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Bendigo Historical Society Inc.
Leisure object - BOUDOIR DOLL
Composite face legs and arms. Painted features. Hair - possibly real, dark brown colour. Doll dressed in royal purple gown. Long sleeves with lace cuff. Faux fur collar around V shaped neckline at front and squared collar at back. Lace trim across front of neckline. Faux fur trim across centre front and centre back at hem. Three underskirts. Mauve satin with darker mauve frill around hem line. Stiffened white fabric (Vilene?) White drawers with lace trim on lower legs. Painted on shoes in gold paint. Purple velvet handbag edged with silver cord. Boudoir dolls are dolls that are made to sit on beds and sofas as decorations rather than being used for play. They are also called bed dolls, flapper dolls, and French dolls. Years of Production Although dolls that sit on beds are still being made today, the classic vintage boudoir dolls were made from approximately the 1920s through the 1940s. Some of the earliest dolls, made even earlier than 1920 in some cases, were made in France. Many of the dolls were made in an art deco style. -
Bendigo Historical Society Inc.
Clothing - LADIES BLACK SATIN BONED BODICE, 1880-1900's
Ladies waist length black satin boned bodice. Chelsea style collar forming V shaped neckline dipping to eight cm above the waist. Centre insert of horizontal pintucked fabric extends at centre front from throat to just above wrist. Fastened at centre front with thirteen metal hooks and eyes and crossover fastened on LHS with four hooks and eyes. Bodice is lined with black cotton fabric. Collar extends over shoulders to form imitation collar at back extending to centre back waistline. Centre V shaped insert of pintucked fabric hand stitched in place. Nine fabric encased bones inserted into waistband. Two bones on either side of front of bodice, and one bone on each side seam and three bones across the back of the bodice. Stand-up collar with horizontal pleating (5cm wide). Fastened over left shoulder with three metal hooks and eyes. Long sleeves widening at elbow and gathered onto 25 cm lower sleeve narrowing to wrist. Lower sleeve has three X three groups of horizontal pintucks. Slit at wrist - eight cm fastened with two metal hooks and eyes.costume, female, ladies black satin boned bodice -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 25.03.1974
The photograph shows a group of Royal District Nursing Service (RDNS) Sisters receiving a lecture on 'Physical Handicap' given by Sr. Rowley in the Education Department at RDNS Headquarters 452 St. Kilda Road, Melbourne. Sr. Rowley is the Principal Nurse Educator at RDNS.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 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 Sisters 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 the RDNS Sisters. This black and white photograph shows the back view of four rows of Royal District Nursing Service (RDNS) Sisters sitting at small tables and looking toward Sister Pat (Paddy) Rowley who is facing them. She is in the rear centre of the photograph. The 16 Sisters, some partly hidden, are wearing a variety of summer day clothes. Spectacle cases, pens, sheets of paper, and some books are on the tables in front of them. Sister Rowley who wears glasses; has short straight dark hair, is wearing a white short sleeve blouse under a dark V neck tunic style dress. She is looking at the group and her right hand is pointing to writing on a large blackboard standing to her right. To the left of the blackboard, a draped Human Torso Model sits on a table. A long dark curtain hangs behind part of the blackboard. Running along the left of the photograph is a wooden door with glass panels at the top, some light colour wall with a dark picture rail, and a set of double glass doors with long grey curtains either side. To the right of Sr. Rowley part of a large white board is seen hanging above and below the dark picture rail on the wall.Barry Sutton LY 69rdns, royal district nursing service, rdns education, sister pat (paddy) rowley -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 01.05.1974
This black and white photograph is taken in the Education Department at Western General Hospital. Sr, Nan Deakin is a Nurse Educator with RDNS and is giving a lecture about District Nursing to hospital student nurses before each nurse goes to RDNS Centres. This lecture prepares each nurse before she goes out for a week with an RDNS Sister to visit patients who are receiving nursing care in their home.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 of 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 District field experience with RDNS.This black and white photograph shows the back view of three rows of hospital student nurses in their white uniforms and caps, sitting at small tables facing toward, on the left, Royal District Nursing Service (RDNS), Nurse Educator, Sister Nan Deakin, and their hospital Tutor Sister who is wearing her white uniform. The Sisters are standing in front of a large blackboard at the rear of the photograph facing the group. A smaller blackboard is attached to the wall to the left. On the right, the Tutor Sister has short dark curly hair and is standing side-on turned toward Sr. Deakin who is to her left. Sr. Deakin has short dark straight hair; is wearing glasses; and is wearing her RDNS uniform of a light grey skivvie under a darker V neck tunic style frock. She has her hands crossed and is holding sheets of paper in her right hand. There is a dark table to her left with a book and a short collapsible lectern on it. To the left of that is a row of short wooden cupboards and above that an open window with a horizontal striped curtain on the far end. The metal framed tables in front of the nurses have white wooden tops and have books, papers, pens and rulers on them.Barry Sutton MA 75royal district nursing service, rdns, rdns education, western general hospital students, sister nan deakin -
Ballarat Tramway Museum
Ephemera - Ticket/s, Ballarat Tramway Museum (BTM), Block of 100 tickets - $1, 1987
Demonstrates the Museum's ticketing systems and ongoing production of tickets.Four Blocks of 100 tickets - black ink on off white paper, with ticket number in black ink denomination $1, headed Ballarat Vintage Tramway. On rear in black ink is an advertisement for the Tram Family Restaurant, corner Macarthur and Drummond St. North. The 100 tickets have been stapled onto a heavy brown cardboard back with a heavy metal staple and a small brown cardboard retaining strip or butt at the top of the ticket. 2432.1 - A00001 to A00100 (The first block collected at the time of issue 1/12/1987) 2432.2 - A00201 to A00300 (collected at the same time) 2432.3 - A00301 to A00400 (collected at the same time) 2433.4 - A00001 to A00100 (lighter black ink, larger block size the others, was part of a rejected run of tickets by the printer, printing too light, wrong type of paper and too large size to that ordered, rest of tickets were returned.) The tickets are in the style of the former State Electricity Commission of Victoria tramway tickets. Tickets in use as adult return fare from 1/12/87 to 30/6/91. Note last block issued 19/1/1991. Replaced with the 1/- tickets. See BTM fare chart, BTM Ticket issuing sheets.trams, tramways, btm, tickets -
Bendigo Historical Society Inc.
