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

This legging is part of a pair of leggings which presumably would have been worn by a cavalry soldier in the Royal Australian Army to protect the lower legs when riding in armed conflict. This item most likely dates to the World War One era.As an article of WWI protective clothing for use in armed conflict by a cavalry soldier, this item is of historic value. Brown leather cylindrical shaped legging with two leather straps for fastening. One strap is attached to the lower edge of the interior. This crosses over the lower exterior and passes through a leather loop at the front, which is attached by four metallic nails. The strap then wraps around the gaiter and passes through a second leather loop at the front, which is also attached by four corroded metallic nails. This strap (along with a shorter strap that is sewn and nailed into the top of the legging) pass through two buckles. The upper buckle is made of brass and the lower is made of steel. The straps then tuck under three final leather loops, two of which are bolted to the legging with three corroded nails. There should be a third loop here that is missing. Top corner of legging also carries a small corroded metal hook, presumably to hold layers together firmly.legging, gaiter, first world war, world war one, world war 1, wwi, ww1, war, army, uniform, royal australian army, the great war

The Dollarbird is so-named because of the coin-shaped patches on the tips of their wings, which is clear when in flight. They have distinctive blue-green colouring on their backs and wings, and a bright blue throat. This species migrates to northern and eastern Australia for breeding, between the months of September and April. These birds migrate to New Guinea and nearby islands in the Winter, but can be found in Japan and India also. This species resides in open wooded areas, preferring hollow-bearing trees for nesting. They can be found spending most of their time perched on high branches in search of insects, and will often 'hawk' at dusk above the tree-tops, hovering on the wing for lengthy periods. This specimen is a good example of this species, however the distinctive coin-patches on the tips of the wings are partially hidden by the tuck of the wing. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This adult Dollarbird has a brown body and head, blue-green back and wings. It has a distinctive bright blue or purple plumage around its throat. The tips of the wings are brown. The pale-blue coin shaped patches on the tips of the wings are just visible. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 96a / Australian Roller / Catalogue, page, 25. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dollarbird, australian birds, broad-billed roller

Royal blue rayon and silk short sleeved knee length dress. Back is made of two pieces with centre seam. Inverted pleat at centre 18cm above hem. Two vertical darts have been used on either side of the centre back (30cm). Both darts have been unstitched. Short set in sleeves. Front has bodice crossover to form V neck.15 cm crossover Midriff piece and skirt in one piece – straight. Bodice crossover pieces joined to midriff. Dull blue lace fabric lined with royal blue rayon, joined to midriff piece – layered horizontally with 4 tucks of 3cm showing. Attached to skirt. Skirt one piece with two knife pleats on either side of centre. LHS opening with 26cm metal zipper from 8cm below sleeve. Linen look fabric. Part of ensemble with 11400.525Created by ZANKO of Melbournecostume, female daywear, dress

Ladies black satin boned bodice. Centre opening, fastened with eighteen metal hooks and eyes. Waistband 2.5cm wide with eleven vertical fabric encased bones attached. There are two bones on either side of the front opening, bones on each side seam and five bones across the back. There is a decorative two cm wide ribbon attached to the RHS of the waistband that extends across the front of the bodice to the LHS with a seventeen cm black ribbon bow attached. This is fastened to the RHS waistband with a metal hook and eye. There are two decorative pin tucks across the waistband at the back of the bodice. The bodice and sleeves are lined with brown cotton fabric. The 6.5cm stand-up collar is lined with dark green cotton fabric. The shoulders seams and eight of the bone casing are reinforced with black cotton fabric with green and pink checked edging. The long sleeves are gathered at the shoulders and shaped at the elbows. The wrist is finished with a decorative band of pleated fabric (2.5cm wide).costume, female, ladies black satin boned bodice

B&W photo shows siblings Percy and Cissie (Minnie Agnes) Johns on the verandah of their home, Glen Park Farm, Selby. Percy looks in his early teens, making the photo around 1910 or later. He is wearing a long-sleeved pale shirt, long dark trousers tucked into knee-high boots, and possibly a dark hat. Cissie is wearing a pale, knee-length dress, dark stockings, and a pale, wide-brimmed hat. She is aged about 10. A medium sized dark dog sits at Percy's feet. The house is an L-shaped weatherboard with two gables at right-angles and a verandah with a bullnosed roof, ornate support posts, and a striped end piece from the roof. Wooden steps lead down from side. There is a large brick chimney where the two wings meet, and a metal water tank to the side. There are large trees, both in leaf and dead, plus some flowers near the verandah.

