair drawn back. Standing to the right.... They have a variety of hair styles, some with long hair drawn back ...This black and white photograph is taken in the Education Department at the Western General Hospital where the Student nurses are doing their nursing training. Trained nurse (Sister) Nan Deakin, RDNS Nurse Educator, is checking information written by one of the Student nurses following a lecture she gave the students on Community Nursing. Following their time in the Education Department, the Student nurses will go to an RDNS Centre to receive education in the field from an RDNS Sister working in the community. During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to a RDNS Centre and each student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge on all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 student nurses who received field experience with RDNS.This black and white photograph shows a group of eight female Hospital Student nurses, some partly hidden, and one male Student nurse, sitting randomly in a group about the room; each at a small metal framed, white wooden top table. The tables have books, printed sheets and white sheets of paper on them. The female Student nurses are wearing white nursing caps and checked uniforms with white collars and cuffs. They have a variety of hair styles, some with long hair drawn back. Standing to the right, in the centre of the group, is Royal District Nursing Service (RDNS), Nurse Educator, Sister Nan Deakin, who has short dark hair and is wearing glasses. She is wearing her RDNS uniform of a light grey skivvie under a dark V neck tunic style dress with the RDNS logo on its upper left. She is looking down at a sheet of paper held by one of the Student nurses, who has short wavy dark hair. The nurse is holding the sheet of paper with both hands and is looking at it. The rear group of four students appear to be in discussion. The others are looking at sheets of paper on their tables. The male Student nurse, in the left foreground, has short dark hair and is wearing a white uniform. Closed dark concertina doors are in the background.Barry Sutton MA 79royal district nursing service, rdns, rdns education, western general hospital students, sister nan deakin -
Bendigo Historical Society Inc.
Document - BENDIGO OPERATIC SOCIETY COLLECTION, OLIVER LEAFLET, JUNE 1973
... "Allans Walk Bendigo - Phone 43 4963 We specialize in hair... specialize in hair colouring, Styling, body, waving, and will take ...A leaflet for the Bendigo Operatic Society's play Oliver in the Capital Theatre, 13th June, 1973. Featuring Mark Edebone and Micheal Frayne as Oliver, shane Brennan and Bruce Ashman as the Artful Dodger, Patricia Lyon and Douglas Sayle as Widow Corney and Mr. Bumble. David Daene and Marion Wright as Bill Sikes and Bet. Gary Burns and Ann Ball as Mr and Mrs Sowerberry.Annette Beckwith and Graeme Daws as Charlotte and Noah Claypole. Ray Edebone and John Beaumont as Mr Brownlow and Dr Grimwig. Jill James and Valerie Griffiths as Mrs Bedwyn and Old Sally. Also featuring an add for Rodd Coiffure, Beauty Salon in Allans Walk "Allans Walk Bendigo - Phone 43 4963 We specialize in hair colouring, Styling, body, waving, and will take special care in attending to your Wigs and Wiglets. For dry and lifeless hair we recommend you have a 'Steam Treatment and Massage. OPEN THURSDAY EVENINGS BY APPOINTMENT Cambridge Press Bendigo"bendigo, entertainment, capital theatre, bendigo operatic society, operah, oliver play. -
Flagstaff Hill Maritime Museum and Village
Craft - Ship Model, Arethusa, 1894
... inspiring a hair-style in court circles that included a model... inspiring a hair-style in court circles that included a model ...Original Ships History: Aréthuse was a French frigate, launched in 1757 during the Seven Years War between England and France. She was captured by the Royal Navy in 1759 and became the fifth-rate HMS Arethusa. She remained in Royal Navy service for twenty years until she was wrecked after being badly damaged in battle. The ship was constructed at Le Havre for privateer warfare as ”Pélerine” and soon after her launch, she was purchased by King Louis XV (1710-1774) and commissioned as Aréthuse on 21 January 1758. In June, under captain Vauquelin, she sailed through the British blockade of Louisbourg helping to defend the site before departing, again forcing the blockade. On 18 May 1759, she was in transit from Rochefort to Brest, under the command of Louis-Philippe de Rigaud, Marquis of Vaudreuil, when she was intercepted near Audierne Bay (Baie d'Audierne) by three Royal Navy ships the Thames, Venus and Chatham. She attempted to escape but after two hours, lost her topmasts and was overtaken by her pursuers. Thames and Venus engaged her with