White cotton infant's nightgown with long sleeves. Front insert below neckline of broderie lace with lace (2cm) trim on outer edges. Broderie lace band at waist below insert (14.5 X 3cm) has ties attached at each side (61cm X 6cm). gathered lace trim around neckline above casing (.6cm) threaded with cotton tape tie. 33cm back opening fastened with tie at neckline. Lower part of skirt has broderie all over pattern with 27 cm border. Set in long sleeves with 2cm lace trim at wrist.costume, children's, white cotton infant's nightgown

Clothing. Floor length silk costume. Purple silk bodice front and back with 16 cm slit at centre back from neckline. Round neckline edged with pink satin binding. External tucks (3cm) extend over shoulders to half way down bodice on front and back. Bodice extends to a dropped waistline. Bright green silk skirt gathered slightly onto bodice. Triangular pieces of green silk fabric gathered onto arm holes to form sleeves. The sleeve is of the triangle open along the top edge and the point of the triangle ends underneath the wrist. No fastenings.costume, female, floor length silk costume

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. This style of “brushed wool leginette suit” was produced by Kathryn from at least 1953-1964, though this example likely dates from before 1962. In the winter of 1961, the brand sold 4376 suits of this style. It came with an included nylon brush in order to keep the brushed finish of the garments, which can be found under NWM-09016 Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history. This style of “brushed wool leginette suit” was produced by Kathryn from at least 1953-1964, though this example likely dates from before 1962. In the winter of 1961, the brand sold 4376 suits of this style.Four-piece legging suit consisting of cardigan, leggings, hat and mittens in fuzzy yellow brushed wool. Cardigan is double breasted and closes with two rows of yellow plastic buttons, with a fifth button under the collar. Fold-over collar and cuffs are not brushed wool and provide contrasting texture. Leggings have elastic at waist and ankle to go under foot. Bottom of leg has foot flap. Hat is in a bonnet style and has turnback around face and ties under neck. Mittens are each construced in one piece with no additional thumb pocket, and tie at wrists..1) [label at back neck of cardigan] KATHRYN REGD. CREATED BY PURE WOOL / 20 / ROBERT BLAKE .5) [sample label] [OBVERSE] STYLE: LS/W. LEGGING SUIT – BRUSHED WOOL SIZE: 18” 20” PRICE: 39/9 42/6 3 PCE: 42/9 45/6 4 PCE: COLOR: BLUE. LEMON. PINK. WHITE.knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, brushed wool, wool, fluffy

Black long-sleeved ladies’ silk blouse. High round neckline at front with V shaped lace insert from throat to bust line. Stand up lace and net collar. Top edge of collar is trimmed with pink ribbon piping and gathered cream coloured lace. There are three strips of brown tape attached vertically to the collar at each shoulder and front RHS of collar to hold plastic strips to support the collar in upright position. One piece of plastic still in place. On either side of centre front are vertical panels of pintucks with knife pleats on either side facing inwards. There are three small pink decorative buttons (1 cm) below the throat and another group of three buttons 10 cm below the first group. The top has a back opening fastened with 10 press studs. The back has two vertical panels of pintucks and knife pleats. The long sleeves have cuffs at the wrist (5 cm) with U-shaped split on upper side. Each cuff has three decorative pink buttons on one side of the U-shaped split. The lower edge of each cuff is trimmed with black lace (5 - 6 cm) that falls over the wrist. Machine stitched.costume, female evening, black silk top

These umbrellas are typical of the ones women would have used early in the 20th Century. It was important to keep the rain from damaging their clothing as washing facilities were limited. .These umbrellas are charming and retained for display purposes..1 An umbrella with a wire frame and a wooden handle. The frame is tipped with ivory coloured composite material. The handle has a red tassel. The covering is a multi coloured cloth with a pink edge. The inner section has a cream background with pink and light brown leaves, branches and flowers. The outside is faded. .2 An umbrella with a black wire frame and a wooden handle. There are tips on the end of the frame. The handle is varnished and ornamented red and black. It has a string tassel in red, white and blue and a corded wrist band. There is writing on the frame. The covering is corded rep with a multi-coloured floral pattern and has a faded, wide navy edging..2 BRITISH MADEumbrellas, vintage clothing

