Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Brown cotton lace bolero.

This small child’s cream, ‘Viyella’ coat is an example of the dressmaking skills of the women of the pioneer settlers families in Moorabbin Shire c1900. The material is very soft and easy to sew, wash and iron and was therefore very popular for all ages. Viyella material The original owner of the Mill, Wm. Hollins also ran the mill in Pleasley, U.K. on a rather unusually named road ‘Via Gellia’ now the A5012 near Matlock, about 20miles away. Via-Gellia later gave its name to the famous soft fabric ‘Viyella’ which Hollins & Co patented in 1893. Later Viyella was also to become the company name in 1961 after a merger. Viyella has faded into obscurity now, and in 2009 went into administration, finally being bought out by Austin Reed.A cream 'Viyella' small child's long sleeved coat, buttoned front and smocked frontclothing, moorabbin, ormond, bentleigh, dressmaking, market gardeners, early settlers, craftwork, textiles, viyella

Ladies' evening gloves or opera gloves are a type of formal glove that reaches beyond the elbow. Ladies' gloves for formal and semi-formal wear come in three lengths for women: wrist, elbow, and opera or full-length (over the elbow, usually reaching to the biceps but sometimes to the full length of the arm). In the late 19thC and early 20thC Gloves were expected to be worn for both daytime and evening wear with most types of outfits. The most expensive full-length gloves are custom-made of kid leather. Many other types of leather, most usually soft varieties of cowhide, are used in making full-length gloves; patent leather and suede are especially popular as alternatives to kidskin. Satin materials were extremely popular, and there are mass-produced varieties as well. Carole Pedersen-Green was a founding member of CMHS. Her family were early settlers in Moorabbin ShireA pair of lady's long cream silk machine lace gloves with open fingers and thumb piece C 1930 They are the classic OPERA length, with the mousquetaire wrist openingclothing, gloves, formal wear, craftwork, lace making, dress etiquette, satin, silk, moorabbin, bentleigh, cheltenham, fashion, evening gloves., lace

Ladies' gloves for formal and semi-formal wear come in three lengths for women: wrist, elbow, and opera or full-length (over the elbow, usually reaching to the biceps but sometimes to the full length of the arm). In the late 19thC and early 20thC Gloves were expected to be worn for both daytime and evening wear with most types of outfits. The most expensive gloves are custom-made of kid leather. Mousquetaire gloves have buttons at the wrist so the wearer could open the buttons and slip her hand out without taking the whole glove off. The finger section would be folded in and kept away tidily. This is how ladies wore gloves while dining. After the meal they would put their hands back into the gloves, usually for the rest of the evening. The Eldridge family were early settlers in Moorabbin Shire and relatives of William and Elizabeth Box. A pair of lady's white, 'Opera length', kid leather gloves with 3 pearl buttons at wrist opening, or 'Mousquetaire'clothing, gloves, kid leather, leather work, moorabbin, bentleigh, brighton, early settlers, pioneers, market gardeners, box elizabeth, box william, box avis, eldridge carol, box john, sheldrake martha, box alonzo

Ladies' gloves for formal and semi-formal wear come in three lengths for women: wrist, elbow, and opera or full-length (over the elbow, usually reaching to the biceps but sometimes to the full length of the arm). In the late 19thC and early 20thC Gloves were expected to be worn for both daytime and evening wear with most types of outfits. The most expensive gloves are custom-made of kid leather.The Box family were early settlers in Moorabbin Shire and resided in 'Box Cottage' 1865 -1913 The Eldridge family were early settlers in Moorabbin Shire Carol Eldridge was the Daughter in law of Alf and Avis Box, descendants of John Box 1841-1913 A pair of lady's cream, nylon, wrist length gloves with a pearl buttonALL NYLON / MADE IN ENGLAND / 7clothing, gloves, nylon, england, moorabbin, bentleigh, brighton, box elizabeth, box william, box avis, eldridge carol, early settlers, pioneers, market gardeners, box john, sheldrake martha, box alonzo

