All edges (except hemline) ie sleeves, and centre front, including neck edge, are finished in perle thread, buttonhole stitched two cm wide scallops. Satin stitch, and cut work embroidery, in a floral design, are on the lower edge of the short sleeves and on the front bodice.The waistline has a four cm wide band of ribbon, in an insertion design,- but there is no ribbon insertion evident. This would be the only form of closure, from the waistline a slightly gathered panel,22cm deep, gives a peplum effect. Hemline is faced with a 1.7cm wide cotton facing. The ribbon insertion panel has alternating 1.2cm wide floral embroidered ribbon and one cm wide plain ribbon. Magyer sleeves-extending from the side seam just above the waistline - bodice all one piece of fabric - no seams.Accompaning note - No date. The bloomers (11400.931), belonged to Antoinette Catling of Bendigo and were part of her trousseaux. They would be 80+ years old. The linen bed jacket would be about the same age.costume, female, white linen bed jacket

Fine white cotton, with a drawstring in a 1.5xcm deep casing around the waistline. Completely opened at centre front, through crotch, and up the centre back to within 14cm of the waistline. One dart on either side of front, and two darts on either side of back. Machine stitched. A 2.5cm wide cotton lace is inset into a zig zag pattern around each leg. In each V shape a 1.5cm lace insert in a fan,under the V shapes are inserted needle woven bows, shape is inserted. Seven extremely fine pin tucks border the edge of the legs, which have a three cm wide lace edging. Split drawers were worn in the era when women wore corsets. The split front and back allowed women to go to the toilet, as the corsets could not be removed to allow for an act of nature.Accompanying note - No date. The bloomers belonged to Miss Antoinette Catling of Bendigo and were part of her trousseaux. They would be 80+ years old. The linen bed jacket (11400.930) would be about the same age.costume, female, fine white cotton split drawers

Fine, soft silk, woven with a two mm spot, spaced at one cm all over the fabric.Above the wrist-length sleeves finished with a six cm wide black velvet cuff. Sleeves are gathered at the shoulder and the cuff. A 26cm long ''over -sleeve'' is gathered at the shoulder, and edged with two bands of black velvet-one of .8 of 1cm, and one 2cm wide. Bodice has a 6.5cm stand-up mandarin style collar, which is boned in three places. Three metal hooks, and embroidered eyelets fasten the collar - (2 damaged). The shoulder line has 12 pintucks, 20 cm long, and finishing to give fullness to the bustline. Six pintucks either side of back opening. Over the shoulders is a loose panel - 25cm wide at the shoulder, tapering to 7.5cm wide at the waistline - five bands of velvet taper from shoulder to waistline, emphasing a V shape, from shoulders to narrow waist. A 17cm deep panel of pintucking extends from shoulders at front and back. Six X 4cm deep tucks extend from the pintucks to the waistline.costume, female, victorian black silk and velvet bodice

Object. eight ribbed parasol. Black silk satin, and black cotton lace in a floral design. Eight peaks around the perimeter of the umbrella, attached to the double layer of fabric in the main body of the umbrella-an outer layer of silk, satin, and an inner layer of cotton. This lining is hand stitched. Frame, including handle of lacquered wood. Handle is graciously curved and carved like a feather. Top is finished with lace and a decorative satin ribbon-(5cms wide) bow with five loops, and nine cm tails.costume accessories, female, victorian black silk and lace umbrella

High round neckline, edged with 1.5cm wide lace. Centre front panel is pintucked with a centre front opening, fastened with ten metal hook and eye fasteners. Five metal press-studs also fasten the overlap of pintucks, but these are possibly a later addition. A 3.5cm wide panel of fine watermark silk defines the waistline, in three 1.5cm pleats. Centre back seam has one .5cm flat pleat or tuck on either side. A 5.5cm panel of fabric is overlaid with a net based, beaded braid, of small black jet beads in a floral design-This braid extends around the neckline, and down each side of the front to below the bustline. This beading is also sewn of the eight cm wide sleeve cuffs. A cream crochet collar-most likely a later addition, is now stitched over the beading around the neckline. Garment is lined with black polished cotton.costume, female, victorian black silk beaded bodice.

Cream silk satin bodice, with a high round neckline, finished with a seven cm deep, cream lace, boned, mandarin stand up collar - five bones-(one missing) to support the collar. Nine 16cm bones support the shaping of the tapered firmly fitted waist. A ten cm deep yoke at front and back shoulders. Below the yoke is a panel of eleven cm long pintucks right across the front, and on either side of the back. Centre front gathers into a cotton tape band at the waistline. Below the neckline of the centre front, is a panel ten cm deep of cotton lace, then a 13cm deep fine silk, gathered frill, edged with a reinforced silk ruffle. The centre back opening has a double placket, each fastening with alternate hook and eye,hook on either side of opening. Two large hooks facilitate a joining with a skirt.The three quarter length satin sleeves, are a bell shape, and gather into a cream net, eight cm deep band, which fastens with two metal hooks and hand made loops. Over the net is a double frill, 13 cm deep, and edged with a reinforced silk ruffle, as in the centre front panel. This bishop-type sleeve has five X 12cm long pintucks at the shoulderline. A ten cm long row of a feather stitch type of hand embroidery on either side of front bodice-one each side of the gathered centre front panel. Bodice is fully lined with polished cotton.costume, female, cream silk-satin long sleeved bodice