heavy fire, causing 60 casualties before the vessel surrendered. She entered service with the Royal Navy for the rest of the war, and was in service in British home waters and became responsible for the capture of several French privateer cutters. In 1777, a Scotsman James Aitken, widely known as John the Painter, was hanged from her mizzenmast for burning the Rope House at Portsmouth Royal Dockyard on 7 December 1776, to aid the struggle of American independence. The mast was struck from the ship and re-erected at the dockyard entrance so as many people as possible could watch the execution. On 17 June 1778, she fought a famous duel against the French 36-gun frigate, Belle Poule. Belle Poule was on a reconnaissance mission, along with the 26-gun Licorne, the corvette Hirondelle and the smaller Coureur when she encountered a large British squadron that included Arethusa at a point 37 km south of The Lizard. Admiral Keppel, commanding the British fleet ordered that the French ships be pursued. The captain of Belle Poule refused the order to sail back to the British fleet. The British fired a warning shot across his ship's bow, to which he responded with a full broadside. This action began a furious, two-hour battle between the two ships that resulted in the deaths of the French second captain and 30 of the crew. However, Arethusa was crippled by the loss of a mast and withdrew, allowing Belle Poule to escape. This battle was the first between British and French naval forces during the American Revolutionary War and took place around three weeks before France had made a formal declaration of war. The battle was widely celebrated in France as a victory, even inspiring a hair-style in court circles that included a model of Belle Poule. It was also viewed as a victory in Britain and became the subject of a traditional Sea shanty, The Saucy Arethusa. On 18 March 1779, under captain Charles Holmes Everitt, Arethusa engaged the French Aigrette, under Lieutenant Mortemart, sustaining considerable damage in the fight. Arethusa was wrecked the next day off Ushant, It was the fame of this Arethusa which induced the Royal Navy, during the following two centuries, to bestow the name on a further seven consecutive individual ships and two consecutive classes of cruisers. (See Provenance Sec this document for information on the makers of this model). Model ship of the 3 masted frigate the “Arethusa”, model is painted black and white with varnished deck and masts. A British flag is flown at the stern. The ship is displayed in a glass case with timber frame and 4 legged stand.Label at bottom of glass case, printed in black script on a gold strip “Model of the “Arethusa" "A famous frigate, taken from the French by the British, on the 18th of May 1759 and lost on the French coast in 1779. – Made and presented by G. Lance & P. Diggins, October 1894” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, arethusa ship model, george lance, peter diggins, len asling, warrnambool art gallery, warrnambool exhibition, message in a bottle -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, 2 lady's hat pins mauve, c1900
... , usually by the hair that was styled in a Chignon or French Roll... is a decorative pin for holding a hat to the head, usually by the hair ...A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part. The hatpin was invented to hold veils in place, and was handmade. Birmingham, England was the centre of production when demand eventually outgrew the number that could be supplied by hand-making and they also began to be imported from France. In 1832, an American machine was invented to manufacture the pins, and they became much more affordable. During the 1880s, bonnets gave way to hats, some of which were very large and the popularity of hatpins soared. In the Victorian era, when appearance was everything, it just wouldn't do for a fashionable lady's hat to blow off in the wind. They remained a standard women's' accessory through the 1910s and were produced in a vast range of materials and types. Hat pin holder boxes were also produced. One of the most well-known makers of hatpins is silversmith Charles Horner, of Halifax, whose turn of the century jewellery company became a leader in the market by creating a series of mass-produced pins that were still of exceptional quality. As a result, thousands of Horner's pins are still on the market and on display in museums worldwide. Women of the 1920’s used hat pins as decoration on their Cloche hats that fitted snugly to their heads. The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires.2 lady's long steel hat pins with sequents in a flower design on mauve material bonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery -
Bendigo Historical Society Inc.
