Students from Bulla Primary School were taken on an excursion to Williamstown Beach. While there they did a number of beach activities, which included creating sand sculptures.The excursion was part of the children's social and scientific part of their studies. A non-digital coloured photograph of three boys at the beach and kneeling down on the sand starting to make a sand sculpture.school excursions, bulla primary schooil, williamstown beach, sand sculpture, beach excursions

The children are from Bulla Primary School. The local Bulla CFA fire truck is from Region 14 and they were invited to attend the school to talk to the students and to show them some of the workings of the trucks and the role of the CFA in their region.This is yet another extra-curricular activity that the children who attended the Bulla Primary School enjoyed before it was closed down in 1995.A coloured photograph of a CFA firetruck parked in the school ground with firemen preparing to demonstrate its features to some children. bulla cfa, fire trucks, bulla primary school

Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Horses were used at the gardens until the 1960s when the council bought a truck. Mr Biggs drove as Mr Anderson did not have a licence. He rode his bike to the Town Hall every Friday to put in the time sheets. The collection is the only known photos of the Gardens working horses and demonstrates Edwardian Municipal gardening techniques that continued into the 1960s. They are photographic evidence of the planting styles, species choices and structures. Details inscribed on the reverse of some of the photos confirm names of staff at this time. Photo 13 (m) m: Only known photo of Ernest Anderson to be held by the Gardens2013.001.a-l is a collection of 12 small format photographs from the Anderson family album dated from 1917-1936 plus one large image of donor's wedding c1953. Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Photo 1 (a) Sepia photo of young girl (Chic Anderson) on horse with no saddle. Two men, with hands on hips, standing alongside wearing hats. All are on a small hill (a compost heap) with a shrub on the left of the image. Photo 2 (b) Young girl and horse standing on the top of a small hill (compost heap). Girl has short hair and is wearing a jumper, skirt and long socks. Horse has no saddle and has its head down as if to eat. Photo 3 (c) Horse and foal standing in a fenced enclosure. Part of yard is paved. Horse has a white blaze and white feet. Foal has white blaze and white legs and is looking up at the horse. Photo 4 (d) Horse pulling a mower. Two men standing with mower. One is holding mower, the other the reins of the horse. Both men are wearing hats, with one wearing a vest. Horse has hessian wrapping on his hooves. Photo 5 (e) Horse and man. Horse has a rope bridle. Man holding bridle and is dressed in trousers, shirt, cardigan and hat. They are in front of a hedge and closed timber gate. Tall palm is in background. Horse is side on to the camera. Photo 6 (f) Man and horse standing in front of hedge and open timber gate. Palms in background. Man wearing trousers, shirt, vest, tie, hat. Trousers look to be tucked into boots. He is looking at the horse. The horse is facing the camera. Photo 7 (g) Three horses looking over a picket fence. All with a white blaze. There is a timber wall with a window to the right of the photograph. A man’s arm holding something is seen on the right of the photo. Photo 8 (h) Large palm tree, understorey of shrubs with two palms in the background. Photo 9 (i) Scene of the Gardens. Path dividing at a conifer tree. Woman in long skirt and hat looking up at the conifer. Different varieties of palm trees with understorey of shrubs. Photo 10 (j) Garden bed of Dahlias surrounded by a wire fence. Palms and other trees in background. Photo 11 (k) Avenue of tall palm trees with under storey of shrubs. Photo has angles cut at top corners and two large crease marks at the bottom right hand corner. Photo 12 (l) Set of cast iron gates – double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials on top. Photo 13 (m) Ernest Anderson and daughter Chic prior to her wedding. Ernest is holding his gloves in his left hand and Chic’s hand with his right. Palms trees in the background. Photo 1 (a) 'Ern & Harry / May 8th 1936' Photo 2 (b) ‘Jack aged 36 / Chic 5 years / (unclear) 1936’ Photo 3 (c) ‘foal born in / back shed’ Photo 4 (d) ‘The Olde Firm / Jack Ernie Harry / 1917’ Photo 6 (f ) ‘Before the / council provided / a truck all / work was done / with the horses’ Photo 7 (g) ‘our work horses’ Photo 9 (i) ‘Panoramic view of Gardens / looking South from Lodge / Wms Town Botanical Gardens / 15-10-17’ Photo 12 (l) ‘Gates Public Gardens’hobsons-bay-city-council, curator, lodge, horse, transport, dahlia, compost, anderson, williamstown, botanic, gardens, williamstown-botanic-gardens, hobsons-bay, hobsons, edwardian, gardening, 1936, 1917,