Clothing. Infant's cream silk christening gown. High round neckline edged with gathered .7 cm lace. Yoke front (7cm) and back (8cm) of lace pieces and pin tucks. Skirt has 37 cm border of horizontal pin tucks, embroidered sections, piping and hemmed with scalloped embroidered lace.Centre back opening (21 cm) fastened at neck and lower edge of yoke with one cm pearl look buttons. No button holes. Long sleeves gathered at shoulders and gathered into 3 cm band of lace at wrist with gathered lace frill at hem. Three pin tucks around sleeves at elbow.costume, children's, infant's cream silk christening gown

White cotton infant's nightgown with long sleeves. Yoked front and back. Front yoke has diagonal pintucks. Back yoke has horizontal pintucks. Front of nightgown attached to yoke with series of knife pleats with lace trim on outer edges. Decorative lace across front at waist level with 40cm ties attached on either side. Back of nightgown gathered onto back yoke. Back opening (36cms) fastened with two different one cm plastic buttons. Long sleeves trimmed at wrist with two rows of lace and diagonal pintucks. Six horizontal rows of pintucks four cm above hemline.costume, children's, white cotton infant's nightgown

Cream coloured long sleeved infant's silk nightgown. Yoked front and back made up of overlay of vertical strips of lace. Ruffle of gathered lace around high neckline. Set in sleeves with 1.6cm lace trim and three pintucks at wrist. Skirt gathered onto yoke and front. Lower section of nightgown has three X four horizontal sections of four pintucks with lace inserts (2.5cm) between the sections. Gathered ruffle at hem,(15cms) with four pintucks and three cm lace trim with scalloped edge. Back opening (26cm) fastened with two X .8cm plastic buttons at either end of the yoke.costume, children's, cream coloured infant's silk nightgown

Handmade ivory coloured cotton full length night gown. Front has yoke of diagonal pieces of lace with cut work and floral patterns, squares, embroidered flowers with horizontal lace pieces across shoulders. The top edge of the skirt has an edge of lace with square shapes and centre flowers of cut work across the front and back. The back has five 1cm tucks on either side of centre that extend 5cm below the lace edge. The high front neckline is square and the high back neckline is rounded. The neckline is edged with cotton broderie lace and insert lace with cream coloured satin ribbon threaded through. Below the decorative lace strip at the front is a section of fine pintucking 12cm on either side of centre and 9cm below lace strip. The night dress has a front opening extending 31cm from the throat. It has a placket with two button holes 10cm and 20cm from the throat. Two buttons on other side. No fastening at throat. French side seams. Long set-in sleeves with two rows of lace and three rows of pintucks extending from shoulder down top of sleeve to wrist. A piece of insert lace at wrist. A frilled cuff of broderie lace widening from 9cm at inside seam to 12cm at outside edge, machine stitched.costume, female underwear, nightgown

Clothing. Women's black embossed silk bodice. Part of two piece set (skirt 11410.2). Stand up lace collar (7 cm) boned on either side and edged with cream coloured lace. Collar fastened at centre back with three metal hooks and eyes. Front opening left of centre fastened with eight metal hooks and cotton loops and three across the left shoulder. Crossover section at front is pin tucked below the neckline and is tapered into the waist with centre pleats. Both sides of the crossover have decorative beading along the edges. The inner layer of the bodice is fastened at centre front with 15 metal hooks and eyes - alternating directions. The bodice is shaped from the waist with 9 boned casings. The back is shaped in at the waist finishing with two U shaped tails (11cm X 8cm) with V shaped tails (4 cm X 6cm) on either side. The waistline and tails are finished with a double row of decorative black beading. At the waistline at centre back are three metal hooks to attach bodice to skirt. Long sleeves are gathered at the shoulder, shaped at the elbow tapering to the wrist. Below the wrist is a two piece cuff (13cm X 7cm) with decorative black beading. The bodice is fully lined with light brown cotton fabric with grey splash pattern. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).costume, female, women's black silk bodice