Ladies' gloves for formal and semi-formal wear come in three lengths for women: wrist, elbow, and opera or full-length (over the elbow, usually reaching to the biceps but sometimes to the full length of the arm). In the late 19thC and early 20thC Gloves were expected to be worn for both daytime and evening wear with most types of outfits. The most expensive gloves are custom-made of kid leather. The gloves were probably made in Hong Kong, then as now, a place where fashions can be made cheaply because the cost of labour is inexpensive.The family of Carole Pedersen-Green were early settlers in Moorabbin Shire. Carole was a founding member of CMHSA pair of lady's cream, nylon, wrist length gloves with a frilled edgeclothing, gloves, nylon, hong kong, moorabbin, bentleigh, brighton, early settlers, pioneers, market gardeners, pedersen-green carole, green carole, denmark

Ladies' gloves for formal and semi-formal wear come in three lengths for women: wrist, elbow, and opera or full-length (over the elbow, usually reaching to the biceps but sometimes to the full length of the arm). In the late 19thC and early 20thC Gloves were expected to be worn for both daytime and evening wear with most types of outfits. The most expensive gloves are custom-made of kid leather. These gloves were probably made in Hong Kong, then as now, a place where fashions can be made cheaply because the cost of labour is inexpensiveThe family of Carole Pedersen-Green were early settlers in Moorabbin Shire. Carole was a founding member of CMHSA pair of cream, nylon, lady's wrist length gloves There are 4 cotton flower shapes at centre back of wrist with a tiny pearl in each centreclothing, gloves, nylon, moorabbin, bentleigh, brighton, early settlers, market gardeners, hong kong, pedersen-green carole, green carole, denmark

A butter churn is a device used to convert cream into butter. This is done through a mechanical process, via a crank used to manually turn a rotating device inside the barrel shaped churn. The agitation of the cream, caused by the mechanical motion of the device, disrupts the milk fat. The membranes that surround the fats are broken down, subsequently forming clumps known as butter grains. These butter grains, during the process of churning, fuse with each other and form larger fat globules. Air bubbles are introduced into these fat globules via the continued mechanical action of the churn. The butter grains become more dense as fat globules attach to them while the air is forced out of the mixture. This process creates a liquid known as buttermilk. With constant churning, the fat globules eventually form solid butter and separate from the buttermilk. The buttermilk is then drained off and the butter is squeezed to eliminate excess liquid and to form it into a solid mass. Then rinsing could be done simply by washing in water, followed by draining, salting and working or "kneading" the butter with a pair of wooden butter pats, or with bare hands. This is a paddle churn, a barrel that contains a paddle, which is operated by a handle. The paddle churned the butter inside the container when the handle was turned. Early settlers had to be self sufficient, growing their own vegetables, making tools and clothing and usually had a house cow to produce their milk supplyThis domestic butter churn is an example of the skill of the pioneer craftsman, carpenters and tool makers c1900. As pioneers and early settlers had to be self sufficient they usually kept a dairy cow or 'house cow' to provide milk for drinking and for butter and cheese to made by the family.A small wooden, domestic butter churn with a lid and a crank that manually rotated the paddle inside. E. CHERRY / MAKER / GISBORNE / VICTORIA / Apioneers, early settlers, market gardeners, moorabbin, brighton, cheltenham, dairy products. dairy farmers, milk, butter, dairies

Anthony Hordern sen. (1788–1869) came from Staffordshire, as a free immigrant in 1823, and the business was originally established as a drapery store in Pitt Street by his wife Ann. The family moved to Melbourne and remained there but a son Anthony junior purchased land in George Street Sydney in 1842 and set up business with his brother Lebbeus. They broke their partnership in1855 and Anthony took his sons Anthony and Samuel into partnership as they became old enough. Anthony Hordern & Sons was the largest department store in Sydney, New South Wales, Australia. with 52 acres (21 hectares) of retail space, and was once the largest department store in the world . It also operated one of the largest mail order businesses in Australia. One of their advertising slogans was that they sold "anything from a needle to an anchor". A strip of blue cardboard with 95 small, white 2 hole buttons . The cardboard folds into 3 for easy storage with each section holding 36 buttons. 7 buttons are missing - used. The buttons are sewn onto the card with a running thread that is covered by backing paper.on backing of card a picture of an 'Anchor and Rope , Needle and Thread' / FROM A NEEDLE / TO AN ANCHOR / TRADE MARK / MADE IN ENGLAND. inside ' MADE IN 14 LINES ENGLAND 'horden anthony senior, horden and son pty ltd, sydney, new south wales, moorabbin, department stores, market gardeners, pioneers, dressmaking, craftwork, sewing needles, clothing, buttons