Document - R.S.L. BENDIGO COLLECTION: ANZAC SERVICE 1959, 25th April, 1959
Paper detailing the Morning and Afternoon Service, Wreath Laying, Order of March, Assembly Points and Movement for the Anzac Day Service on Saturday, 25th April, 1959. Mentioned are: Mr W E P Carruthers, Lt Commander Herniman RN, Col L J Lockwood, 38 Infantry Battalion, Lt Col D Scholes, Ex-Navalmen's Club, Airforce Association, Railway Sub-section R.S.L., Bendigo Legacy Club, 6th Battalion Social Club, 38th Battalion Social Club, Rats of Tobruk Association, Ex P.O.W. Association, R.A.A.O.C., T.P.I. Social Club, Interunits Social Club, 105 Anti-Tank Social Club, 4th Aust. Armoured Regt. Social Club, Repatriation Local Committee, Catholic War Veterans Association, Bendigo Dad's Association, Legion of Exservicemen and Women, R.S.L. Women's Auxiliary, War Widows' Guild, S.S. & A. Mothers' Association, Ex-Navalmen's Club Ladies' Auxiliary, Airforce Association Ladies' Auxiliary, 38th Inf. Bn Ladies' Auxiliary, Sea Cadets, Air Cadets, Major T Martin, Mr G Styles, Court House Hotel, Sound Shell, and G F Osborne.event, official, anzac memorial service, r.s.l. bendigo collection - anzac service 1959, mr w e p carruthers, lt commander herniman rn, col l j lockwood, 38 infantry battalion, lt col d scholes, ex-navalmen's club, airforce association, railway sub-section r.s.l., bendigo legacy club, 6th battalion social club, 38th battalion social club, rats of tobruk association, ex p.o.w. association, r.a.a.o.c., t.p.i. social club, interunits social club, 105 anti-tank social club, 4th aust. armoured regt. social club, repatriation local committee, catholic war veterans association, bendigo dad's association, legion of exservicemen and women, r.s.l. women's auxiliary, war widows' guild, s.s. & a. mothers' association, ex-navalmen's club ladies' auxiliary, airforce association ladies' auxiliary, 38th inf. bn ladies' auxiliary, sea cadets, air cadets, major t martin, mr g styles, court house hotel, sound shell, g f osborne -
Bendigo Historical Society Inc.
Photograph - HILDA HILL COLLECTION: BLACK AND WHITE PHOTOS, 1917-1923
Hilda Hill Collection. Black & White Photos Depicting Family Life Total 8. Dora dressed all in white and wearing a small hat standing within the branches of a tree, 'the lawns' 1917. Hilda & Rose S.H.L.C. 1917, Hilda wears a white hat and lightly coloured outfit, Rose is wearing a dark hat and dark outfit, both seated on a lawn area. Three boys (unnamed), wearing swimming outfits in the surf at Brighton 1918. Hilda & Dora both dressed in light coloured blouses and dark coats with decorative collars and similar style hats, at Hanging Rock July 1923. Frank at 'The Ranch' Easter Tuesday 1918, Dressed in dark suit and white shirt with bow tie, verandah post on left and weatherboard house in the background. Unknown female dressed in dark dress with white collar, large flower pot on verandah, house window in background, plant trellis to right. Jack, dressed in dark coat over light coloured shirt and lighter coloured trousers sitting on snow bank at 'Buffalo' 1923. Photo of the 'Chalet' at Mt Buffalo, covered in snow and the snow covered gardens in foreground, farm type post and wire fence also enclosing the garden.Hilda Hill Personal Collectionaustralia, history, family life -
Kew Historical Society Inc
Clothing - Black Lace Evening Dress, c.1907
Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, c.1953
Melbourne District Nursing Society (MDNS) moved into 452 St. Kilda Road, in 1953. Seven Ford Prefect cars were purchased by the Society in the early 1950s which became the beginning of a full MDNS, later called Royal District Nursing Service, fleet of cars which would be used by their District nurses to visit patients in the community over the next years.In 1875 J.B.Scott purchased Crown Land on the corner of St Kilda Road and Arthur Street. During the 1890’s an “unpretentious grey building” was built on the site. Known as ‘Airlie’, major additions were carried out during the 1920s and 30s to this historic mansion. From its founding in 1885 until 1891 the Trained nurse (Nurses) of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Trained nurses (Nurses) and one pupil nurse as well as being used as their Headquarters. The Nurses left from there each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurses, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy. They remained there for ten years. In June 1914 at last the Society had sufficient funding to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door to No. 39, running from 41-47 Victoria Parade (became No. 45); the District Trained nurses (Sisters) continued to live at No. 39. In 1953 ‘Airlie’ at 452 St Kilda Road was offered by the Government as part of an agreement to split the management of the Society and the After Care Hospital. On 26th November 1953 the MDNS moved its Headquarters to 452 St Kilda Road. Renovations and alterations were however restricted by limited funds so it was not until 1/12/1954 that the Hon. W. P. Barry, Minister of Health, officially opened the building. MDNS was given Royal patronage in 1966 and became Royal District Nursing Service (RDNS). In January 1983, Headquarters of the Royal District Nursing Service at 452 St Kilda Road was classified by the National Trust. The citation in support of the classification said “The house is of historical interest as the boyhood home of Stanley Melbourne Bruce, later Lord Bruce, Prime Minister of Australia from 1923-1929.” Black and white photograph of Melbourne District Nursing Society Headquarters, 452 St Kilda Road, Melbourne. The photo, taken on the corner of Arthur street, is of a two storey building and several cars and gives a unique view of St Kilda Road in the 1950s (pre high rise buildings) This large grey two storey Italian style building, has four roman column, arched Arcadia to the right of a polygon shaped bay window on the ground floor; an arched Arcade on the second floor, and three long windows above the bay window on Arthur Street. Turning the corner onto St. Kilda Road is a three arched Arcadia running towards the one window seen on the polygon shaped bay window. Arcadia is repeated on the upper storey. A balustrade is in front of the Arcadia on the upper storey and again around the flat roof. Two chimneys can be seen. A spiked metal fence runs in front of the building. To the left of this building are two white double storey buildings and some medium sized trees. On Arthur Street, two Ford Prefect cars, one with the passenger side door partly open, a Vanguard car and another make of car can be seen.royal district nursing service, headquarters, 452 st kilda road melbourne, melbourne district nursing society, mdns, mdns transport, rdns -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 22.06.1977