Long sleeves, with gathering at the elbow to allow movement. Finished at the wrist with two eleven cm deep frills, edged with two cm wide navy blue, cotton fringing. A four cm deep gathered frill edges the high round neckline, with a narrow piping finishing the neckline seam. Two panels at the front extend from the shoulders,to the peaked waistline. These are gathered at the shoulders, edged in navy blue fringing, and the waistline edge has the gathers alternately stitched together to form a hook and eye fasteners. A fine piping defines the peaked waistline. Bodice fully lined with cream cotton fabric. Armhole/sleeve seam finished with a fine piping.Skirt has been hand stitched into tight tiny pleats. Skirt is fully lined with cream linen, and is edged at the hemline, with one cm soft green braid. Centre front of skirt has a panel extending from the peak of the waistline, where it is 5.5cm wide to the hemline, where it is 20cm wide. This panel is edged in the navy blue fringing, and is attached to the skirt at approx 15-18 cms. Panel is fully lined with cream linen. At approx. 9-10cm spaces a 4cm fabric frill and an angled band of the navy fringing. This gives a ''ladder-like'' effect. Sleeves are bell shaped, and finished at the wrist with a 11.5cm and a 12.5cm frill, both finished with the navy fringing.costume, female, full length dress with blue fringing

Probably 1890's to early 1900's. The Dress and Mantle Makers departments was part of F. Davey and Co. and the department was run by Miss Middleton, formerly of the Beehive. F Davey and Co. sold their View Point premises in Oct 1904.Bodice (Wedding dress), hand and machine stitched. Silk lined with polished cotton. Slim ruched sleeves - ruched at inner and elbow side of sleeve (hand sewn). Elbow edge of ruching forms two ''frilled pleats'' down the sleeve to the wrist. Wrist edge lily pointed and finished with a 9 cm underfill of cotton lace. Top of sleeves have a leg-o-mutton balloon effect panel sewn at the shoulder and the upper arm. This balloon effect hangs down over the sleeves almost to the elbow. Top of sleeve has an embroidered lace frill hanging over armhole. Two silk bows are placed at the shoulders. Stand-up collar,5 cm deep is finished on each side with a pearl and glass beaded bow motif- 6cm in diameter. Hook and eye fasteners down front-metal loops covered with button hole stitch. Bodice boned with thirteen (13) ''bones''. Each pocket finished with a fan pattern stitching. Linen panel, with a diamond shaped weave stitched at each underarm. Front bodice is pleated from shoulders to centre front. Right front laps across left to fasten with a hook on the left shoulder. This panel is heavily beaded with glass beads and sequins. Over panel from right shoulder fastens with hook and eye at left hip line,with the pleated panel circling the waist.Matching skirt 11400.315.F.Davey & Co, Dress & Mantle Makers, View point, Sandhurst Label stitched at inside waistline of bodice.costume, female, wedding dress bodice

Finalist Robert Klein-Boonschate in the ANL Maritime Art Prize 2003 Biography: (https://www.artpartners.com.au/robert-kleinboonschate/) Born in The Netherlands, Robert migrated to Tallangatta, Australia with his family in 1971. Robert completed a degree in Graphic Art at Swinburne College and settled into Melbourne for the next seven years as a professional artist and art facilitator. Robert moved to Mparntwe (Alice Springs) in the 1980’s where he worked closely with Arrernte Peoples for the next 12 years. Robert’s beautiful landscapes reflect the influence of Arrernte artist Albert Namatjira and his love of the Australian landscape reflects his experiences with the Arrernte Peoples and their connection to ‘Country’. Robert opened the art studio located at his home in Alice Springs to Arrernte, Luritja, Warlpiri & Pintupi artists and worked alongside such artists as Johnny Warrangkula Tjupurrula. Robert helped to facilitate Johnny’s later body of work by constructing special brushes which could be used by Johnny after breaking his wrist. Robert has returned to NSW and now lives in Walla Walla surrounded by the rugged natural landscapes of Australia.Large scale Oil on Belgian Linen depicting dockside and ships.docks, waterside, maritime art, robert klein-boonschate, artwork-paintings, maritime art prize, anl

Clothing. Infant's cream coloured cotton nightdress. High round neckline with 1.5 cm lace edge, and casing with .8 cm cotton tape drawstring. Yoke front and back. Casing below yoke. Front yoke has layers oversewn below neckline - three vertical strips of lace. Long straight skirt sections gathered at yoke. Set in sleeves, pleated at wrist with 1.3 cm lace trim. Centre back opening (27 cm) fastened with cotton tape at neckline and 1 X 0ne cm patterned button at lower edge of yoke. Lower edge of skirt has five horizontal pin tucks above the hem.costume, children's, infant's cream cotton nightdress