Postcard - POSTCARD: MISS ADA CROSSLEY
... of pearls around neck. Hair in elaborate pompadour style.... Strand of pearls around neck. Hair in elaborate pompadour style ...Postcard: black and white photo of Miss Ada Crossley. Young woman dressed in lace dress with ribbon inserts. Strand of pearls around neck. Hair in elaborate pompadour style. Written on front of card ' Wishing you a very bright new year' On back, addressed to Miss L. Pethard, Fir Street, Golden Square. Stamped Melbourne 2.1.06. Written on back ' Thank you very much for P. cards, I am very sorry that I kep you waiting but you asked me to send this and I have been trying to get it the last view you sent me I had so. I think I would like English fetresses ( ? ). Beta Christo. 'Orient Seriesphoto, person, ada crossley, lydia pethard, bendigo, ada crossley -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 14.09.1972
... . The other Sisters have dark short hair in various styles. Further... curly hair. The other Sisters have dark short hair in various ...This black and white photograph shows a group of RDNS Sisters who are part of the Post Basic Community Nursing Course. They are receiving education from Sr. Pat (Paddy) Rowley, RDNS Principal Nurse Educator. The session is being held in the Education Department at the Royal District Nursing Service Headquarters, 452 St. Kilda Rd, Melbourne.The RDNS winter uniform worn is a blue/grey skivvie under a blue/grey V neck tunic style herringbone winter material frock.Melbourne District Nursing Service ran its first Post-Basic Course for community nurses in 1962. Sisters attended the course for 12 weeks. The course ran annually until the mid 1990s. Education was an integral part of Melbourne District Nursing Society (MDNS), from its inception in 1885, later, in 1966, called Royal District Nursing Service, (RDNS). From 1885, only Trained nurses (Nurses) through the Hospital training system, were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961, Education programs commenced at MDNS with their Trained nurses (Sisters) receiving In-service education. Sr. Pat (Paddy) Rowley was a leader in In-service Education and established the RDNS Department of Community Nursing Education in 1962. Staff could also apply for scholarships to further their education outside of RDNS. Many of their senior Sisters received Postgraduate diplomas from the College of Nursing in Community Health Nursing, Education, and Administration, and several travelled overseas visiting nursing organizations viewing their public health and District nursing systems. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and the Homeless Persons Program. RDNS staff attended several hospitals to observe and learn special care needed to some patients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic patients at home, and to Mount Royal Hospital to observe the care of patients in the Rehabilitation ward. A Community Nursing Education Program was extended to student nurses from hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin obtained a Post Basic Certificate in Psychiatric Nursing and included this area in her Education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of RDNS Sisters. This black and white photograph is of a group of seven Royal District Nursing Service (RDNS) Sisters sitting in a semi-circle in two rows at single small two shelf tables. There are open white paged books or papers on each table and some of the Sisters have pens in their hands. The Sister sitting in the front far right is Sr. Affleck, who has dark short curly hair. The other Sisters have dark short hair in various styles. Further right in the photograph stands Sr. Rowley, who has dark short hair and is wearing glasses. She has her left hand supporting a torso of an anatomical model which is sitting on a table slightly to her left. She and the Sisters are looking at the vertebrae down the spine of the model. Another empty table is in front of the semi-circle and it sits in the centre foreground of the photograph. In the rear between Sr. Affleck and Sr. Rowley, a piece of equipment stands on a table. To the right of the photograph part of a large blackboard can be seen. The Sisters are wearing light grey skivvies under a darker V neck tunic style frock with the RDNS insignia on its upper left.Photographers stamp. Quote No. LD 8rdns education, rdns uniform, royal district nursing service, sister pat (paddy) rowley, sister margaret affleck -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Manufactured Object, 'Crest' Home Hair Perm Kit in box, c1950