The RDNS Sister is visiting the mother and babe in their home. She is using sterile equipment and swabs to firstly moisten the tulle gras to enable ease of its removal before redressing the open areas on the babes skin with sterile dressings. With RDNS visiting the home of the mother, the young babes routine can continue to be established at home, rather than them having to regularly visit a Doctor or Hospital department for redressing of the babes lesions. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients who ranged in age from the very young to the elderly. The patients required their wounds to be dressed following various types of surgery, accidents, burns, skin conditions, cancer, leg ulcers etc. As research developed better products and dressing materials, the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed wound care programs, such as the Leg Ulcer Management Program to provide their Trained nurses (Sisters) with methods of best quality care. They ran a program for Wound Care Specialists who made assessments and provided advice and support to the District Sisters working in the field as needed. The Sisters liaised with the patient’s Doctors and Hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. On the left in the black and white photograph is a Royal District Nursing Service (RDNS), Sister, who has short, straight blonde hair, and is wearing a white gown over her uniform is bending over a bassinet as she attends a baby with a skin condition. The Sister has her arms extended with a pair of forceps in her left hand, and in her right hand, another pair of forceps with a cotton wool swab attached is touching tulle gras on one of the wounds on the babes outstretched right arm. The baby is on her covered change table and is wearing a singlet and an opened patterned jumpsuit with her right upper area uncovered. Her mother, who has short dark hair and is wearing a dark sleeveless V neck tunic style frock over a light coloured long sleeve top, is behind and bending over the change table holding her babes right outstretched hand. She is also holding a dummy in that hand. The mother's left extended arm and hand is on the left shoulder of her babe. The baby, who has sparse hair, is looking up at her mother; signs of a skin condition can be seen on areas of the babes face and head.Photographer stamp. Quote No. DO 50royal district nursing service, rdns, rdns wound care -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 12.07.1973
Sister Watt is an RDNS Liaison Officer and has assisted a hospital employee to transfer a patient into a car. The lady will be attended by RDNS District Sisters when she returns to her home.Liaison had occurred between Doctors and the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), Trained nurses (Sisters), but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. They facilitated the smooth transition from hospital to home for many patients who required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective patients, co-ordinated discharge and booked the first visit by the visiting RDNS Sister. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the Hospital Doctor, via the Liaison Sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters and Doctors when patients were referred by General Practitioners and did not attend a hospital.On the left of this black and white photograph is the side-on view of a lady who has short curled hair and is wearing a white hospital coat over a dark skivvie and dark slacks. She is standing against the inside of the open passenger door of a grey car and is holding the removed arm of a wheelchair in her hands. She is looking down at a lady who is sitting in the passenger seat of the car. The lady, who has short curly dark hair, has her head turned to her left and is smiling. She is wearing a grey and black patterned frock. A wheelchair is in front of the opening of the door with the seat, which has a sheepskin on it, close to the car seat and the back of the chair to its right. Sister Helen Watt of the Royal District Nursing Service (RDNS) is standing side-on behind the chair and is holding its handles; her legs are placed between its large wheels. Sr. Watt has curled dark hair and is wearing a light grey skivvie over a darker grey V neck tunic style frock. Only a small section of her face can be seen; she is smiling and looking down at the lady. In the background, part of a brick building with a white framed, open curtained window can be seen. Barry Sutton LO 34royal district nursing service, rdns, rdns liaison, sister helen watt -
Montmorency/Eltham RSL Sub Branch
Uniform - Coat, US Cold Weather, M-65, US Cold Weather Coat