Clothing. Women's long sleeved smock style blouse of black, grey and cream cotton patterned fabric. High round neckline with folded over collar with rounded corners (8 cm) edged with 2.5 cm frill of cream coloured lace. Vertical pin tucks across back and front from shoulder line (14 - 16 cms). Full length centre front opening placket fastened with five press-studs. Horizontal fabric band (9 cm) around hemline. Long straight sleeves gathered into one cm casing above wrist. End of sleeve trimmed with pin tucks and frill of 2.5 cm cream coloured lace.costume, female, women's long sleeved smock style blouse

Clothing. Long pointed sleeves, fastened with one press-stud at the wrist. Full circular skirt, lined with cream, synthetic lace type fabric. Fabric of the gown is a small floral type design,in a corded style, on a fine net backing. Sleeves are not lined. Back upper bodice has a lining in a double thread net. The sweetheart neckline is edged with a fine tulle frill. Bustline panels gathered top and bottom, and joins a peaked midriff panel, 15.5 cm deep at the centre bustline. Skirt is highly gathered to this panel, at the waistline, is a full circle and extends into a small train at the back. A small 23 cm zip on the left side seam.A KEAM Creation, Regd. Melbourne.costume, female ceremonial, ivory corded lace wedding gown

BHS CollectionPure wool black and dark green check pattern suit jacket. Single-breasted fastened with three buttons (2.4cm diameter) and two press studs. Buttonholes on a placket, of fabric cut diagonally. Classic collar. Top button at throat. Back of jacket made from four pieces. Front of jacket made of three pieces on each side to form shaping. Pockets inserted to seams at waist level on both sides of the jacket. Long sleeves tapering to wrist. Pure wool. Black and green, woven in a check design A-line skirt, with a long stitched down ''plackett'' effect of fabric cut diagonally, opening to a pleat, just left of centre front.Label inside back neck, ''Hanro tailored by franchise from Handschin and Ronus Ltd Switzerland. 100% wool. 18.costume, female, hanro pure wool jacket

This walking stick, which is also a horse measurer, belonged to Atwell George Bendall, the well-known racing man, judge and handicapper in the Western District early in the 20th century. Born in the Caramut district, he was the manager of the ‘Green Hills’ estate at Winslow, a property owned by his father who also operated a livery and coach service at Caramut. When his father died Bendall carried on the family business until the end of the 19th century when he went to live in Warrnambool. A lover of horses, Bendall was an amateur rider of note and an owner of several racehorses. He also took a keen interest in coursing and owned and bred many successful dogs. In Warrnambool he took an interest in trotting and owned several trotters. For the last sixteen years of his life Atwell Bendall was a handicapper for most of the Western District race clubs and his keen judgment and knowledge of horses were greatly admired and appreciated. He was also a judge at agricultural shows and other horse events and this is probably where he was made use of this horse-measuring walking stick. He died in 1922. This is a most significant item as it belonged to the prominent early 20th century horse racing identity in the Western District – Atwell Bendall. It is also of general historical interest as an ingenious object – a walking stick doubling as a horse measurer. This is a mottled brown-coloured wooden walking stick, slightly tapered and with seven segments. It has a wooden knob at the top curved and indented in an acorn shape. The knob has silver coloured nails or tacks driven into the raised sections. The knob lifts out and is actually a wooden ruler with silver casing at the top of the ruler. Also at the top of the ruler, at a right angle to the ruler, is a lift-out metal piece which has a spirit level at the top end and this metal piece is used to rest on the horse to estimate its measurement in hands. There is a leather strap near the top of the walking stick for attachment to the wrist and a gold metal cap at the bottom of the stick. A silver band near the top of the stick has an inscription. ‘A G. Bendall Warrnambool’ atwell bendall, history of horse racing in the western district, history of warrnambool