Silk, satin, fully lined with silk (?). Eleven bones, ranging in length from 10 - 12 cm long, taper the bodice to the waistline. 15cm wide panels of beaded net come from the high back waistband, over the shoulder to the front waistband. These are loose panels with linear beading, and more decorative beading over the shoulders. Centre front panel has a net overlay, sheer above the bustline to the throat, with a 16cm high net stand-up, mandarin collar, edged in lace, and outlined at the throat with a row of tiny jet beads. Cotton perspiration pads under the arms.A beaded '' butterfly'' shape sits over the bustline where the sheer lace panel begins. Below the beaded motif, five roulet knotted and loops fasten into the finest of metal loops to close the bodice. Silk ''over -sleeves'' also have three roulet looped decorations at each edge. Below the elbow length ''over sleeves'', a double layer of net sleeves-the top layer finished with seven rows of tiny jet beads, the lower wrist length net sleeve, finished wit one row of tiny jet beads, and a two cm net fill. Beading and an embroidered ribbon flower trim the back centre net panel, and a roulet looped trim, sits at the centre back waistline. An extension of the beaded over -the-shoulder panels falls in a rectangular shape 38cm X 23cm. The front extension of the ''over the shoulder'' beaded net, falls in two oval shapes - one either side of opening 24cms long. A 4.5cm band of three pleated silk encircles the waistline.Waterfield, 14 Gleghow Terrace, South Kensington. ( Label on tape fastens around waistline).costume, female, black silk satin beaded bodice

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. As the MMBW employed men to undertake secretarial work within the first few decades of operation, it wasn't until 1912 when the first female 'typiste' was employed. This photograph, showing a group of typists employed by the Board, is historically significant as it represents the kinds of jobs that women were employed in during the 1970s. Colour Photograph melbourne water, mmbw, melbourne metropolitan board of works, typists, women, administration

As the Yarra became unsuitable as a source of water, several attempts were made to find alternative sources for the growing population of Melbourne. It was not until 1891 that the efforts to sewer Melbourne came to fruition with the setting up of the Melbourne Metropolitan Board of Works (MMBW), now known as Melbourne Water. From 1891 until 1992, it was the responsibility of the MMBW to safeguard public health by providing a sewerage system and a safe water supply system. In 1992, The MMBW merged with a number of smaller urban water authorities to form Melbourne Water. This Melbourne Water watch was gifted to a Melbourne Water staff member by her manager when she left the organisation in 1996. The watch was part of a branding campaign as the water industry became segregated in 1994.This item is of historical significance for its association with Melbourne Water at the time when the water industry became segregated in 1994. This watch is a perfectly intact object and is significant for its representativeness of the theme of Women in the Workforce within the MMBW and Melbourne Water as it was gifted to a female employee. The watch is also aesthetically pleasing in style and represents the trends of the 1990s. Gold plated, black leather band watch with the Melbourne Water logo on the face with accompanying black suede case with gold corners. The watch also comes with a warranty inside.melbourne metropolitan board of works, mmbw, melbourne water, watch, accessory, gift

Photograph. Norman Penrose collection: (A) Photo portrait of a man wearing a suit and tie. He is also wearing glasses, dark hair. (B) Tinted portrait of a lady with black hair. She is wearing a grey dress with beads and fabric flowers and leaves at the shoulders. She is also wearing sun glasses. Picture mounted on cardboard. (C) Black and white portrait of a lady with shoulder length curly hair. She is wearing a black dress. She is also wearing glasses. Portrait mounted with matt board. (D) Coloured portrait of a lady wearing a bright yellow dress with large black buttons at the shoulders. She has short, curly hair. She is wearing glasses which are black with clear lower edges to the frames. Also black ear-rings. The portrait has been taken from the side and she has her head turned to the camera. The background is pale blue.photograph, person, norman penrose collection, artwork, male and female portraits

Photograph - of a photograph - colour. This portrait is of Mary (Delaney) Jackson, she was my grandmother and I am the end of the Jackson line. Mary Jackson's husband was Frank Henry Langdon Jackson, he had a Hardware shop opposite the Fountain. Mary was born 1877 died 1915person, individual, female, mary (delaney) jackson. female portrait.

A saviour of living cargoes, the life and work of Caroline Chisholm. 249 pages with some black and white pages. Signed inside front cover by the author.Carole Walkeraustralia, history, caroline chisholm, australian history, female immigrants, caroline chisholm, victorian goldfields.