The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Seamen's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."In 1928 there were not many stained glass windows in the chapel, giving that bright light inside.2 original prints and a reprinted versionwedding, dora walker, st peter chapel, flinders street, dora simpson, lhlg, amy dora walker, molly walker, elle kendall, reverend j.r. weller, harry simpson, missals, flowers, bookcase

On 1 June 1901, the Australian Town and Country Journal reported that: "A few couples found time to marry during, or just after, the Royal visit. A pretty double wedding took place at Ivy Grange, Kew, the residence of the bride's father, on May 15, when Mr. Samuel Howell, eldest son of the late Richard Howell, of Chocolyn, Camperdown, became the husband of Miss Olive Wilhelmina Beath, fourth daughter of Mr. David Beath, and Mr. William Elder, second son of Mr. Nairne G. Elder, of Rokewood, espoused Miss Endora Anne Beath, fifth daughter of Mr. David Beath. The brides were dressed alike in white satin duchesse, with gathered satin and chiffon, transparent yokes and sleeves of chiffon, embroidered tulle veils, with coronet of orange blossom. The happy couples vary wisely chose different districts for their honeymoon trips, Mr. and Mrs. Howell visiting Lorne, while Mr. and Mrs. W Elder went off to the Blue Mountains, N.S.W. The two brides were attended by six bridesmaids, all dressed alike in gowns of white Indian lawn, with tucks and insertions of Valenciennes lace, sashes of white satin and instead of hats wore on their hair pretty wreaths of Parma violets, and carried shower bouquets of Parma violets tied with heliotrope ribbons." (Source: Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), Saturday 1 June 1901, page 43)This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Photograph and article from Punch (May 23 1901) of a double wedding at Ivy Grange of Olive Wilhelmina Beath and Endora Anne Beath. ivy grange, beath family

The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts which are now preserved by the current members of CMHS at Box Cottage Museum . Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interest Helen Stanley has produced a bi-monthly Newsletter, 2007 - 2013, for the members of the City of Moorabbin Historical Society that contains well researched interesting historical items, notification of upcoming events, current advice from Royal Australian Historical Society , Museums Australia Victoria and activities of Local Historical Societies. The Newsletter is an important record of the activities of the CMHS The issue of Chinese migration was very inflamed and caused much distress to local market gardeners c1900. Issue 18 of the bi-monthly, City of Moorabbin Historical Society Newsletter produced by Society member and Secretary, Mrs Helen Stanley in August 2010. Notice re meeting august 29th. Items of Interest explain that volunteer Ronnie has completed The CMHS site on Vicnet, Dennis Maynard has built display benches for the Barn and repaired school desks, Mr Neil Follett has donated a photograph of the Tuck family and ‘Baydon Hill’ c1800, Trish Smythe, manager Kingston Library, has displayed Posters and Flyers about Box Cottage Museum, and 3 bridal gowns are now on display at Box Cottage. Robina Naughton has researched a photograph , 1906, of His Excellency Hwang Hon Cheng, Chinese Commissioner, donated by Frank and Lorna Thatcher. A copy of this photograph has been sent to Sophie Couchman, Curator of Museum Of Chinese History. Helen has compiled a 3 page history of Hwang Hon Cheng and the Chinese in Victoria 1840- 1906.CITY of MOORABBIN HISTORICAL SOCIETY / AUGUST 2010 NEWSLETTER city of moorabbin historical society, stanley helen, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, mckinnon, kingston, clothing, bridal gowns, weddings, market gardeners, pioneers, early settlers, moorabbin shire, box cottage museum, city of moorabbin, box william, glen eira historical society, vicnet, brighton historical society, museum of chinese history, hwang hon cheng, follett neil, thatcher frank, thatcher lorna, smythe trish, city of kingston library, the grange, baydon hill, tuck family