In 1951 - in the context of the Cold War - the Menzies government established the 'National Service Act 1951', which called-up men for compulsory military training for a period of 176 days. The 14th Battallion was located in Victoria. The coat has historic significance in the wider context of Australia’s involvement in the Cold War (particularly in Vietnam) and in the establishment of a National Service Scheme. Olive green army man coat with four outside pockets - two on the chest, two at the bottom; each pocket has one metallic button attached. Coat has a metallic zip as well as metallic buttons; two velcro scratches at the wrist level. Extra removable padding inside, which is attached with plastic buttons. Two identical inscriptions on right and left shoulder reading '14 National Service Battalion'. Two identical inscriptions on right and left shoulder - reading '14 National Service Battalion' Manufacturing details on the inside reading: Coat, Cold weather, Man's, Field M-65. Olive green colour. Style 8120/8542 DSA 102-81-C1204. 1. Wear as outer garment or as under-layer in cold-dry climate. 2. Wear button-in liner for added insulation. 3. Adjust closures and drawcords to ventilate; avoid over-heating of body. 4. When hood is used, lower extension shall be worn over neck opening, preventing water. 5. Brush snow or frost from garments before entering opening. 6. For fast drying, remove liner from coat. 7. Do not expose to high temperature of a stove. 8. Lubricate slide fasteners with wax. 9. For cleaning and restoring of water repellency return to laundry for machine washing in accordance with established procedures for quarpel garments. 10. Do not starch. Do not remove this label. Black ink pen inscription on manufacturing label reading '3/715875' and 'N.Wain'war, army, coat, man's coat, australian army, military uniform, national service scheme, cold war, vietnam war -
National Wool Museum
Clothing - 35 Life, Canwen Zhao, 2022
Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize -
The Beechworth Burke Museum
Photograph, Bayless C. - Manager, 1875
In this photo, taken in around 1875, is depicted the exterior of the Beechworth Mental Asylum buildings, with the administration buildings far right of the photo. A sunken boundary wall in the foreground and some people in view, sitting at the pavillion in the centre of the image. The two-storey buildings, designed in Italianate style, and the three-storey towers at the front, influenced by the asylum at Colney Hatch in England. The architecture of the buildings shares key features with other contemporary institutions, like Aradale at Ararat, and its design is attributed to the Public Works Department architect, J.J. Clark, whose name is connected with the construction of many other important public buildings, such as the Asylums at Kew and Ararat, the front block of the Royal Mint, Melbourne and the Melbourne Customs House. The Mayday Hills Hospital was constructed between 1864 and 1867, with buildings created in a number of periods. It formally opened on 24 October 1867 and, along with the Ovens Hospital and the Benevolent Asylum, made Beechworth a prominent social welfare centre in Victoria. Large masses of granite were excavated for its foundation and around 250 workmen were employed for its construction. The building, divided into six sections, was comprised of dormitories, doctors` rooms and plenty ancillary rooms and facilities, such as laundries, reading rooms, a concert hall and cooking areas. The site was chosen for its panoramic view of the countryside, the hilltop atmosphere and the native fauna, all contributing to the cure of patients. The Hospital was originally named the “Ovens Lunatic Asylum” but during the centenary celebrations in 1967 the name was officially changed to “Mayday Hills Hospital”, showing the gradual shift in the perception and understanding of mental health conditions over the last decades. The Hospital lies on the traditional land of the Kulin Nation.This photograph is historically significant as it provides an insight into the location, surroundings and the exterior of the Mayday Hills Hospital at the end of the 19th century. It also contributes to the understanding of the district`s development and its importance to the course of Victoria`s history and is acknowledged as a unique construction, being one of three identified as the largest of their kind.Black and white rectangular photograph printed on matte photographic paper mounted on board.Reverse: 37/ 3443/ Beechworth Asylum about 1875/ American & Australasian/Photographic Company/Victoria Branch./C.Bayless, Manager./ No./beechworth mental asylum, aradale, public works department, j.j. clark, melbourne customs house, colney hatch, italianate style, mayday hills hospital, royal mint, granite, benevolent asylum, dormitories, ovens lunatic asylum, ancillary rooms, centenary celebrations, three-storey towers, countryside, mental health conditions, kulin nation, concert hall -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Grave of Gordon Ford, Eltham Cemetery, Victoria, 27 January 2008
Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials -
Glen Eira Historical Society
Document - London Tavern
This file contains eight items: 1/A one page typed summary of the history of the London Tavern by (noted in pencil) author J O'Donnell. Includes information on the licensees of the hotel from 1873-1927 (in duplicate) 2/Photocopy of black and white photo of London Tavern c. 1878. Shows sign 'J. Riordan, London Tavern and Store'. Shows Boot and Shoe Repair shop at end and two women outside and horse and buggy on road. 3/Photocopy of black and white photograph entitled 'London Tavern 1935' with handwritten note on reverse by unknown author identifying Mrs. A.C. Scott as Nominee 1929-1969 and identifying a man in the photograph as John Chas (Jack) Scott on left. Car parked at curb. Original print held in album 'Historical Caulfield to 1972'. 4/Half page written note listing the names of Nominees of the London Tavern from 1873-1895. Author unknown; undated. 5/'now&then' article on London Tavern showing three photos (from our files) and brief history. Melbourne Weekly Bayside 22/02/2012. 6/Black and white photograph of London Tavern, established 1886, currently 414 Hawthorn Road. Foreground includes a large crowd with bicycles noted by an unattributed source to be members of Camden Town Sports Club after a bicycle race c.1888. 7/Handwritten note showing John Guess as the proprietor of the London Tavern in 1867 and 1874. Noet is undated and author unknown. 8/Black and white photograph of the London Tavern with a 1970s style car parked in Sycamore Street. Date and photographer unknownhawthorn road, caulfield, london tavern, woods a.j., camden town sports club, gribble c., hotels, sporting clubs, scott a.c., guess john, guess louisa, evans rowland, riordan john, scott mrs., boot and shoe repair shop, vine beer house, balaclava road, hawthorn road, sycamore street, caulfield south, elsternwick, harley susan, mott h, nichols william h, o'donnell j, rosstown hotel, caulfield club hotel, grocer -