The Bowler hat, characterised by its dome-like crown, was invented in 1849 by a pair of hat-makers: brothers Thomas and William Bowler. They were commissioned by the famous London hat retailer “Lock & Co” to invent a close-fitting, low-crowned hat for their customer Mr. Edward Coke. It would be sturdy and not easily knocked or blown off the wearer’s head. The difference between a Bowler hat and a Derby hat is simply that Bowler hats are British, Derby hats are American. The Bowler / Derby hat was devised in London during a time when the top hat was the upper-class men’s hat of choice and the lower social class wore soft, cloth caps. However, the top hat was impractical and inconvenient for those on horseback as it easily toppled over and was easily damaged. Bowler hats were termed “stiff” hats– they were given a coat of shellac in the construction process and therefore never conformed to the shape of the wearers head. While very stiff, the hat is lined in a beautiful, soft silk to ensure comfort. The Bowler hat marked the first middle ground between formality and casual wear. c1900 The Derby hats were very popular for all classes in USA including criminals like Butch Cassidy & Sundance Kid and c1920 many fashionable women also wore them. In England and Commonwealth the Bowler hat remained popular throughout the 1800s and through the first half of the 1900s, being worn by everyone from politicians, actors, accountants, bankers, and the 'everyman' on the street.The family of Nance Blackman were early settlers in Moorabbin ShireA black felt Bowler hat with cream silk lining and black ribbon bandInside Crown & Band ; The Cobweb Felt / easiest/ fitting / extra light / Inside Band Best Quality / 6111hats, hatters, blackman nance, clothing, suits, fashion wear, bankers, actors, politicians, bowler hats, derby hats, top hats, social classes, moorabbin, cheltenham, bentleigh, brighton, market gardeners, pioneers, early settlers, bowler thomas, bowler william, lock & co. ltd. london, england, america, canada

Edwin Parr Hood cam to heathcote in 1891. at the age of twenty he had already leaned the tailors trade.He set up his business in High Street opposide the Mt. Ida Hotel. he advertised his stocks of mens clothing in the McIvor Times.2 suits made by E. P. Hood donated to the Museum by a local family whose father had purchased the suits in Heathcote. Worn on several occasions in and around the district of Heathcote.3piece man's suit, navy blue with pale blue and grey pin stripe,wool woosted material fully lined with silk tafeta. has label on back of inside jacket collar E P Hood /Heathcotenavy blue pinstripe mans suit

When this winter appeal badge was produced the Australian economy was in recession (financial down turn) and the ability of some of the unemployed sectors of the community required but could not purchase warm clothes. The Australian recessions of 1945 and 1961 left their mark on the economy and accounted for a long and slow recovery in the 1960's and 1970's. The Red Cross was one of a few benevolent agencies/organisations that provided those more affluent in society to donate money to these types of appeals for financial donations. the money collected was used in obtaining warm close for those in need.In the Kiewa Valley the lingering recessional consequences (high interest rates, slowdown in Australian manufacturing) had an effect upon those whose produce was consumed by large towns and cities. The manufacturing industries including textile and clothing industries were feeling the start of the invasion of cheaper imports. Unemployment was beginning to be an ongoing major political and social issue. The need for support for the financial strapped city and country towns was on the increase and this Red Cross Badge (Winter Appeal) was one of several appeals to help those financially disenfranchised families to overcome the severe clothing shortages in both country and city environments.This badge has an enamel front with red and blue lettering and the circumference is marked to represent a 'life ring, life buoy, life belt' which has all of the red lettering with in its boundary. The fastening mechanism is a "stick" pin made from mild steel (fashioned as a semi circular spring contained within the back rim of the badge. The "stick" protrudes beyond the badge allowing it to be fastened onto clothing.At the top of the badge and in red print "RED CROSS" and at the bottom "WINTER APPEAL" with a"1/-" (one shilling coin - modern equivalent to 10 cents). In the middle of the badge is printed a red cross and above that "HELP"societies, red cross appeals, apparel badges, numismatics badges