Dora Walker, a member of the Ladies Harbour Lights Guild married H.P. Simpson on 14 February 1928. The wedding was celebrated at the Mission's chapel at 2.45pm. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."2 original prints and a reprinted version depicting the St Peter chapel decorated with flowers for Dora Walker's wedding in 1928 wedding, dora walker, st peter chapel, mission to seamen, mission to seafarers, flinders st, lhlg, dora simpson, 1928, valentine's day, amy dora walker, ladies harbour lights guild, malvern, reverend j.r. weller, molly walker, ella kendall, flowers

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

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

Dora Walker was a student of Milverton school, one of the Ladies Schools, a branch of the Ladies Harbour Light's Guild. Amy Dora Walker (known as Dora) of East Malvern married Harold Priestley Simpson of Surrey Hills on 14 February 1928. The bride's maids were Ella Kendall and Molly Walker. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."A member of the Ladies Harbour Lights Guild, Dora is one of the few ladies who married at the Mission.Sepia toned photograph of bride and attendants in the courtyard of the Mission to Seafarers. The bride's dress is calf length and she is standing with her veil draped in front of her, holding a large bouquet. There is one attendant to the right of the photograph, wearing a layered calf length dress and holding a smaller bouquet. Both are standing in front of one of the columns in the courtyard which has ivy growing over it.Blue ink on rear of photograph: 4 49hat, flowers, veil, wedding, dress, ivy, columns, shoes, dora walker, dora simpson, milverton school, ladies school, lhlg, mrs h.p. simpson, mrs harry simpson, courtyard, amy dora walker, ella kendall, molly walker, reverend j.r. weller, david simpson

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

Copy of black and white photograph mounted on card.Form 2B - Williamstown High School 1946. Back row: Graham Thomas, Gordon Bird,Frank Ranger,Geoff Boyes, Richard Anthony,Leon Hopkins, Alan Chandler. Second row: Peter Machin, Alistair McLeman, Peter Constable, Bob Gerring, Milton Stone, George Pickering, Max Stephens, Norman Basford. Third row: Valda Welsford, Jean Grant, Pam Trask, Eileen Williamson, Audrey Sinclair, Norma Caple, Heather Neish, Shirley Hansen, Mr Tuck. Fourth row: Merle Valentine, Margaret Stubbs, Shirley Spicer, Carol Crowder, Loan Davis, Jean Spencer, Joyce Hickox. Front row: Ivan Nicholls, Kevin Neal, Ivan Quinn. Donated by Bob Gerring. 4th from left, second top row.williamstown high school, form 2b, 1946

Light camel coloured silk (in very poor condition). Long sleeves overlaid with fine black lace in a floral design. Stand-up collar, five cm deep is overlaid with the fine black lace, and finished with a corded braid on the upper edge. Sleeves are tightly gathered at the shoulder tapering narrow at the wrist, giving a ''leg-o-mutton'' effect. 12cm wide fine black lace, attached at the neck edge, and shoulders, forms a ''puff'' decorative over the shoulder, and continues in a ''over-panel'' to the waistline. Ten x 1cm diameter plastic buttons, with a floral impression in them (2 missing) and 12 hand stitched button holes form the front opening. From the lower opening, six ''pintucks'' 12 cm deep, open into pleats at the lower edge, giving fullness to the bodice. Four metal hooks are evident on the lower tucked front and seven hand stitched eyelets are indicated, but are now severely damaged. Bodice is boned with ten X 17cm long bones, and is fully lined with cotton.A tiny 8cmX7.5cm, oval-at-one-end, pocket is stitched into the front opening, at the bustline. Back hemline dips to a V shape at centre backcostume, female, victorian bodice - cinamon coloured silk