The donor is a descendant of Henry Bayles Ford, who was the light house keeper at Cape Otway for thirty years (1838-1878). Bayles' wife, Mary Ann had been governess for the Latrobe family. The original tea set was a gift to their daughter Agatha,, and the remaining cup and saucer has been passed down to her descendants.Porcelain cup and saucer, originally part of a tea set. Blue band on cup and edge of saucer. Cup rests on three feet. Grape vine motifs (colour) on cup, gold decoration on cup and saucer.1407 stamped on bottom of cup. Marking on saucer illegible.cup maryborough

Surrey Hills Mounted Police Station was located at 5 Suffolk Road (dem.) from 1889-1914. It was a police residence with two rooms as the police office and workshop. There were stables on the back fence. The property adjoined Wyclif Church in Norfolk Road. Gilbert McCallum rented from c.1914-1923 when he built a home in Westminster Street. It is his son Archie who can just be seen on the front steps. Archie remembers the 2 storied stables with a gantry for hauling feed sacks up with a block and tackle, then a polished wood slide to send the feed down. The McCallum children and local friends found this to be a marvellous slide. David McPhie, ex-police force, lived here with his family from 1923-c.1950. A black and white photograph showing a mid to late Victorian style weatherboard house with decorative brackets under the eaves. The verandah is of timber with decorative timber fretwork.surrey hills mounted police, suffolk road, surrey hills, wyclif church, (mr) gilbert mccallum, (mr) david mcphie, police, (master) archie mccallum

These are the children of Ernest Lance Young and Beryl Mair. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of 3 well dressed children identified as Barbara, Ken and Laurie Young. Barbara is holding a bride doll and Laurie, seated, is looking down at a book. The children are standing in a neat garden in front of a raised terraced flower bed.In biro on rear: "BARBARA KEN LAURIE / BACKYARD/ 11 YORK ST / MONT ALBERT" Printer's stamp J208ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert, looking down the driveway. Although the house is heavily screened by a mature garden with several large trees or shrubs, part of the front and one side can be seen. It is a weatherboard house with a terracotta tiled roof and Californian bungalow in style.In blue biro on rear: "11 YORK ST/ MONT ALBERT / 1962 APPROX" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

Both Hazel and Mabel Pye were artists and their father built a studio at the back of the 12 Loch Street home. The family were also associated with the amateur theatre group 'The Benwerrin Players'. Information from Frank Stamford (via Surrey Hills History Facebook page), March 2017: "This photograph was taken around 1918. It is a family occasion. The four people sitting down, from left to right, are Clara (Dolly) Stamford nee Noar (my grandmother), Frank Stamford (my grandfather), Laurence Stamford (my father, who was born in 1904), and Hazel Pye (a cousin of my father). The three people standing, from left to right, are Alice Pye (nee Noar) - mother of Mabel and Hazel, and sister of Clara, Reg Stamford (brother of Laurence, and born in 1900), and Mabel Pye." Dorothy Stamford was a cousin of Hazel and Mabel Pye.Black and white photo including Misses Mabel and Hazel Pye with other family members. The group is seated and standing in front of a verandah of a timber Edwardian style home.loch street, artists, 'tanglewood', mrs clara ellen stamford, miss clara ellen noar, frank stamford, laurence stamford, hazel pye, miss alice elanor noar, mrs alice eleanor pye, reg stamford, mabel pye

Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years. Harry Culliton (clerk; later bank manager) married Christina Mary Rothwell of Surrey Hills in 1897. They initially live in Canterbury Road before moving to 'Bayview' in Harding Street. They had 3 sons. The eldest Kenneth Rothwell Culliton married Molly Fanny Arthur in 1940. They continued to live in 'Bayview'. Molly was a foundation member of the Surrey Hills Historical Society.The image is significant in documenting the Surrey Hills Golf Club, no longer in existence, but also members of early Surrey Hills families. Black and white photo showing a barbed wire and post fence behind which stands a man, identified as Harry Culliton. He is wearing a suit, cap and a tie. He sports a large 'handle-bar' moustache and is gripping an iron golf club, preparing to strike a golf ball which is impaled on the barbed wire.Caption: "Harry Culliton playing from the barbed wire where his ball was impaled on the fence on the side of the coffin. To his opponent's dismay he managed to land the ball near the green and get down in two for a half."sports grounds, surrey hills golf club, riversdale golf club, clothing and dress, john arnold, harry culliton