Black and White Photo of a girl in white dress, looking left with arm resting on column, mounted in a silver frame with gold decorations,person, individual, portrait, girl, female, woman, female portrait

Black and white Tin Photograph of a woman wearing a dress and a scarf around her headperson, individual, portrait, tin back photograph, woman portrait, female portrait, portrait

Index, ill, p.386.non-fictionThis book records the achievements of our women for all time. It tells of bravery, self-sacrifice, endurance and devotion. When Patsy Adam-Smith wrote Australian Women at War in 1984, her aim was to tap into the memories of all the ‘brave, modest, forgotten women’ while they were still alive, in order to honour them. Now, for the first time, this iconic volume is republished for an entirely new generation of readers. This magnificent work is a history of how Australian women have responded to war – from 1900, when the first nurses sailed to the Boer War, to 1945 and its aftermath. Recording the achievements of our women for all time, it tells of their bravery, self-sacrifice, endurance and devotion. Australian Women at War is a tribute to Australian women. women - australia - social conditions, war - female participation

Originally this teaching model belonged to Prince Henry's hospit�l library and was transferred to the Monash Medical Centre, Clayton in the 1970s by Sister Gertrude Berger, a famous nurse-educator, who is best known for her work leading up to the transfer of nursing education in Victoria from hospitals to universities in 1986.Gerty (as she was known in the School of Nursing) bought them in Europe in the late 1940s and early 1950s.Model of a foetus, approximately seven weeks. Painted plastic on metal rod with round wooden stand. Labelled on base "AV618.2 / 01 Fetus/ FOETUS". Stamped on base, "PRINCE HENRY'S HOSPITAL/ NURSES LIBRARY." Label on base"Adam Rouilly/ London England". The model has anaaatomical numberings in black ink. There must have been an acompaning information booklet [missing].teaching model anatomy, female foetus

Filshie clip, titanium and silicone clip used for tubal occlusion. This clip is unused and was in the posession of the donor, Dr Ray Hyslop. Flishie clips come onto the market in 1982 and was developed by Dr Mark Filshie of Nottingham U.K.contraceptive, contraceptive, filshie clip, tubal occlusion, sterilization, female

Clothing. Women's black satin bonnet. Semi circular pin tucked band at the front (7 cm X 13 cm) wide. Back of the bonnet is trimmed with fine gathered silk with frilled edge (14 cm wide). Centre front of bonnet has a folded back frill of gathered finely pleated silk. Front corners have finely pleated silk fabric ties with frilled ends. (50 cm). The ties have decorative silk ribbon bows where they attach to the bonnet.costume accessories, female, women's black satin bonnet

Clothing. Women's black lace wing shaped cape, lined with black satin. RHS at centre front has a loop of cord to fasten the cape.costume accessories, female, women's black lace cape.

Clothing. Women's elbow length white cotton gloves. Slit inside each wrist (9 cm) fastened with two X .7 cm spherical pearl buttons. Three pin tucks on the back of the glove.costume accessories, female, women's elbow length white cotton gloves

Clothing. Women's wrist length yellow cotton gloves with visible external seams. Three pin tucks on the back of the gloves.Tag inside right glove, ''DENTS VELDENTA Regd'' ''Double woven cotton gloves'' ''Made in Malta''costume accessories, female, women's wrist length yellow cotton glove

Clothing. Women's wrist length white cotton gloves. Two rows of decorative stitching around the wrist in scalloped pattern plus one vertical row of stitching on the back of the glove.Tag inside left glove, ''Cotton Simplex Size 7'' ''EMPIRE MADE''costume accessories, female, women's wrist length white cotton gloves

Clothing. Women's above the wrist length white cotton gloves. Gathered horizontal insert below the wrist (9cm X 4 cm).Tag inside left glove, ''DENTS'' All Nylon. Made in Hong Kong.costume accessories, female, women's white nylon gloves

Clothing. Women's above the wrist navy blue nylon gloves. Two embroidered patterns on the back of the glove.Tag inside left glove, ''FOWNES 7'' 100%costume accessories, female, women's navy blue nylon gloves

Clothing. Women's cream coloured wrist length cotton gloves. Fold over cuff (2 cm) at wrist with scalloped edges and small eyelets.costume accessories, female, women's cream coloured cotton gloves

Clothing. Women's cream coloured wrist length nylon gloves. Three embroidered floral patterns on the back of the glove.Tag in left glove. ''NYLON SIMPLEX SIZE 7'', Made in Hong Kong.costume accessories, female, women's cream coloured nylon gloves

Clothing. Women's elbow length black nylon gloves.Tag inside left glove. ''80% NYLON 20% ELASTANE'', Made in England.costume accessories, female, women's black nylon gloves

Clothing. Women's above the wrist black nylon gloves.Tag inside left glove. ''Nylon Simplex Nylofit'' by Glovers, Made in Hong Kong.costume accessories, female, women's black nylon gloves

Clothing. Women's cream coloured elbow length leather gloves. Key hole slit (12 cm X 1-3 cm) inside wrist with three button holes. Left glove has one X.7 cm spherical button. Right glove has two .8 cm flat pearl buttons. Visible external seams. Three pin tucks on back of glove.costume accessories, female, women's cream coloured leather gloves

Clothing. Women's white above the elbow leather gloves. Slit inside the wrist (12 cm) fastened with three X .6 cm spherical pearl buttons and button holes. Visible external seams.costume accessories, female, women's white leather gloves