This brand of starch was first manufactured before 1966 and covered the period when Australian made was the preferred clothing due to limited imports from England. This was a period when the demand for "home grown" produce was at its peak. This was in a time when by necessity and ease of supply and not by the "Buy Australian" campaign (of later years), was the major factor for the demand of these type of laundry goods. It was in a time when starch was used in formal clothing to put a "crisp" or fresh new appearance for clothes. This product was in the era and importantly the social more of "clothes make the person" in which starched shirts and dresses was the fashion vogue. Formality of dress was a strictly British "class" up-man-ship which from the 1950's onwards became less and less visible. The Australian "Ocker" or fair "dink'm" bloke became more entrenched after World War II. The national identity was slowly developing.This box of starch is very relevant to the Kiewa Valley because this box highlights the differences ,in this period, between city and rural social standards. Rural areas were deeply entrenched into colonial and the pioneer family structure viz- a-vie social and dress fashion standards. British values and norms lingered on well beyond the changes happening in city fashion. Tradition and English "ties" were the backbone of early colonies and it was only after World War II that these "ties" were becoming irrelevant. Early traditions lingered well past the independence sought by Federation, colony to statehood and trade with other nations eg. USA and Asia. The idea that a change in "status" would automatically change the social mores of Australians, especially in rural ares, was not fully grasped by the "law makers" and those wanting change.This box (capacity 12 ozs) has white(aged into cream) and blue printing and a "white star" on five sides, the sixth side has a laundry scene with two ladies, in early 1900's fashion. The package is made from 200 gsm thick cardboard. As manufacture was made before and during the two World Wars 1914 to 1945 the promotion was heavily focused on Australian made and Australian grown maize. One side of the box has instructions of use and all the other sides are promotional, detailing "the best in the world and won't stick to the iron""SILVER STAR", "THE BEST IN THE WORLD", "WON'T STICK TO THE IRON", "REQUIRES NO BOILING", INSTRUCTIONS FOR USE", "ROBERT HARPER AND COMPANY LIMITED", "INCORPORATED IN VICTORIA, AUSTRALIA", "NET WEIGHT 12 OUNCES", "LARGE BOX 12 OZS"domestic laundry essentials, cotton clothing preparations, household starch "crisp and neat appearances.

Tawonga is in the Kiewa Valley where farmers lived with their families. The school was opened on 27th July 1880 situated on 8 acres near the current township of Tawonga. This school was erased by fire in 1900 and all records were destroyed. The school then moved to the old Tawonga Hall. In 1910 the school was shifted to its present site on 3 acres of land donated by Frank Cooper. The school building and attendance continued to grow especially during the construction of the Kiewa Hydro Electric Scheme. Historic: Tawonga Primary school has educated the local farming and town children for many years. It is an excellent source of the names of the local families in 1903. The photo is taken outside the Old Tawonga hall where the school was situated in 1903 and shows the clothing worn by children and teachers at the time.Teacher and 20 students in school photo. "Tawonga Primary School 1903" added digitally when the photo was copied. There is a typed list of all names.Names of students. Back Row: Charlotte Cooper, John Cooper, Ada Cooper, Thomas Hollands, Irene Roper, Stewart Hollands, Lily Barnette. Teacher Donald Mc Cance. Centre Row: Edward Trebilcock, Alfred Hollands, Pearl Barnette, Frank Cooper, Nellie Higginson, Bert Roper, Reg Roper. Front Row: Ben Cooper, Raymond Cooper, Myrtle Barnette, Lewis Crotty, John Creamer, Annie Hollandstawonga primary school. education. kiewa valley. cooper family