Date is approximate. Donor's connection with Armitstead's Woodyard was that Frank Foley was a long term employee. The Empire Day movement was instituted in England in 1904 and on 24 May 1906 a group of Surrey Hills residents pledged to make Empire Day a success. From 1932-1938 large Empire Day celebrations were held in Surrey Hills and business and commercial vehicles were decorated to take part in large processions held in May each year. These attracted large crowds from all over Melbourne. The truck is parked outside Nethercourt Hospital at 15 Barton Street. The Armitstead family had a business in Union Road which supplied wood in winter and ice in summer. Photos such as this one are evidence of the importance once attached to celebrating Empire Day, which was held on 24 May (Queen Victoria’s birthday). From 1905, a range of patriotic activities across Australia were performed on this day. There was a focus on schoolchildren, who were given a half-holiday, and the occasion was often highlighted with bonfires and fireworks in the evening - in this area at Beckett Park. The parade down Union Road was famous throughout Melbourne and attracted large crowds. Floats in the parade were often decked with British flags. The pro-Empire sentiment in the Surrey Hills area in part reflected the background and strong ties of many families.Black and white photo of a delivery truck with bunting and ferns over the cabin and back. The wheels have straws around the rims and more foliage is on the cabin roof and bonnet. The back of the tray is up and boxes, foliage and possibly a lion's head decorate the tray. Behind is a 2 storey (?) rendered building with an external timber staircase broken in 2 by a landing. The house sits behind a simple picket fence.On the cabin door of the truck: "S ARMITS ....[remainder in shadow] / Surrey Hills / phone 10X1816 / [undecipherable]" On back of the original in pencil in top centre left "446a" in Jocelyn Hall's handwriting; centre on a piece of paper stuck on with tape "Mrs D Foley / 39 Sunbury Cres., / Surrey Hills / Phone 8301163".empire day, festival and celebrations, woodyard, parades, processions, hospitals, nethercourt hospital, stephen godfrey armitstead, frank foley, mrs d foley, barton street

Thought to be taken at "Terreglea" in Warrigal Road circa 1900. Maybe related to the Dodgshun family.A black and white photograph of a man standing in bushland. He is wearing a coat that has toggle-like closures down the front (instead of buttons). He is also wearing a cap and has his hands in his pockets.clothing and dress, warrigal road, surrey hills, terreglea, house names

This nightgown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. The item appears to have been made or altered to accommodate a pregnant belly, however purpose made maternity clothing was not common at this time. Mrs Ward-Cole’s six pregnancies took place in 1843, 1844, 1845, 1847, 1849 and 1851. The style of this garment in particular the shape of the sleeves would indicate that it is most likely to have been constructed in circa 1860, so whilst it appears to be a maternity item, and historically has been referred to as thus, this purpose cannot be confirmed. 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 demolishedA hand sewn ivory cotton muslin nightgown, c. 1842–1850. The bodice is made of delicately embroidered muslin in a floral design. The open flat collar features a scalloped lace frill underneath. The bodice fastens with thirteen mother of pearl buttons down the centre front. After the fourth button, the remaining buttons are concealed beneath a full gathered modesty skirt, which falls from just below the bust line. The modesty panel is secured horizontally across the bodice by six mother of pearl buttons. The sleeves finish over the back and palm of the hand in two flattened peaks. The front of the gown consisting of the modesty front is full length. The modesty gown at both sides joins two panels that are an integrated part of the bodice. At the centre back there is a very full gathered panel with lace trim that falls to create a train. It is semi-attached to the bodice with a top section secured with mother of pearl buttons and small ties. The purpose of this design feature is unknown. st ninians, george ward cole, brighton, night gown, thomas anne ward cole

This peignoir or morning gown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. 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 mid blue-green cotton and lace peignoir or morning gown, c.1860. The bodice starts at the neck with a clavicle height, rounded neckline with a turn down flat collar, and is finished with a cream lace frill next to the face. The sleeve starts at the natural shoulder line and its overall silhouette is reminiscent of a soft three quarter length imbecile sleeve constructed of four layers of alternating fabrics. At the shoulder, there is a blue-green flap, which crosses across the top and back of the shoulders towards the centre upper back in a 'v' shape. Here it finishes where it meets with the gathered top of the fabric that creates the train. Underneath this shoulder flap is a gathered, long cream frill that finishes just above the elbow. Underneath this frill is the full gathered blue-green sleeve. Finally falling from this a second gathered long cream frill finishes at the three quarter arm. The bodice buttons with five metal buttons from the neckline to just above the bust. Here it meets a heavily gathered front in two pieces, which falls with fullness to the floor. This full section is secured closed at the centre front with four hooks and eyes over the bust and then continues with shell buttons through the remainder of the garment.st ninians, george ward cole, morning gown, peignoir, brighton, thomas anne ward cole, margaret morrison ward cole, agnes bruce ward cole