... " is a hairstyle consisting of styles set into the hair lasting a number... of styles set into the hair lasting a number of months using thermal ...A permanent hairstyle, commonly called a perm or "permanent" is a hairstyle consisting of styles set into the hair lasting a number of months using thermal or chemical means. In the latter method, chemicals are applied to the hair, which is then wrapped around forms / rods to produce hairstyles with varying degrees of wave or curls. Usually this styling is performed by Hairdressers, in Beauty Salons, however, manufacturers appealing to the 'thriftiness' of the post world war 2 women produced products that could be used at home. It became very popular for women in the new estates to gather with their neighbours to give each other this new 'Home perm' with some success and failure. Gladys Reed used this type of Home perm while a resident of City of Moorabbin c 1950Typical Home Hair Perming equipment used to style their own hair by women in City of Moorabbin c1950A cardboard box containing solution, equipment and instruction booklet for home treatment of hair to produce permanent waves.hairdressers, hairdressing equipment, permanent wave, hair fashion, hair styling 1950, grooming, personal effects, early settlers, post world war 2 estates moorabbin, reed gladys. reed george, clark judy, bentleigh, moorabbin, highett, ormond. -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Personal Effects, lady's hat pins various x 14, c1880 - 1950
These hat pins represents women's fashion in the late 19thC and early 20thC. As the material used in the construction is not of a high monetary value it can be assumed it was everyday woman's apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important and many women used their craftwork skills to create their own hat pins. This item is a reflection of the fashion mode of the late 19thC and early 20thC when long hair needed to be controlled by hair pins It is also an example of society's mores of tidiness 14 lady's steel hat pins in various styles numbered A -i A) 6x pearl tear-drop ; B) 1x pink metal beads;C) gold ball in 'oyster shell'; D) gold ball; E) pink plastic weave; F) silver metal ball; g) black bead; h) white ball; i) pale blue glass set in brassmoorabbin, brighton, early settlers, pioneers, cheltenham, craftwork, clothing -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Personal Effects, lady's mantilla style haircomb, 20thC
A hair fashion accessory for 20thCentury ladies. Plastic is a material consisting of any of a wide range of synthetic or semi-synthetic organics that are malleable and can be moulded into solid objects of diverse shapes. Due to their relatively low cost, ease of manufacture, versatility, and imperviousness to water, plastics are used in an enormous and expanding range of products. They displaced many traditional materials, such as wood, stone, horn and bone, leather, paper, metal, glass, and ceramic, in most of their former uses including jewellery. Parkesine is considered the first man-made plastic. The plastic material was patented by Alexander Parkes, In Birmingham, UK in 1856.The world's first fully synthetic plastic was bakelite, invented in New York in 1907 by Leo Baekeland who coined the term 'plastics'. After World War I, improvements in chemical technology led to an explosion in new forms of plastics, with mass production beginning in the 1940s during World War 11 due to shortages of silk and ivory.A plastic, tortoise shell pattern, lady's hair-comb in the mantilla style with diamante decoration.hair fashion, hairdressing, coiffure, plastic, personal effects, jewellery, moorabbin, bentleigh, cheltenham, early settlers, world war 1 1914-1918, world war 11 1939-1945, silk, ivory, bakelite, -
Seaworks Maritime Museum
Doll
Tall Japanese doll with purple traditional dress standing upright supported by black, square base. Hair is arranged in traditional style with ornaments. "WMA 56" Japanese writing on base -
Flagstaff Hill Maritime Museum and Village
Leisure object - Porcelain Doll, 1920-1941