Three early to mid 20th century baby's nighties, purported to have been worn by Nesta Drew nee Cooper. The Cooper family lived in Tawonga for three generations.The nighties were hand-made in the 1920s when clothing was usually hand made especially in the Kiewa Valley where access to shops was limited. The Cooper family were farmers in Tawonga.Three Vyella (brushed cotton) baby's nighties. White vyella fabric with silk thread embroidery. Very well home-sewn items, with cotton lace trimming.1920s.Home-made so no marking or brandingbaby nighties, nesta drew, cooper family of tawonga

During the early 1900s little girls' dresses were fashioned on the style worn by older women. Girls dresses were knee length with trimmings of lace and ribbon. Collars were often removable for ease of washing. Leather lace-up boots and woollen stocking or socks were usually worn with these dresses. A pinafore or apron would be worn over the dresses to help keep them clean. Girls' hair was kept long, with curls and tied with ribbons.Boys' clothing was fashioned on sailor suits, blouses/shirts with a collar and trousers or knickerbockers. Woollen jackets, shirts and ties were suitable attire for older boys. Children's fashion of this time was dictated by long lasting durability, local manufacture, earthy colours and ease of mobility. Because of the long distance to haberdashery stores, the majority of children's garments would have been hand made by a local seamstress, mother or relation.Black and white photo of a family with 5 children in the foreground with trees in the background.children's clothing

local manufacture either a seemstress or a mother. Time Circa 1920s to 1940s. Distance from towns with haberdasheries would force local manufacture of garments by highly skilled women.Historical period Circa 1920s to 1940s was before easy access to branded manufactured clothes. Majority of basic clothing was hand made either family or skilled friends and neighbours This is Garment is cross referenced to KVHS 0249 and KVHS 0248 and details the growth of a young childGarment has sleeveless top attached to pantaloons at waist and open crotch and going down inner leg seam to 8cm from bottom. Bottom section of each leg adorned with crocheted lace and two pin tucks around bottom of the legs. Top back of garment has three "Mother of Pearl" buttons and narrow 8 mm wide shoulder cross reference to KVHS 0249 and KVHS 0240 straps. Machine stitched cream in colourvest, underwear, child's clothing

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

In March 1892, Melbourne Butcher John Stamford took a prospective tenant to a house he owned at 57 Andrew Street Windsor. He noticed a 'disagreeable smell' coming from the front rooms. Suspecting foul play, Stamford called the police who quickly discovered a decomposing body and partially clad body of a young woman in a shallow grave under the fireplace. 'Her skull had been shattered and her throat cut'. Two detectives, Sergeants Considine and Cawsey, began investigations. The previous tenant, a 'Mr. Druin' who had rented the house had since disappeared was the main suspect. 'Druin' had arrived in Australia from England as 'Albert Williams' in December 1891 with his 24 year old wife Emily Mather. The body was Emily's. The crime scene investigation proved difficult as the suspect - whatever his real name- had cleaned up the scene very carefully. Much later it was discovered that the suspect was in fact Frederick Bayley Deeming, a former sailor born in Birkenhead, Cheshire, in 1854. In 1881, Deeming deserted his ship and lived in Sydney where he married and had a family. Deeply in debt, he later burned his business down to claim its insurance value and fled to South Africa before he could be arrested. He is believed to have committed numerous frauds and murders in Africa. Eventually found in Uruguay, he spent time in prison in England for fraud. After being released he married Emily and returned to Australia. After leaving England, British police began investigating him over the murder of Mrs Marie Deeming and her four children. Now using another alias, 'Baron Swanston', Deeming was arrested in Western Australia before he left the country in the company of a young woman, Kate Rounsefell, whom he planned to marry. It seems Kate would have been his next murder victim. Brought back to Victoria, in May 1892, Deeming went on trail for the murder of Emily Mather. Despite a strong defense conducted by a brilliant young barrister and 3 times Australian Prime Minister Alfred Deakin, the evidence against Deeming was overwhelming and he was found guilty. Deeming was hanged at Melbourne Gaol on 23 May 1892. He was known to be responsible for at least 6 murders and may have committed others. Black and white photograph backed onto black board showing a lady in dark clothing and hat resting with her right elbow on the arm of a lounge. Woman is holding a small sprig of flowers in her left handEmily Lydia Mather. Murdered by Deeming 1892 (in black ink along top of photograph)frederick deeming, emily mather, murders