Clothing. A concealed full length back opening reveals five tiny covered buttons, 7 mm in diameter and five hand-stitched button holes. This opening is bordered by two groups of five very fine pin tucks with a 3 cm spacing between the two groups. The blouse is made from very fine Swiss lawn cotton fabric, and is very soft to the feel. The front has a broad panel thirty cm wide of exquisite pintucks, crochet, lace and embroidery. The embroidery is white on white, and features flowers and leaves in a curved pattern. A crochet panel below the high neckline is 4 cm x 10 cms and is peaked at the lower edge. This is bordered by 1.5 cm wide cotton lace, and horizontal pintucks. Two panels, one on either side of three pintucks, 1.5 cm panel of lace, and then the central panel of embroidery, pintucks, lace, and crochet. Five pintucks, 1.5 cm panel of lace and five more pintucks run the length of the short sleeves. Sleeves are puffed, and gathered at the shoulder, and at the 1.5 cm deep cuff, which is also pintucked. A 1.5 cm deep 'stand-up' collar, spoke-stitched to the garment, as are the sleeves and shoulder seams. Front hemline is curved. Back hemline is straight.costume, female, a full length back opening blouse

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

8545a Docket from Tuck & Co. Limited, Asbestos & India Rubber Manufacturers, 4566 Collins Street, Melbourne; Sept. 4th, 1889; Head Office: 116 Cannon Street, London. Purchased 3 Bags of Asb. Boiler ?? at a cost of £3/- by Messrs. Abbitt & Co. 8545b Docket from G. Wood, General Founder, Kensington Iron Foundry, Macauley Road, dated Dec. 2nd, 1896; due from Mr. J. H. Abbott, For 1 doz. combination parts& 1/2 doz. stands for parts at £1/14/00. 8545c Memorandum James Oppy, Boot and Shoemaker, Fitzroy Street, Kerang, dated Aug. 23rd, 1893. Apology and advice the amount owing will be forwarded on 1st of next month (Sept.). 8545d Docket for six items purchased by Messrs. J.H. Abbott, Bendigo for £63/16/00 from The Australian Explosives & Chemical Coy. Ltd on Aug. 5, 1902. Manufacturers and Importers of High Explosives and Detonators, 356 Little Collins Street, Melbourne 8545e Docket / quote from J. Kennon & Sons, Tanners, Curriers & Leather Merchants, 206 Bridge Road, Richmond. October 19th, 1888, quotation sent to Mr. J H Abbott, Leather Merchant, Sandhurst.bendigo businesses, j. kennon and sons, tuck and co, g. wood, james oppy, the australian and chemical coy

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

This photograph shows one of the many weddings held at the Mission to Seafarers over the years and provides an overview of wedding fashion of the late 1920s. The Bride is posing in the courtyard of the Mission to Seamen. The bridesmaids were Ella Kendall and Molly Walker. The Walkers and Dora had a long association with the Mission and the LHLG and in the 1960s becoming president of the Flying Angel League which amalgamated with the LHLG in the early 1960s. In 1970 Dora received an OBE. Private images of the day for the record were supplied to the Mission by sons David and Brian in 2018. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."This photograph shows one of the many weddings performed at the Mission to Seafarers chapel over the years. Cross referencing with the marriage registers, also held in the collection, records that this photograph is Amy Dora Simpson (nee Dora Walker) of East Malvern marrying Harold Priestley Simpson of Surrey Hills / Mornington? on 14 February 1928.Sepia toned photograph of bride and attendants in the courtyard of the Mission to Seafarers. The bride's dress is calf length and she is standing with her veil draped in front of her, holding a large bouquet. There are two attendants to the right of the photograph, wearing layered calf length dresses and wearing cloche hats and holding small posy bouquets. The bridal group is posed standing in in the courtyard near the entrance to the MTS chapel.Small circular Blue ink stamp on rear of photograph: Printed by Harringtons stamped 2 small numerals : 3 and 8hat, flowers, veil, wedding, dress, ivy, shoes, dora walker, dora simpson, ella kendall, molly walker, amy dora walker, reverend j.r. weller, flinders street, st peter chapel, mission to seamen, seamen's mission, mission to seafarers, david simpson