Unable to determine a specific company that manufactured this doll many Japanese companies manufactured dolls of this type for export and these were only marked "Nippon" to show country of manufacture. These dolls marked this way were in production from around 1920 until 1941 when Japanese toy factories began to manufacturing items for war.Unable to be determined provenance relating to specific Japanese manufacturer. The doll is an example of a children's toy from the 1920s-1940s.Porcelain Doll in white fabric dress Doll, female, has porcelain face, composite body with swivel head and limbs. Head has long brown curly mohair wig attached into a hole in the pate; several doll-sized hairpins hold hair in place. Face has open mouth showing two porcelain front teeth, brown eyes of hand blown glass and hand painted features. Back of neck has two pressed holes above maker’s mark. Doll has removable white silk socks and brown shoes with tied ankle strap and hard soles. Doll is wearing old fashioned cream coloured knitted woollen singlet, cream flannel vest with draw-string cotton bodice and scalloped edge. The doll also has a more modern style white cotton dress with pink smocking. Inscription pressed into back of neck, shaded with pencil, "Nippon"Maker’s Mark “NIPPON” (See media section this document for a list of possible manufactures of doll)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, nippon, nippon novelty company, porcelain, japanese doll manufacturer, porcelain doll, vintage doll -
Kiewa Valley Historical Society
Pin Hat, circa 1920 - 1950
Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a turquoise glass ball head with a long needle. It is in the same style as items KVHS 0358 and KVHS 0359.millinery, costume, pin hat accessories, female hair restrainer -
Kiewa Valley Historical Society
Pin Hat, circa 1920 - 1950
Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a yellow/amber glass ball head. It in is the same style to KVHS 0357 and KVHS 0359clothing, millinery, costume, women hat accessory -
Kiewa Valley Historical Society
Pin Hat, circa 1920 - 1950
Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsA long hat pin with a royal blue glass head. It is in the same style to items KVHS 0357 and KVHS 0358clothing, millinery, costume, women hat accessory -
Kiewa Valley Historical Society
Photo - Family dressed in the fashion of the early 1900s
During the early 1900s little girls' dresses were fashioned on the style worn by older women. Girls dresses were knee length with trimmings of lace and ribbon. Collars were often removable for ease of washing. Leather lace-up boots and woollen stocking or socks were usually worn with these dresses. A pinafore or apron would be worn over the dresses to help keep them clean. Girls' hair was kept long, with curls and tied with ribbons.Boys' clothing was fashioned on sailor suits, blouses/shirts with a collar and trousers or knickerbockers. Woollen jackets, shirts and ties were suitable attire for older boys. Children's fashion of this time was dictated by long lasting durability, local manufacture, earthy colours and ease of mobility. Because of the long distance to haberdashery stores, the majority of children's garments would have been hand made by a local seamstress, mother or relation.Black and white photo of a family with 5 children in the foreground with trees in the background.children's clothing -
The Beechworth Burke Museum
Photograph - Carte de Visite, James Bray, 1870
This photograph was taken in c.1870 and depicts Aaron Sherrtt who is best known for his involvements with, and eventual assassination by, the Kelly gang. He stands upright in the image with his arm leaning on a podium which reaches his hip. He is wearing an outfit for which he was infamous. Richard Warren, son of the proprietor of the Ovens and Murray Advertiser once stated that “anyone seeing [Aaron] coming down Ford Street would ask, “Who the hell’s this? Some advance agent for the circus?”’. The outfit Aaron wore for this particular photoshoot is reminiscent of this quote. He wears an unusual spotted shirt with a waistcoat and a sash is tied at his waist. He wears boots which turn up slightly at the toes. The hat is a “pork pie” hat which is worn in the typical “Greta Mob” style with the chinstrap under the nose. Aaron Sherritt was born in 1854 in Prahran, Melbourne, to Irish Protestant parents John and Anne. Sherritt stood at 5 foot 10. He had hazel eyes, dark brown hair and pale olive skin. Sherritt was childhood friends with Kelly Gang member, Joe Byrne, having previously attended the same school. Both men had a reputation for stealing horses and on one occasion, after stealing and butchering a cow, Sherritt and Byrne were convicted to six months in Beechworth Gaol (1876). Sherritt, along with Byrne, were reportedly recruited by Ned Kelly in 1877 in stealing stock; however, Sherritt never became a fully-fledged member of the Kelly Gang. Nevertheless, Sherritt scouted for the Kelly Gang in 1878. He later struck a deal with the police (specifically, with Chief Commissioner Standish) to save Joe Byrne's life in exchange for leading the police to the other members of the Gang. From then on, Aaron Sherritt lived the dangerous life of a double