Flagstaff Hill Maritime Museum and Village
Functional object - Suitcase, 1920-1950
The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hat box on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervations to the design of luggage as it became a fashionable item.Suitcase wooden with four wood reinforcing ribs, 2 leather straps with buckles & leather handles each end. Has inner shelf.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase, -
Flagstaff Hill Maritime Museum and Village
Furniture - Chair, 1855-1900
Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897 that went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century. The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The chair has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and Museum was established. The wicker nursing chair is a fine example of late 19th century light weight domestic furniture that today are very collectible items and quite rare and valuable.Nurse wicker chair, wood, cane and rattan with round rushed seat. The one left arm being that to support the infant during feeding. 1870s-1890s. Believed to have been made by Heywood Brothers & Wakefield Company, USA. flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, great ocean road, 19th century furniture, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company, feeding chair, nursing chair, mother's chair, nursery furniture -
Flagstaff Hill Maritime Museum and Village
Ceramic - Beer Stein, Reinhold Merkelbach, 1945 to 1964
This mug was made by Reinhold Merkelbach. Reinhold Merkelbach was founded in 1845 by Wilhelm Merkelbach, a descendent of a long line of German potters, and the company eventually took the name of his son Wilhelm Reinhold Merkelbach, who left school early to get involved with the family business. The company became a major name in German ceramics, especially in the Jugendstil style. The company produced a large number of collectable beer steins in the late 18th and early 19th centuries, including a number of so-called “character steins.” In 1882, the firm began producing art pottery, which at that time was enjoying a revival and new appreciation in Europe in general and in Germany in particular. Reinhold Merkelbach produced ceramic objects both with and without pewter hardware but rarely altered its manufacturing techniques. Many of its products were destined for use at pubs, bars, or breweries as well as in the homes of Germany’s beer-drinking populace. It had a retail location in Munich and also sold products through its factory warehouse. In 1971, half of the company’s ownership was sold to W. Goebel KG and the firm’s name changed officially to Merkelbach Manufaktur GmbH & Co. KG. Goebel ultimately purchased the other half of the business before members of the Merkelbach family, along with a handful of collectors and former staff members, repurchased the factory in 1988. In 2007, Judith Merkelbach Engelmann decided to close the firm; demand for ceramics had been decreasing and the next generation of the family had no interest in maintaining the business. Luckily, Reinhold Merkelbach transferred its moulds to Töpferei Girmscheid Höhr-Grenzhausen to ensure that its best-known pieces of Jugendstil art pottery and steins would continue to be available to interested consumers and collectors.This beer stein was made around the mid-20th century by a popular German maker. It fits in with the context of maritime village life. At this current time, there is no particular connection with people, places and events. The German beer stein is made from ceramic ironstone. It has a bell-shaped hinged pewter lid with a leaf-shaped thumb lever. The lid has a pattern stamped on it. The design on the mug includes a woman in bright colours, a man holding a musket, and buildings in mountain settings. There are inscriptions on the mug. Marked "Made in Germany" "RM" "4070" (underside of mug) "05" to the side of mug flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, beer stein, ceramic beer stein, reinhold merkelbach, drinking vessel -
Glen Eira Historical Society
Album - Album page, Normanby Road, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From: Glen Eira Heritage Management Plan (1996) - Vol 2 by Andrew Ward and Associates The widening of Dandenong Road during the late 1980's has resulted in the destruction of the houses in the path of the roadworks and the construction of a high fence serving as a visual barrier between that thoroughfare and the remaining houses. Where comparatively large villas once stood on spacious allotments, only "Wisteria" survives at No. 135 Normanby Road. Adopting forms and timber enrichment characteristic of the American Queen Anne style, it has this in common with the largely reconstructed timber villa at no. 11 Normanby Avenue and to a lesser extent, 746 Inkerman Road. Normanby Road retains its comparatively opulent Edwardian character in a mature landscaped setting with spacious gardens and mature planes parallel with the railway reserve which, on account of the low lying ground in its vicinity has a high embankment commencing on the alignment of Malvern Grove and continuing to Caulfield Station. The earliest villas are Edwardian. Page 148 of Photograph Album with one landscape photograph of a house on Normanby Road (not Street).Handwritten: Normanby St [top right] / 148 [bottom right]trevor hart, verandah, porch, bull nosed verandah, tower house, tower, stone fence, normanby road, wisteria, american queen anne style, queen anne style, 1890's, mayfield grove, normanby street, timber houses, caulfield north, house names, edwardian, edwardian style, gardens -