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.Black silk satin, lace and beaded pelerine from c.1890. The pelerine features a silk high stand collar covered in black lace. It secures around the neck and down the centre front to the waist by seven hook and eye closures. A black lace frill extends down the centre front from the throat to the centre front tip of the garment. The shoulders feature a heavy, intricately beaded floral design open sleeve through which the arm would be visible. The sleeve finishes around the elbow in a point, however the beading hangs down to below the hip in a loose fringe. At the back from below the shoulder, the garment shapes in to finish in a tapered 'V' shape over the wearer's coccyx. There is a hand stitched "M" in white thread on the inside lining of the pelerine near the neck.pelerine, brighton, barone, seaview

This dress, which was made around 1820, was passed down through five generations of a single family before its donation to Brighton Historical Society in 2007. It originally belonged to a great-grandmother of Margaret Reynolds (1881-1958) of Hertfordshire, England, who herself came into possession of the dress around the early twentieth century. Having no daughters of her own, in 1945 the 64-year-old Margaret sent the dress as a Christmas gift to her niece, Margaret Willoughby Reynolds (1907-1996). In the letter accompanying the parcel, donated to the Society with the dress, the elder Margaret writes that she loves the dress very much but has now outgrown it. She makes reference to her own mother Mary Reynolds (nee Lloyd)'s pleasure at seeing the dress worn, indicating that it may originally have belonged to one of Mary's grandparents. She had two requests of her niece: first, that the younger Margaret wear the dress on Christmas Eve as a treat for her Mary (the letter includes styling advice on how the dress should be worn and accessorised), and second, that she one day pass the dress on to her own daughter or niece. In March 1968, the younger Margaret gifted the dress to her Australian-born niece, Dorothy May England (nee Reynolds, 1924-2013), along with a letter of her own. Dorothy, a Bayside resident, donated the dress and both letters to the Society in 2007. The letters paint a picture of the significance of the dress within the Reynolds family and its journey from England to Australia.A white, mauve, purple, red, and green paisley / floral printed cotton day dress from circa 1820. The day dress features a wide scooped neckline, with a dropped shoulder line. At the head of the sleeve is has three lines of gathering creating a narrow arm hole around the shoulder, flaring out into a leg of mutton sleeve. The sleeve finishes neatly at the wrist with a cuff that secures with two brass hook and eye closures. The dress bodice is open at the centre front and secures with six hook and eye closures to the empire line waist. Over the breast on either side of the opening are six diagonal pleats, pressed and secured facing towards the neck. This pleated detail is on a facing that extends from shoulder to shoulder and finishes with a bound edge. The remainder of the front bodice is plain and secures to the skirt at the empire waistline. The skirt pleats onto a binding, wrapping around the torso and securing to the bodice with eight hook closures. At approximately knee, height the skirt has an additional gathered flounce with the dress finishing at approximately ankle length. From the back, the bodice is plain and the skirt is gathered and sewn to the bodice at Empire line. Alterations to the garment have been made with the addition of hooks and eyes. The garment is generally in good condition although the skirt at the front shows evidence of damage and subsequent repair.day dress, 1820s, migration, dorothy may england, margaret willoughby reynolds, margaret reynolds

A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

This dress is a 'Dolly Varden' or 'shepherdess" style costume worn by Ida Annie Wallace (1890-1976) on a sea voyage to China accompanying her parents in 1911. The BHS has a photo of Ida wearing this dress when she was a guest at a dance for young people given by the Lord Mayor of Melbourne (possibly T. J. Davey). This party may have been held on the ship or it may have been a seperate event. This style dress was a popular choice for fancy dress in the late 1890s and early 1900s. The style is named after the character Dolly Varden in Charles Dickens, 'Barnaby Rudge' 1841. Around 1872, Dolly Varden-inspired costumes and paraphernalia were very a popular craze. Family information states that the silk for this dress was purchased by Ida and Marjorie's grandfather's sister (great aunt) in England circa 1840. The dress was donated by Marjorie Wallace (1901-1999), Ida's sister. Marjorie did not accompany the family to China, but stayed home with a governess. Marjorie lived in Brighton between 1923 and circa 1950 and attended Firbank Church of England Girls Grammar School.A dress consisting of bodice (.1) and skirt (.2). The bodice is made from beige silk with sprays of red and blue flowers and originally laced down the centre front with pink ribbon. The lower part of the bodice is modelled on a late 18th century polonaise design. The bodice is boned and features waist tapes. The elbow length sleeves are finished with beige hand made Maltese lace featuring Maltese crosses. The mid calf length skirt is made from pale pink silk which has been quilted and lined to create a stiffened form. Also with the dress is a piece of scrap floral fabric (.3) that is the same as the bodice fabric.dolly varden, marjorie wallace, barnaby rudge, charles dickens, fancy dress, ida annie wallace