This uniform was worn by Sister Winifred Ride during World War 2.. Nurses played a key role in the conflict through their care and compassion to the servicemen who were wounded and sick.The nurses uniform is symbolic of the sacrifice and service of the many women who served their country in WW2. Grey fitted, lined jacket with long sleeves, collar and lapels. Three front metal buttons buttons and two smaller buttons on each sleeve. Dark green epaulette with four metal buttons on each shoulder (Right side is faded). Two hip pockets with one button fastener. One internal pocket with small grey button. Unit patches on each sleeve and four inverted service chevrons on right sleeve at wrist. Two ribbon bars containing 5 Campaign Ribbons on left side of front, attached with standard 'brooch' fitting . Belt (same material as jacket) passes through two loops on back of jacket and is fastened by two buttons, hidden when belt is fastened. Metal buttons stamped with map of Australia with crown above and the words Australian Military Forces around. Makers label inside back below collar: " /tailors and habit makers, J .RAVENSDALE & SON Nicholas Bldg Swanston Street Melbourne". Name of owner handwritten "Sister Ride:"

Clothing. Cream cotton net, woven with a goemetric pattern of filligree diamonds and tiny squares. The garment is fully lined with the most delicate, and sheer cream silk. A peplum ettect 7 cms deep, is finished with 9.5 cm deep peak at the centre front. Two metal hooks, and stitched eyes are the only fasteners, and are located at the waistline on the peplum seam. The curved front bodice is edged with a 3.5 cm deep frill of cream net, which is finished at the outer edge with two rows of stitching in a heavier weight thread. The front bodices are gathered at the centre front to the peplum. The long sleeves are finished at the wrist, with a double frill of plain tulle, also edged with a double row of stitching, in a heavier thread.costume, female, silk and net blouse

Green long sleeved ladies top. Leaf green fabric with abstract patterns in grey, black, blue, yellow and orange.4 cm stand up collar. Front slit opening from throat with narrow hand stitched hem. Three 1 cm decorative metallic look shank buttons at lower end of slit. Top made from two pieces-falling straight to hipline. No shaping. On either side of side seams at hip level are three decorative metallic look shank buttons on the front and three corresponding loops on the back. If fastened together the top is pulled in and tightened at the hip level. Long sleeves are straight without shaping. Press studs at centre of openings at wrist.costume, female, ladies long sleeved top

A pocket watch is a watch that is made to be carried in a pocket, as opposed to a wristwatch, which is strapped to the wrist.. They were the most common type of watch from their development in the 16th century until wristwatches became popular after World War I The first stem-wind and stem-set pocket watches were sold during the Great Exhibition in London in 1851 and the first owners of these new kinds of watches were Queen Victoria and Prince Albert. Stem-wind, stem-set movements are the most common type of watch-movement found in both vintage and modern pocket watches.In 1857 the American Watch Company in Waltham, Massachusetts introduced the Waltham Model 57, the first to use interchangeable parts which cut the cost of manufacture and repair. Most Model 57 pocket watches were in a coin silver. Watch manufacture was becoming streamlined; the Japy family of Schaffhausen, Switzerland, led the way in this, and soon afterwards the newborn American watch industry developed much new machinery, so that by 1865 the American Watch Company (afterwards known as Waltham) could turn out more than 50,000 reliable watches each year.This silver plated pocket watch with an open glass face has black roman numerals on a white dial , gold hour hands and a blue second hand. The winding stem is at 12 o’clock and has a metal ring for attachment to a chain. Back: of case ; a shield inside 2 circleswatches, brighton, cheltenham, moorabbin, bentleigh, early settlers, pioneers

Clothing. Ladies' collar. Net fabric, entirely sewn into 'pin-tucks' .5 cm deep in the high stand-up collar, and increasing to 7.5 cm at the lower edge of the jabot front. Opening at the back, the jabot is fastened by nine metal hooks, and hand-stitched loops. Collar has a tightly gathered double frill of the tulle fabric, at neck and is held up right by five 'covered' 'bones'. The lower edge of the front and back is edged with a 1.5 cm wide silk fabric frill. Centre lower edge of back has two 59 cm long silk ribbon ties. This ribbon is also attached to the lower edge of the jabot 58 cm and 60 cm long - presumably for the wearer to tie firmly in place. Neckline seam is re-inforced and neatened by an organdie type fabric, hand-stitched in place. Two fine elastic loops (now perished) one 52 cm, one 58 cm would once have helped to hold the jabot in place, with the arms passing through the loops, to keep the jabot in place. Detached sleeves. Net fabric, entirely sewn into .5 cm tucks. Reaching from the wrist to above the elbow. A double net frill edges the wrists, where a 6.5 cm opening, fastens with metal hooks and hand-stitched loops. A cotton tape, .5 cm wide neatens and re-infrces this seam, and a row of chain stitch, in silk thread embellishes the outer side of the seam. Upper edge of the sleeve has a fine binding of silk ribbon.costume, female, cream tucked net collar and jabot

