Black and white print from the State Library of Victoria, June 1999 of a horse tram crossing the intersection of Sturt and Lydiard Street Ballarat c1890. Tram is travelling east to Grenville St. on the south side of Sturt St. (wrong side these days). Has the Ballarat Post Office building in the background with buildings on the north east side of Sturt St. as well. Has a number of horse drawn cabs in photo and women in white clothing holding umbrellas over their head indicating a hot day. In the right hand side of the photo is the statue of poet Robert Burns. Has number "530" in the bottom left hand corner of photograph. State Library Multimedia Source Catalogue gives the photographer as Charles Rudd, 1849 to 1901, date of photo 1889-1891. Copy made Oct. 2001 for the "gold, Gold GOLD" temporary exhibition - colour laser print onto card, with Velcro dots on rear. Stored in box D1 (Display Box) 02/2003. State Library Permission required to reproduce the photo.On rear in pencil in bottom left hand corner "Copy of H39358/10" and in centre along bottom edge "Reproduction Rights Reserved - Copied by State Library of Victoria".trams, tramways, sturt st, lydiard st, horse trams, post office, two way traffic

"Calvert Model" hats were designed by Frank Tisdale. A Government Gazette of the State of New South Wales on Friday 7 September 1973 (No.117), page 3941, recorded that: "CALVERT MILLINERY PTY LIMITED (In Liquidation), formerly trading as Frank S. Tisdale.—A first and final dividend is intended to be declared in the above matter. If persons claiming to be creditors have not proved their debts or had their debts admitted by the liquidator by 24th September, 1973, they will be excluded from this dividend.—Dated this 3rd day of September, 1973. P. J. WOODWARD, Liquidator, 32 York Street, Sydney." Therefore the hat must predate 1973, and given that it is in the style favoured by the actress Audrey Hepburn (the style of the hat has been called an "Audrey") the hat probably dates to the 1960s.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned brown straw hat with a downward sloping rim. The design includes brown ribbon at the base of the crown. A label on the inside back rim identifiies the hat as "a Calvert Model".Label: "a Calvert Model"milliners, women's clothing, frank tisdale, calvert model

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

This iron was used by women to press the clothes from the mid 19th century. Coal embers were put inside, heating the base of the iron. Small bellows could be used to fire up the embers in order to keep the iron hot. This item is significant as it represents the appliances used by women from the mid 19th century until the advent of electricity.This charcoal iron is made of cast iron. It has a hinged lid so that embers can be put inside as the source of heat. The lid has a curved funnel and a wooden handle. The funnel kept the smoke away from the clothing. Bellows would be used to blow air into the iron and keep the coals burning. It has a wooden handle and the lever used to open the lid is also made from wood. There is a hole with a swivel cover at the back of the iron to check the coals. "S" on the swivel cover.domestic appliances, household items, women's work

Donated by Heather McNamara. Worn by Isobel Caldwell born 03/08/1930. Example of women's corsetry c 1950's.Flesh coloured ladies corset, plain satin fabric with elastic lycra side panels & stocking suspenders. Boned.Jenyns Patent Corsetry. Model 5577/10. Lycra, type c, short hip. Made in Australia by te Jenyns Patent Corset Pty Ltd. Victorialadies corset

This beaded dress collar is of a style from the mid 20th century - possibly even as early as the 1930's. It is designed to be easily removed and worn with different outfits - e.g. a dress, knitted top or blouse. Articles from Australian newspapers (particularly the Women's fashion pages) in the decades from the 1930's through to the 1950's often mentioned society ladies wearing "beaded collars" when describing their fashions and in the 1950's "beaded collars" were being made and imported from Japan however this particular collar appears to have been handmade. Unfortunately the maker of this collar is unknown.This item is an example of how women in the mid 20th century used their needlework skills to personalise and embellish an item of clothing (a collar) designed in a practical way to be able to be used with different items of clothing. Lady's beaded collar with a decorative floral design of flowers made with blue beads, outlined with bronze beads on a white beaded background. Bronze beads have also been used to "draw" leaf shapes and tendrils and outline a border all around the collar. A hook and eye are attached to a fine cotton bias band at the top of the collar and the beading is sewn onto a fine net lining.flagstaff hill maritime museum and village, warrnambool, great ocean road, fashion, beaded collar, beading, decorative fashion, collar, lady's fashion

From Portland Town Council Art Programme. Sponsored by PTC's Art Program, the Theatre Board of the Australian Council, Portland 150th Anniversary Committee, Portland CEMA and the Myer Foundation.Poster for theatrical production. The central image is a retouched photograph of a group of people (men and women) outside a building. The building is made of wood. The people are standing in front of the building and on its roofless verandah. They are dressed in clothing of c1910's. The image is black and white with some items of clothing hand coloured in with red, orange and yellow. The entire poster is covered with approximately 61 signatures. On lower left is a reproduced newspaper clipping of paper addressing a welcome home ceremony for Gallipoli soldiers. In pale yellow in background is a map of Portland Bay. In orange mount in black and gold frame. Below image are the words: "Portland Bay Swells! Devised by Ken Harper and the Portland Community." Below this are details of performance times and ticket details. Mounted in peach matt. Black wooden frame with glass.Front: (no inscriptions) Back: (no inscriptions)