agent, providing police with what is assumed today to have been outdated or incorrect information in return for money. On the 26th of June 1880, Aaron Sherritt was murdered in the Woolshed Valley. He was approximately 23-25 years old at death. This event marked the start of the Kelly gang’s last days. Sherritt was murdered by Byrne in front of his wife, 15 year old and heavily pregnant Ellen “Belle” Sherritt and her mother Ellen Barry. Also in the Sherritt dwelling on this particular night were four policemen. The intention behind Sherritt’s murder was for the police to send word to Melbourne that the Kelly gang had murdered Sherritt and a police train would be sent to Glenrowan where the rest of the Kelly gang were waiting. This plan did not go as predicted and ultimately the Kelly gang fell at Glenrowan in 1880. This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. The photograph is also of artistic significance as an example of a Carte de Viste dating to 1880 and it's connection to Aaron Sherritt.Sepia rectangular photograph printed on card. Obverse: J.E.Bray./ Photo/ Beechworth Reverse: Portrait & Landscape/ Photographer 5/ Aaron Sherritt J E Bray Signature Beechworth/ Victoria Beware (almost erased out) Negatives Kept. Copies 5I/.Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Water Colours 10237. kelly album, woolshed valley, 1870s, kelly gang, joe byrne, ned kelly, aaron sherritt, james bray, beechworth, burke museum -
RMIT Design Archives
Painting, Illustration of a Woman in Traditional Dress from Patzcuaro, Michoacán, Mexico, c.1953
Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress -
National Trust of Australia (Victoria)
Hair tidy, 1908
Belonged to Mrs Emma Winifred Hornabrook [nee Sargood]. Winnie Sargood was one of the middle children of the large Sargood family, and grew up at Rippon Lea.[Sterling silver] cylindrical lidded transparent glass crystal hair tidy. RL 0791.1: Cylindrical container has a flat circular base. The glass is decorated with cut and faceted design comprised of two diagonal parallel lines forming diamonds in which are octagonal shapes. RL 0791.2: Silver convex lid with a circular hole in the centre. The surface is smooth except for engraved lettering in calligraphic style around central opening.Engraved onto top of metal lid: Winnie/ Hair Tidy; hallmarks: ..D/WD in a shield, anchor, lion, D. •Stamped into metal on outer rim of lid: [Hallmarks] [makers mark]/[anchor]/ [Lion]/I •Stamped into metal on inner rim of lid: [Hallmarks]/0/C/0/sargood, emma winifred, rippon lea, hornabrook, emma winifred [nee sargood] -
Kew Historical Society Inc
Photograph - Daguerreotype of a woman, c.1855-65
One of a pair of separate half-length studio portraits of an unidentified man and a woman photographed using the daguerreotype process. Both portraits are contained within pinchbeck frames, bound in brown-tooled leather cases, with red, cut-velvet binding. Each daguerreotype required an individual negative, presented to the sitter as a positive, and was not reproducible. Due to an exposure time that could extend to many minutes, people were often seated for portraits. Sitters were almost exclusively drawn from the middle to upper classes because of the cost of production of the photograph. It is assumed that the subjects of the two daguerreotypes were unidentified members of Gwen Steele's family. They are the earliest photographs in the pictures collection.Half-length studio portraits of an unidentified woman photographed using the daguerreotype process. The portrait is contained within a pinchbeck frame, bound in a brown-tooled leather cases, with red, cut-velvet binding. The portrait of the woman is notable for her centre-parted hairstyle with the fullness of the hair drawn into a single chignon at the base of the neck. This style set off the tilted-back angle of bonnets and hats. The seated woman wears a dark silk day dress with a voluminous skirt. The bodice is set-off by a large lace collar on its high neckline and at the cuffs. daguerreotype, portraits -
Flagstaff Hill Maritime Museum and Village
Container - Medicine Bottle, J.C. Ayer & Co, 1868-1878