Clothing. Infant's cream silk dress. High round neckline edged with one cm lace, and casing. Yoke front and back extending to kimono style long sleeves. Front yoke has four vertical strips of lace and centre embroidered panel with pale pink flowers and pale green leaves. Two strips of inserted lace extend along the top of each sleeve from neckline to wrist. Sleeves edged with three cm lace at hem. Centre back opening (22 cm) fastened at neckline with.6 cm pink silk ribbon and two one cm buttons and button holes in centre and lower edge of yoke. Skirt has five cm lace border at hem.costume, children's, infant's cream silk dress

Clothing. Infant's cream silk dress. High round neckline with 2 cm gathered lace trim. Yoke front and back with decorative floral embroidery. Upper edge of skirt sections have five cm knife pleats with decorative embroidery below the yoke. Skirt has 21 cm border of horizontal sections of lace and embroidered lines. Item has scalloped edge. Centre back opening (18 cm) fastened with two Z one cm pearl buttons and cotton loops at top and bottom edges of yoke. Long sleeves gathered at shoulders and gathered into 2.5 cm lace band at wrist with 2 cm lace frill at hem. Strip of lace (5 cm) around sleeve at elbow.costume, children's, infant's cream silk dress

Studio portrait of young lady in graduation gown in a wooden frame. Frame is made of wood and is of an irregular shape with decorative carvings surrounding the portrait. Decorative carvings were possibly painted gilt which has since largely worn away. Portrait is covered in glass. Portrait is of a young lady wearing a white dress with a graduation gown over it. She has a mortarboard with a tassel on her head with a large bow at the back and she is holding a scroll in her right hand. She has a locket around her neck and a brooch suspending a cross at her neck. Bracelets are on both wrists. The words Bartlett Bros Bendigo are printed on the bottom of the matte surrounding the photograph. Subject is probably either Mary or Kathleen Foster.Bartlett Bros Bendigophotograph, portrait, female

Mr. W.W. Roach is Chief Executive Officer (CEO) of Royal District Nursing Service (RDNS) and is sitting in his office at RDNS Headquarters, 452 St. Kilda Road, Melbourne. Mr. W.W. Roach became CEO of RDNS in January 1971, and soon after started an appeal for funds, as well as organizing and distributing printing material advertising the services available from the Royal District Nursing Service. After almost 13 years with RDNS he retired in December 1983. During his time as CEO, RDNS grew from 6 regional centres with 182 on the staff to 14 centres with a staff of 452, and the Education Department relocated to a nearby building.Black and white photograph showing Mr. W. W. Roach, of Royal District Nursing Service (RDNS), sitting at his dark coloured desk. Mr. Roach, who has thinning dark hair, and is wearing a white shirt, dark tie, grey buttoned vest and a dark coloured jacket, is holding the hand piece of a grey coloured telephone to his left ear and holding a pencil in his right hand. His wrist is resting on a piece of white paper on a large white blotter on the desk and a light coloured Teledex is on the far right. A multi drawer filing cabinet and opened floral curtains can be seen in the background of the photograph. Between the curtains closed Venetian blinds are seen and below this a voile curtain.Photographer stamp. Quote No. KH 53royal district nursing service, rdns, rdns headquarters, rdns chief executive officer, mr w.w. roach