Federation University Historical Collection
Photograph - Art class photograph, Drawing from the Antique, 1920, c1920
The large plaster Illisos depicted in the back of this image is still held by Federation University Australia. The Ballarat Technical Art School (No. 10) was part of the Ballarat School of Mines and was established in 1907. After conducting classes in various locations around Ballarat a custom built art school was erected on the site of the former Ballarat Circuit Court House, previously used as the initial building of the Ballarat School of Mines. Examples of drawings undertaken by students, as well as some plaster castes are held in the University of Ballarat Historical Collection. The Ballarat Technical art School is the oldest continuous Tertiary Art School in Australia. Sir Alexander Peacock opened the new Ballarat Technical Art School building in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios could be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. (http://guerin.ballarat.edu.au/curator/buildings/technical_art_school.shtml) Black and white mounted photograph showing eleven students of the Ballarat School of Mines Technical Art School drawing from plaster models of human bodies in various poses and of various scales. The students are in a room of the Ballarat Technical Art School which was custom built for teaching art. The image was reproduced in the 1920 Ballarat School of Mines Students' Magazine. drawing, ballarat school of mines, ballarat technical art school, art studio, plaster caste, gribble building, illisos, hercules, drawing from the antique, visual arts -
Flagstaff Hill Maritime Museum and Village
Leisure object - Toy Soldier, circa 1878
The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped ‘flats’ early in the century; then Mignot of France released three-dimensional ‘solids’; and later (1893) Britain of England made ‘hollow cast’ figures. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the LOCH ARD went down on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. If a similar attitude is assumed for the two virtually identical figures in the Flagstaff Hill collection, it is possible they were part of a new set intended for sale, rather than part of a passenger’s existing collection. A similarly light composite material of sawdust, glue and linseed oil (press-moulded onto a metal frame) was used by the German firm O & M Hausler to create toy soldiers, but this type of modelling was not commercialised until after 1912. The first heat-moulded plastic toy soldiers did not become available until after 1945.The toy soldier represents a 19th century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard that are in Flagstaff Hill's collection. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted replica or toy soldier, presented in a Napoleonic Wars era uniform. The moulded figure is in a standing posture and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It wears a plumed helmet, short-fronted coat with longer buttoned tails at the back, button-fastened bib-front trousers, a pair of crossed bandoliers, and tasselled shoulder epaulettes. The figure is a creamy colour with red-brown stains on the head and shoulder. There is a hole in the end of the musket. The model is detailed and sharp. It was recovered from the wreck of the Loch Ard.Cataloguing numbers: “6599” on the rear of the left trouser leg “PWO 2308” on the sole of the left boot, (partially obscuring “R122” written in biro) “2218” on the sole of the right boot.flagstaff hill, warrnambool, loch ard, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, napoleonic uniform, toy soldier, replica soldier -
Flagstaff Hill Maritime Museum and Village
Functional object - Suitcase/Trunk
The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hatbox on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervation's to the design of luggage as it became a fashionable item.Suitcase/trunk with inner tray, brown canvas covered with 2 hinge clamps and a central Eagle lock, four wooden lateral buffer railed slats running around the case, leather handles each end. noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase -
Flagstaff Hill Maritime Museum and Village
Functional object - Suitcase, 1930-1945
The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hat box on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervations to the design of luggage as it became a fashionable item.Suitcase, brown canvas with three wooden reinforcing lateral rails running around the case, leather handle each end (one broken), two locks.. Maker Pettigrew & Stephens Ltd Glasgow. "A.T.Cox 354/3 Riversdale Rd Campberwell, Vic Australia" and "W.ON" painted over on each endflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase, -
Flagstaff Hill Maritime Museum and Village
Functional object - Steamer luggage Trunk, First quarter of the 20th century
Item used around the first quarter of the 20th century The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hat box on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th and early 20th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervation's to the design of luggage as it became a fashionable item.Suitcase/trunk leather reinforced at corners with wooden slats to strengthen the lid. Leather straps to close lid with metal lock in the middle of the lid. Closing strap missing.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Bendigo Historical Society Inc.