This dress was handed down through the family of Harry Cameron, Orbost. It was likely worn by a member of the family.Associated with the Cameron family, Orbost.A full length black satin dress with long sleeves. It has two rows of 6 buttons across the bodice and lace applique on the shoulders. The neck and sleeves are trimmed with a fine white lace. There are metal stays inside the front of the dress.women's-clothing

This photograph seems to be associated with an early settler family in the Bete Bolong district. It is also a pictorial record of children's clothing of the late 19th century.Two photographs. 3164.1 is a sepia photograph of a young girl standing beside a little boy who is seated. The photograph is mounted on card. it has been taken inside a studio. the little girl is wearing a long dress with a lace smock. The boy is wearing a suit with short pants. He has a lace collar. 3164.2 is of a small boy standing next to a tree. He is wearing a suit with a waistcoat and a lace collar.on back - :"Evelyn & Jim Sealey neighbours of Richardsons in Bete Bolong"sealey-jim sealey-evelyn clothing-children's

Jean Stirling , born 1901 in Orbost, married Charles Frances Reginald Joyes on 15th July 1922 in Orbost. Jean's father was John Stirling, son of James Stirling and Ann Gray. Her mother was Robina Harvey McNair, Aged 19 James Stirling arrived in Melbourne on January 26, 1842 with his family - parents, three sisters and two brothers. James Stirling moved around a lot to Whittlesea, Ballarat goldfields, Cunninghame, (now Lakes Entrance), then to the Old Station about 36 miles to the east along the coast near the mouth of the Snowy River and for a time settled there with his wife also from Wigton, Scotland, and their family four sons two daughters (James, John, William, George, Margaret and Polly). The first settler to occupy the Marlo township area was James Stirling around the year 1875. He built a bark hut on the bluff that had two rooms, bark walls, earthen floors and a shingle roof. By 1884, this structure had expanded to a 9 roomed accommodation house and in 1886 became the Marlo Hotel when a liquor license was granted. (more information from “Snowy River Mail”, Wednesday, April 13th 1977: MEMORIES OF MARLO by Mrs Elsbeth Conlon (nee Stirling )This photograph is associated with the Stirling family early settlers of Marlo. It is also a pictorial record of styles of wedding dress popular in the 1920s.A black / white studio portrait / photograph of a bridal couple. The bride on the left is wearing a typical 1920s wedding dress. tTe front is short with a hem that is in different length in front than behind. She is wearing a hat in the cloche-style. She is holding a bouquet of flowers and her train is draped to the left. The groom is wearing a three piece morning suit. he has a with a wingtip collar white dress shirt and a cravat tie.on front - hand - written "Jean Stirling's wedding (Marlo) ? Joyce"stirling-jean-wedding melba-&co wedding-clothing-1920s joyes-charles-francis-reginald

There is no record of which family is in the photograph. The slips at Corringle was a popular picnic area for Orbost people. Corringle Slips is situated at the mouth of the Snowy River Estuary. The Corringle Slips were built by Samuel Richardson and sons during the time when the Orbost Shipping Company was operating. The Slips were washed away in the 1893 floods and reassembled by Martin Jorgensen who then became a part owner of the Slips. In the late 1890's, Corringle was a thriving rural community. (Information from Discovering Marlo brochure)This is a pictorial record of family life in Orbost in the first half of the 20th century. It portrays a typical Orbost family enjoying a leisure activity. The clothing can be seen as more formal than that worn at a family picnic in the present day,A black / white photograph of a group of people (adults and children) seated around a table set with a tablecloth on which are teacups, bottles of drink and cake. in the front is a bucket and two metal boxes. They are well-dressed with the men and boys wearing jackets and ties and some of the women wearing cloche style hats.on back - "Family at Slips"corringle-slips-marlo picnic-recreation