The glass medicine bottle is an example of an early 20th-century medicine bottle. Moulton glass was blown into a two-piece mould and a tool with an inscription was used to stamp the base. The mouth was added after the bottle was blown. The bottle has encrustations and residue on the surface of the glass. The cargo of the Falls of Halladale included medicine. It was made by Ayer & Co. and its shape and maker's mark matches one of Ayer's early style bottles that contained J.C. Ayer's Hair Vigor, which was made from about 1868 to 1915. James C. Ayer, born in Connecticut, US in 1818, was a medicine manufacturer. His first medicine was Cherry Pectoral, for pulmonary illness. His medicine was very popular in the 1850s. Ayer died in 1878. A section of his home town Groton Junction was nameed 'Ayer' in his honour. The FALLS of HALLADALE 1886 – 1908: - The sailing ship Falls of Halladale was an iron-hulled, four-masted barque, used as a bulk carrier of general cargo. She left New York in August 1908 bound for Melbourne and Sydney. In her hold was general cargo consisting of roof tiles, barbed wire, stoves, oil, benzene, and many other manufactured items. After three months at sea and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland on the 15th of November, 1908. The captain and 29 crew members survived, but her cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson's navigational error, not too technical failure of the Clyde-built ship. The Falls of Halladale was built in1886 by Russell & Co., at Greenock shipyards on the River Clyde, Scotland for Wright, Breakenridge & Co of Glasgow. The ship had a sturdy construction built to carry maximum cargo and was able to maintain full sail in heavy gales, one of the last of the 'windjammers' that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. The new raised catwalk-type decking allowed the crew to move above the deck in stormy conditions. The medicine bottle is an example of medicine containers in the late 19th to early 20th century. It is also significant for its association with the historic cargo ship Falls of Halladale, wrecked in local waters in the early 20th century. The ship is listed on the Victorian Heritage Register, No. S255. It was one of the last ships to sail the Trade Routes and one of the first vessels to have fore and aft lifting bridges. The ship is an example of the design, materials and fittings of a late-19th-century sailing vessel. Its cargo represents several aspects of Victoria’s shipping trade. The wreck is now protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act 1976.Clear glass bottle with a green tinge. The bottle has a rolled applied lip, narrow mouth, slim neck, rounded shoulders and straight rectangular body and an indented base. The body has side seams and irregular thicknesses of glass. Glass has imperfections and bubbles, and one shoulder is missing. An embossed inscription is on the base. The bottle was recovered from the wreck of the Falls of Halladale. "AYER"flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, falls of halladale, iron ship, four-masted ship, sailing ship, clipper ship, windjammer, shipwreck, peterborough, 1908 shipwreck, russell & co., fore and aft lifting bridges, medicine bottle, health care, ayer, j c ayer & co., james c ayer, hair vigor, men's hair care, personal care -
Orbost & District Historical Society
hair clips, 1930's
This clip was not made to be worn in the hair, it was made to create fingercurls, a style of hairdo very popular in the 1920's and 1930's. The 1920's and 30's saw new simple hairstyles. The hair was often short and cut into a bob shape and then curled or more commonly ornamented with fingerwaves. the children came in. These hairclips were used to hold the curl in place as the hair dried.These items are examples of women's hair accessories commonly used in the mid 20th century.Two metal butterfly clips for waving hair. They are spring hinged and probably made of aluminium.hair-accessories hair-clips -
Orbost & District Historical Society
smoking cap, late 19th century
Smoking Caps are caps worn by men while smoking to stop the hair from smelling of smoke. They also kept the head warm. They were popular in the period 1840-1880, usually worn by gentlemen in the privacy of their home. This beautiful velvet smoking cap was worn by James Stirling who was the first settler to occupy land in the Marlo township. James stirling arrived in Victoria from Scotland in 1842.He took over Corringle Station (Ewing's Marsh). His son James stirling later established theMarlo Hotel. (Read more in Mary Gilbert’s book)Smoking accessories like this cap were popular through the mid-to-late nineteenth century to prevent the smoker's hair from absorbing the smell of tobacco smoke and were often worn with smoking jackets. The design, with its elaborate embroidery shows an aspect of Victorian material culture and reflects the nineteenth-century love of 'Oriental' style. . A domed shaped smoking cap of blue velvet .It is lined with silk. The tops and sides are embroidered with tan coloured leaves. head-coverings stirling-james smoking-cap