The Marriage Register lists Harold Priestley Simpson and Amy Dora Walker as the bride and groom, and the wedding date as 14th of February 1928. The photograph uses the personal Harry and Dora, instead of the formal Harold and Amy. In the Register, Amy started signing her name as Dora. before correcting it. The photograph shows that weddings took place at the Chapel during the late 1920's, and the style of weddings at the time. This includes the type of outfits worn, such as the length of the veil and the type of bouquet carried. Dora's Bridesmaids are depicted in 2 other images in the MTSV collection also an image of the chapel decked with flowers for the occasion. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."The photograph shows St. Peter chapel was being used for weddings in 1928. The Anglican church has been used for weddings since being finished in 1917. The Marriage Register shows that these weddings were legal in the Commonwealth of Australia, and lists Church of England as the denomination for this wedding. Miss Amy Dora Simpson (nee Walker) had a long association with the Mission, first as a young Volunteer with the Ladies Harbour Light Guild circa WW1, and through to her wedding in early 1928 and beyond. Square sepia, glossy photograph of a bride and groom, taken as they leave a building. Guests are throwing rice at the newlywed. The groom is turned towards the camera, while the bride is looking ahead, carrying a bouquet. There is a white border around top, bottom and left edges, the photograph seems to have been cut in half along the right edge.On the reverse: handwritten in blue pen JUST MARRIED!/DORA & HARRY/28/2/28. 618 is stamped in blue ink . (date is incorrect as wedding took place on 14/2/28)bride, wedding, groom, 1928, dora simpson, dora walker, st peter chapel, harry simpson, lhlg, flinders street, harold priestley simpson, valentine's day, amy dora walker, ladies harbour lights guild, mr and mrs a.w. walker, malvern, manning road, reverend j.r weller, molly walker, ella kendall, david simpson

The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin residents who were concerned that the history of the area should be preserved. A good response to a call for items related to the historical area of Moorabbin Shire brought donations of a wide variety of artefacts which are now preserved by the current members of CMHS at Box Cottage Museum . Helen Stanley, Secretary of CMHS, began producing a Newsletter for members in April 2007 to provide current information and well researched items of historical interest.Helen Stanley has produced a bi-monthly Newsletter, 2007 - 2013, for the members of the City of Moorabbin Historical Society that contains well researched interesting historical items, notification of upcoming events, current advice from Royal Australian Historical Society , Museums Australia Victoria and activities of Local Historical Societies. The Newsletter is an important record of the activities of the CMHS. Tom Sheehy, a past President of CMHS, was an Historian and Author of ‘Battlers tamed the Sandbelt’, the Lawson family were early settlers, Dr Graham Whitehead, is Historian for Kingston CC and the Henry Lawson Society promotes the Poet’s works.A4 paper printed both sides x1. Issue 3 of the bi-monthly, City of Moorabbin Historical Society Newsletter produced by Society member and Secretary, Mrs Helen Stanley in August 2007. Members of the CMHS are shown 3 photocopies of ‘quaint Account Overdue ‘ notices c 1940,. An excerpt from the 1962 Moorabbin Historical Society Newsletter, edited by the President Tom Sheehy, describing the 1860’s decade that saw ‘the establishment of Edward Zorn’s Tomato factory in Clayton’s Road in 1862 and then Henry Comport’s Sauce factory in Cheltenham. ‘New settlers’ arriving in the area were William Highett , near Hampton, Mr McKinnon , an Oakleigh farmer, and Mr Stephen Tuck and wife to Cheltenham while Mr John Kingston was looking for land.. 60 children were enrolled at St Stephen’s Common School on Tucker Road. George Higginbotham., William Highett and Tommy Bent were confident of the years ahead.’ Upcoming events at CMHS were August 26th Mr Bob Lawson will talk about World War 1, on October 28th a talk by Dr G Whitehead titled ‘Murder’, and at the last meeting for year November 25th Frank Thatcher, CMHS, will welcome the Henry Lawson Society and Australian Natives Association who will again come to Box Cottage to celebrate their Bryan Kelleher Memorial Picnic Day. CITY of MOORABBIN HISTORICAL SOCIETY / AUGUST 2007 NEWSLETTERcity of moorabbin historical society, stanley helen, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, oakleigh, kingston, highett, hampton, clayton, market gardeners, pioneers, early settlers, moorabbin shire, sheehy tom, thatcher frank, tucker road, st stephen’s common school, henry lawson society, australian natives association, whitehead dr graham, lawson bob, lawson nan, kelleher bryan, comport henry, zorn edward, highett william, bent tommy, higginbotham george, kingston john, le roy tracy pty.ltd, sydney, tomato sauce factory