There is no information with this photograph. The Lavell family has been associated with Orbost from its early settlement.This item is a pictorial record of 1920s society in Orbost depicting the clothing worn in that time. The Lavell family has been associated with Orbost from its early settlement.A black / white photograph of a large group of people, mostly adults, sitting on a large ground sheet in a garden. There are three cars in the background and a large brick house with a verandah. All are wearing hats, the men in jackets and ties.on back - "picnic at Lavells"picnic-orbost lavell recreation

this is a photograph taken at the original jetty at Tabbara on the Brodribb River used by Samuel Richardson who established his mill in 1882. There was a constant demand for timber to supply the growing townships of Orbost , Marlo and surrounds. It was at this mill that the original paddle steamer Curlip was built. More information in "Curlip" by May Leatch. Helena Warrem (1871-1962) was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images. Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert).This photograph is a pictorial record of a typical family activity in the late 19th - early 20th century in the Orbost area, The clothing and manners are reflective of that time, This photograph also has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker,A black / white photograph of a family group seated on a wooden jetty. There is a man on the right with a fishing rod. A man is standing next to woman holding a teapot and cup and saucer. On the left a woman is sitting and holding a baby on her knee. The rest are sitting or kneeling with a picnic cloth spread in front of them. There are bottles, jars, plates and cups on the cloth. on back - "The Warren Family Tabara Jetty"tabbara-jetty warren-family-orbost recreation-picnic

This magazine belonged to Roma Cameron, who was the daughter of Harry Purchase Cameron and Lilian Gladys (nee Harding). Roma married Ronald Richard Smith in 1944 and is the mother of Lorraine (Mrs Peter Coulton) and Margaret Smith. Harry's father, James Cameron, came to Bellagoogan on Majors Creek in 1882. Bellagoogan was on Majors Creek near Orbost and was the site of the first race course. Like many others at the time, the Camerons bred race horses.Harry died in 1964 aged 75. Roma was the youngest of three siblings: Jean (Mrs John Gavin (Jack) Ralston) and James (Jim) (m. Joan Hossack). Women’s magazines during WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate had skyrocketed during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all. This is an example of an English women's magazine published during WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests An English magazine published monthly. It is titled Woman and Home & Good Needlework Magazine, July 1944. On the front cover is a picture of a bride and groom cutting a wedding cake. The groom is dressed in military uniform. the price 9D has been crossed out and 1/- is below it. The magazine contains advertisements, stories, needlework patters and news articles.On front cover handwritten in pen : Miss R. Cameronmagazine-woman-and-home magazines-women's cameron

Christening gowns are traditional outfits made just for baby’s baptism. They are almost always white and can be very ornate, highly decorated garments. Usually, the christening gown is quite long – much longer than the baby being christened, particularly when it is worn by a young or very small baby. Many families keep a “family” christening gown that has been passed down through various family members and is used for the baptism ceremony. This christening robe was probably used by the Cameron family.The christening gown was a late 18th century innovation usually made of white lawn, muslin or net, longer than the baby and fancier than a day gown. The design was a more moderate version of contemporary adult fashion. Most 19th century christening gowns featured lace. All, until the end of the century, had low necklines and short sleeves. This gown reflects the style of christening robes in the early 20th century. A high waisted, short-sleeved long white broderie anglaise christening robe made of fine cotton. It is hand made edged with machine stitched cut work lace. The bodice is pin tucked.christening-robe clothing-childhood

This babies dress was possibly worn by Mrs Cuthbertson nee Hooper, after her birth in 1881,( Mother of Joan Charles) and is approximately 150 years old.It is hand made cream silk with smocking to the front and back of the bodice.and the wrists of the full length sleeves. It was donated by the children of Joan M Charles- Melville J Charles,Joell E Stern, Beth Z Charles and Rhonnie M Dryne.Hand made Baby's dress, depicting the craftmanship and style of dress for the late 19th century.It is only one of two Silk baby's dresses in the Learmonth and District HIstorical Society Inc.collection.Baby's dress hand made of cream silk , with smocking across front, back,and wrists.clothing, babys dress, smocking, family of joan charles, haberdashery, mrs cuthbertson hooper