Document - Let Me Go to Bendigo (No. 181 Allan's Popular Sixpenny Edition), 1908
Frederick "Fred" Fifield Hall was born in Carlton, Victoria in 1878. Son of Frederick Hall and Jessie Wallace Hall (nee Lloyd), Fred would marry Elsa May Daegner in 1899 with whom he had a son named Anthony. Hall died on 27th September 1956 in Mont Albert, Victoria and was buried at the Box Hill Cemetery. Hall was known as a solo pianist and the first conductor of the Station Orchestra at 3LO (ABC Radio Station). He was also a notable music editor at Allan & Co. Earning early recognition at 16 years of age when he conducted the Sydney Orchestra, Hall was a versatile composer having written in a variety of styles including solos for the piano, violin and cello, operas, foxtrots and orchestral suites. Publications indicate that between 300 and 400 of his compositions were published. The most famous of which was "Goodbye Melbourne Town" which he wrote with Lyricist Leonard Nelson. "Let Me Go to Bendigo" was another of their joint compositions. Leonard Nelson Snell, professionally known as Leonard Nelson, was born c. 1874 in Melbourne and grew up in Kew (he was 76 in 1950). Nelson married Lily Maud Haight in Victoria in 1897 and had six children named Roy, Dorothy, Leonard, Lionel, Austin and Marie. Nelson died on the 13 August 1962 in Blackheath, NSW and was buried at the local cemetery. Nelson had a varied resume including Cattle station work, song writing and public speaking. Nelson was known for his enjoyment of Australian poetry having known many of the greats personally and could recite works from memory. In his later life, Nelson worked as an entertainer for hire at banquets and other social gatherings. No. 181 Allan's popular sixpenny edition "Sung with great success by Leonard Nelson" Allan & Co. Pty Ltd. Melbourne, Bendigo & Geelong 1 score A B4 size document containing sheet music titled "Let Me Go to Bendigo". The document has a black and white cover with bold lettering and a cartoon of a man boarding the Bendigo Train. The music was written by Fred Hall and the lyrics were written and sung by Leonard Nelson who is pictured on the cover. The music covers 3 pages (1 double sided page and 1 single side) making up this 3-page document including the cover.The front cover contains a handwritten name in the top right-hand corner "Mrs Sinclair"sheet music, leonard nelson, fred hall, allan's popular sixpenny edition, bendigo, piano, songs and music, frederick fifield hall -
Surrey Hills Historical Society Collection
Photograph, Preparing to leave for the St George's Church of England Sunday School picnic, Mont Albert Road, 1922, 1922
The drags would have been leaving St George's Church of England in Mont Albert Road. The foundation stone for St George's Church of England, Mont Albert was laid in 1886 on land donated by Edward Dyer and the first service was preached in January 1887. From 1904 until 1907 it was known as Holy Trinity, Surrey Hills. The original church was weatherboard and replaced by a brick one in the Gothic Revival style which was designed by local architect George J V Blackburne, who also designed the Wesleyan School at Surrey Hills. The building was partly funded by donations, profits from a bazaar and concert, and other people donated furnishings. The church had boundaries along Mont Albert Road and St Georges Road. In 1998 the Church was sold and converted into a complex of units. Its current address is 19 St Georges Avenue, Mont Albert. The annual Sunday School picnic was held at Hampton and drags were the usual mode of transport. 'Lugano' was built in 1893 for William Wilson, a prominent stonemason and importer of marble fireplaces. In 1903 it became the home of William Holmes who was Chief Electrical Engineer for the Victorian Railways. He designed the electrification of the Melbourne suburban network. 'Lugano' stayed in the Holmes family until the 1930s. The annual Sunday School picnic was held at at a variety of locations and drags were the usual mode of transport. Donor information is that this was taken as the congregation prepared to depart for at Hampton on the picnic held on 25/2/1922. There are 2 copies: the original donated print and an enlargement. The original was mounted on card with photo mounts along with 506, 871, 872, and 873. It measures 13 cm x 9 cm.Black and white photo of 4 'drags' (horse-drawn hooded carriages) lined up in Mont Albert Road near the corner of St George's Avenue, in readiness for departure for the Sunday School picnic. The carriages are loaded with people and decorated with flags. The front carriage has a material sign attached to the side; the top line of writing is not decipherable, but the bottom one reads "SURREY HILLS". Four men stand in the road, which has bluestone curb and channelling. In the background is 'Lugano'.On rear in ink: "S.S. picnic to Hampton / 25th. Feb. 1922" and in a different hand in biro: "At Mont Albert. St George's Church"churches, holy trinity church, anglican church, sunday schools, picnics, lugano, horse-drawn vehicles, william wilson, willaim holmes, st george's church of england, mont albert, mont albert road -
Vision Australia
Photograph - Image, Howard Murray (Pat) Lightfoot, 1969