Elaine Margaret Milnes of Tallangatta married David Ernest Mann of Wodonga on 30 March 1957. At the time of their first meeting, Elaine was living in Tallangatta where her father had moved as a bank manager. She was a member of the Drama Club. She and David met at the Rutherglen Town Hall whilst attending an Arts Festival. David was attending as a member of the Wodonga Music Club. David Mann was the son of Ernest and Evelyn Mann of Wodonga who had operated the family business since 1921. David joined the business in 1945 and became the managing director of Mann Wodonga from 1965. Under his management and leadership, it expanded to become one of Australia’s largest regional shopping centres, with a Supermarket, Hardware Store, Steel Store, Plumbing and Industrial supplies store, at one stage employing over 100 people. He continued to head the business until it was sold in 2006. He was a leader in many other fields in the Wodonga community, from leading the Wodonga Chamber of Commerce to scouting, Apex and Rotary and was a prime mover in establishing Aware Industries for people with disabilities. He chaired the Wodonga Chamber of Commerce on several occasions. David was a man of vision who was involved in many charitable and community organisations. These included membership of the hospital board and President of the Wodonga High School Council. was a prime mover in establishing Aware Industries for people with disabilities. Elaine also played an active role in the business. She developed and managed a quality giftware department from 1969 to 1987. Some of her local involvements included the School Mothers’ Club and Kindergarten, Girl Guides, the Quota and Penguin Clubs and Meals on Wheels. David also advocated passionately for the development of a university and TAFE to be established in Wodonga. In 1993 he inaugurated the Jonathan Mann lectures series at La Trobe University in honour of his grand­father. The university honoured Mr Mann in two significant ways, giving him an honorary degree of Doctorate of Law in 1998 and in 2002 named its new library the David Mann Library. David Mann died in Albury in June 2012. Elaine now (2024) lives in Melbourne. “The little I have done for Wodonga and district is only in return for what Wodonga and district has done for me.” David MannThis dress was worn by Elaine Milnes at her marriage to David Mann who became a prominent businessman and contributor to many aspects of the Wodonga community.A wedding dress dating from 30 March 1957. The dress consists of a fitted bodice with tulle frills around the body. The bodice has a square neckline decorated with tiny seeded pearls and blue stones. The long sleeves are made of sheer tulle with lace and a frill at the wrist. The skirt is made of two layers of white tulle with five lace and tulle frills around the body. Under the tulle is a pale blue satin slip with two more layers of white tulle underneath it. It was worn with a fingertip length veil held in place by a lace coronet. The bridal bouquet consisted of red and white roses. The bride also wore a single string of pearls. The dress was made by Olive Ferris Wedding Dresses of Sydney.mann wodonga, david mann, elaine mann, wodonga businesses

Illustrated book with dust jacket. Book has abbreviated title and authors surname printed on spine in white ink on pale blue background. This pale blue binding extends for 55mm on front and back covers. The remainder of the covers have repeated images of various Victorian Nurses board Badges on a white background . Dust jacket has similar images on pale blue background on spine and extending 55mm on front and back, remainder of back is pale blue. On the front is an image of one person (torso only) holding another's wrist and holding a watch in their other hand and part of a stethoscope is also visible. Title and author's name are printed on front and spine. There is a 9mm wide attached gold satin ribbon bookmark.non-fictionThis book documents an important part of the story of nursing and midwifery in Victoria. the role of registration, training accreditation and monitoring of nurses and midwives has been fulfilled by three bodies in Victoria: the Nurses Board (1923-1957), the Victorian Nursing Council (1957-1994) and the Nurses Board of Victoria (1994-2010).nursing-history, nursing-law and legislation-victoria-history, nursing trainng

Illustrated book with dust jacket. Book has abbreviated title and authors surname printed on spine in white ink on pale blue background. This pale blue binding extends for 55mm on front and back covers. The remainder of the covers have repeated images of various Victorian Nurses board Badges on a white background. Dust jacket has similar images on pale blue background on spine and extending 55mm on front and back, remainder of back is pale blue. On the front is an image of one person (torso only) holding another's wrist and holding a watch in their other hand and part of a stethoscope is also visible. Title and author's name are printed on front and spine. There is a 9mm wide attached gold satin ribbon bookmark.non-fictionThis book documents an important part of the story of nursing and midwifery in Victoria. the role of registration, training accreditation and monitoring of nurses and midwives has been fulfilled by three bodies in Victoria: the Nurses Board (1923-1957), the Victorian Nursing Council (1957-1994) and the Nurses Board of Victoria (1994-2010).nursing-history, nursing-law and legislation-victoria-history