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

Full length cream synthetic fabric wedding dress with long sleeves and a train. Front and back have a yoke of lace. Three quarter length sleeves are made of the same lace with roulette trim at hem. Inner and outer edges of sleeves ruched for 3 cm. High round neck at back. V neckline at front. Front of bodice has two side darts and two under bust darts. Bodice at waist line has three decorative scallops at front and back. Synthetic fabric of bodice has woven fabric backing. Side opening on left hand side is fastened with nine press studs. Full length skirt of lighter weight opaque synthetic fabric has centre seams at front and back. Fabric is cut on the bias to form a 360? full circle skirt with a train at centre back. An additional section of fabric is attached at either side to complete the circle. At centre back of the skirt is an inverted pleat to create fullness for the train. Hemline is edged with lace with four rows of tucks above the hem, 1 cm apart. Separate petticoat of heavier woven synthetic fabric attached at waist. Petticoat cut on the bias to create 360? full circle skirt with inverted pleat at centre back to create fullness. Narrow turned over hem. Petticoat skirt dips to a V shape at centre front and back seams. Machine stitched.costume, female ceremonial, wedding dress

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

Clothing. Cream coloured lace silk wedding dress. Dress made from fine silk fabric with self stripe, fully lined with cream coloured linen. High round neckline with stand up lace collar(6cm). Bodice at front has crossover from shoulder to waist, forming deep Vshape at centre front with net insert below the collar. Net insert has vertical pin tucks. Bodice front and back has cream coloured lace overlay that extends over the shoulders to halfway down the 3/4 length sleeves. Hem of sleeves trimmed with embroidered lace with geometric pattern. Cummer bund of pleated silk fabric (7cm) is attached around waistband. Floor length skirt is gathered into the waistband.Front of skirt has straight lace panelsoverlay (37cmX 90 cm) including 20 cm flounce at lower edge, attached at waistline. Back of skirt has gathered lace overlay attached at waistline extending across side seams and over the edge of front lace panel. Centre back opening fastened with eighteen metal hooks and eyes from collar to waist and six metal press-studs below the waist. Cummerbund fastened with three metal hooks and eyes. A fabric insert at centre back fastened with press-studs. Collar has five pieces of stiffening plastic. Bodice has three bone casings across front above waistline, and four across the back. Cotton tape band (66 cm X 3cm) attached inside bodice at front with hook and eye fasteing.Printed on inside waistband, ''AMALIA SALXANO FARRONE'' NAPOLI ''MODE +CON----'' VIA EGIZIACA A PIZZO FALCONE 93''. Printed inside LHS sleeve at arm pit ''SAXONIA 48X''.costume, female, cream coloured wedding dress

A bodice belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream silk satin evening bodice from c.1865. This bodice features a very low, wide scooped neckline with a set in sleeve and four small pleats across the head of the shoulder. The elbow length, straight fitted sleeves are trimmed with a pleated ruffle that extends around the arm finishing at the elbow crease at the inside arm and tapering to mid forearm length at the back. The fitted bodice, lined with waxed linen, fastens down the centre front with eight covered buttons of the bodice fabric. The front two panels wrap around the sides of the bodice to meet another series of panels creating a princess line with a delineated central spine. The waist position is just below the natural waist at the sides, tapering to an elongated front covering the belly. From the sides towards the back it curves up to the natural waistline and then down again to a central point. The bodice is decorated with strips of the same fabric, which has been tucked, pleated and padded to create ruching. The ruching edge has a multi coloured thread, suggestive of rosettes, on both sides. In the front of the bodice, a strip runs down the centre front, concealing the buttonholes, and finishing at the elongated point. It then goes up the bodice over the bust line where it meets the neckline. It follows the neckline around the nape of the neck and back down the front over the bust line to the centre front. More strips run around the base of the fitted sleeve near the elbow above the ruffle. The rosette like coloured thread finishes the base of the ruffle. st ninians, george ward cole, bodice, late 1800s, brighton, margaret morrison ward cole