Howard Murray (Pat) Lightfoot (1904-1991) served as President for the Association for the Blind in 1952-1954 and 1964-1972 respectively. He joined the Association in 1938 as a sighted member of the General Committee, and was part of the group that dealt with the breakdown of a uneasy financial agreement that existed between the RVIB and AAB, the incorporation of the AAB under the Charities Act and the development of a rehabilitation centre at Kooyong for those who wished to have support without a residential component. After losing his father at an early age, Pat Lightfoot began working as an office boy for Nicholas Pty Ltd, later studying and becoming an accountant - such skills highly needed by the newly incorporated Association. According to 'No Sight, Great Vision', he was a highly skilled communicator, whose friendly and approachable manner won over most of those who opposed his presence on the general committee due to his sight. His support for and recognition of the work done by Mr Paterson led to him standing aside for the position of President and nominating his friend until the Committee overrode him in 1952. His appointment signaled a change in how the organisation was run, and introduced John Wilson as Secretary as well as Stan Horsfall as Treasurer in 1953, which helped move the administration style from social volunteering to business thinking. Health concerns caused him to resign in 1954, however when his health improved he rejoined the Committee in 1958 and again became a key worker in keeping the organisation financially healthy. The "H.M. Lightfoot Centre" - a two storey building attached to Paterson Hall was named after him. This image was provided when J Balmain was approached to paint a portrait of Mr Lightfoot, for the centenary celebrations of the AFB, as per the letter.1 portrait photograph of Howard (Pat) Lightfoot and 1 associated letter regarding usage for a portrait by Balmain.Mr H.M. (Pat) Lightfoot - (Past President) 1" Deep (No. 2) Association for the Blind 7 Mair Street Brighton Beach, 3188 Please return to PR Department (arrow pointing to left) 14 ems (arrow pointing to right) 1.95 .1 100# Ticket No: 5230 Client: Abaris 100# Wanted: Tues 19th AM Mounted: as layout and sticker 43 1/4% Please Quote No: BA 9105 Laurie Richards 4 Tower Ave, Alphington 3078 489-8528 48-5541h.m. lightfoot, association for the advancement of the blind, association for the blind -
Vision Australia
Photograph - Image, Pat and Beth Lightfoot, 1985
Howard Murray (Pat) Lightfoot (1904-1991) served as President for the Association for the Blind in 1952-1954 and 1964-1972 respectively. He joined the Association in 1938 as a sighted member of the General Committee, and was part of the group that dealt with the breakdown of a uneasy financial agreement that existed between the RVIB and AAB, the incorporation of the AAB under the Charities Act and the development of a rehabilitation centre at Kooyong for those who wished to have support without a residential component. After losing his father at an early age, Pat Lightfoot began working as an office boy for Nicholas Pty Ltd, later studying and becoming an accountant - such skills highly needed by the newly incorporated Association. According to 'No Sight, Great Vision', he was a highly skilled communicator, whose friendly and approachable manner won over most of those who opposed his presence on the general committee due to his sight. His support for and recognition of the work done by Mr Paterson led to him standing aside for the position of President and nominating his friend until the Committee overrode him in 1952. His appointment signaled a change in how the organisation was run, and introduced John Wilson as Secretary as well as Stan Horsfall as Treasurer in 1953, which helped move the administration style from social volunteering to business thinking. Health concerns caused him to resign in 1954, however when his health improved he rejoined the Committee in 1958 and again became a key worker in keeping the organisation financially healthy. The "H.M. Lightfoot Centre" - a two storey building attached to Paterson Hall was named after him. In these three photographs Pat and his wife Beth look or stand next to the portrait painted of Pat Lightfoot, for the centenary celebrations.3 coloured photographs of Pat and Beth Lightfooth.m. lightfoot, association for the blind -
Bendigo Military Museum
Uniform - MESS DRESS, ARMY, 1972-1973
Uniform Mess Dress issued to "Kevin Finch".Mess Dress style, black colour wool/polyester fabric jacket and trousers. Black colour polyester fabric lining. 1. Jacket - collar with two lapel badges, gold, silver and black metal with crown, star, laurel leaves and lettering "ER/ ROYAL AUSTRALIAN CORPS OF TRANSPORT". Five front pockets - two top patch pockets with button down flaps, at waist fob pocket, two lower inset pockets with flap. Top of the sleeves have three gold colour fabric rank stripes = Sergeant. Gold coloured plastic buttons with shank and metal pin with raised emblem and lettering. Crown, RACT, ER, metal belt keepers. 2. Belt - fabric as jacket, gold colour plastic buckle with two pins with black colour plastic button. Belt sits in metal belt keepers on jacket. 3. Trousers, two side pockets, fob pocket, back inset pocket. Metal and nylon zipper fly with metal hook closer. Black plastic buttons inside on waistband for braces. red colour wool fabric 4cm wide stripe down each side seam. 1. & 3. White cotton fabric manufacturers labels - inside right pocket and waistband.Manufacturers information on labels - black ink print. 1 & 3. "KEITH COURTNEY PTY LTD/ VICTORIA/ 1972-1973/ ^/ NAME/ SERVICE NO." Black ink stamp "FINCH, K".uniform, army, mess dress