This dress belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.White cotton high-waisted maxi dress printed with black spots and trimmed with red rickrack. Elbow length sleeves. Fastens with centre back zip.Label, printed black on white acetate, centre back: JILLIAN / OF / MELBOURNE1970s fashion, maxi dress, bernice overend, overend family, chevy chase, brighton, melbourne designers, jillian of melbourne

This pant suit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with Darren, Jenny and their three children. Stell-Ricks was the label of Melbourne fashion designer Stella Dare.Pant suit comprising tunic (.1) and flared pants (.2) made from cream, yellow and gold lurex woven in a floral pattern. Tunic has a pair of non-functional pocket flaps at breast and two finctional pockets at front hip area. Tunic fastens with a centre back zip. Tunic lined with shell pink poyester satin; pants unlined.Label woven white on black acetate centre back tunic: Stell-Ricks / OF MELBOURNE / SUITS TOPCOATSpant suit, 1970s fashion, chevy chase, overend family, bernice overend, melbourne designers, stell-ricks, stella dare

This outfit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.Three-piece woman's outfit comprising double-breasted cape, cropped sleeveless top and skirt; cream wool woven with silver lurex. Top is decorated with a centre front fabric bow and is decoarated with fake pearls. All items lined with cream polyester. .1 - cape .2 - top .3 - skirtLabel printed black on white acetate, centre back cape, top and skirt: DESIGNED AND HANDWOVEN / BY / Robert Maltuswoman's suit, chevy chase, overend family, 1960s fashion, robert maltus, bernice overend, melbourne designers

This bodice, which originally had a matching skirt, belonged to Phoebe Richardson (nee Brinsmead, 1885-1956), who married Charles William Richardson in 1911. The family lived in Geelong. Brinsmead Lane, off the Bellarine Highway in Leopold, is named after Phoebe's family, being the original location of the family home. The bodice was likely made by a seamstress as the family were quite fashion-conscious. Phoebe's daughter Edna Baker (nee Richardson, b. 1914) wore this bodice as a dress-up as a child. She donated it BHS in the 1980s and provided additional information on it when visiting the Society in 2004.Khaki green silk bodice, boned around waist. Ecru cotton lace overlay on sleeves and high neck. More lace over shoulders, gathered and tapered down front of bodice. Stripes of velvet ribbon around yoke. Four more stripes of velvet ribbon around upper sleeve, and three around each cuff. Velvet bows and metal buckle at waist. Tape at waist with hooks to attach to skirt. Lined with brown fabric. 20 mother-of-pearl buttons down front.phoebe richardson, phoebe brinsmead, edna baker, 1900s

Franco Liburti was wearing this coat when he farewelled his wife Assunta in Naples, Italy in 1957, the day she departed for Australia. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Men's coat featuring a charcoal herringbone weave, with three buttons down the front and on each sleeve cuff.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community, naples

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Red princess seam coat dress with ten self covered buttons down centre front and crew neck. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

Rex Hollioake, Appeal Chairman, turns the sod for the redevelopment of Kelaston, whilst long-term resident Mary Tiernan and her family look on. A workman pulls down a fence post bordering the site for the redevelopment.7 x colour photographs of the first sod turningMary Tiernan - resident with daughter + 2 granddaughters Sara (6) and Olivia (4) Rex Hollioake - Appeal Chairman turing the sod.association for the blind, rex hollioake, mary tiernan, kelaston home (ballarat)

Painted for Mrs Ruby Young whose family owned the hotel at one time - (since burnt down) The hotel was built around 1857 near "Shaw Crossing" when Cowton and Bland selected the site because the bullockies watered and rested their stock on route Belfast and Portland. The name of the hotel came about because the winning post for the horse races was in front of the inn and the jockeys weighed in there.Illustration of a hotel that became the hub of social life in Orford that no longer exists.Watercolour painting of "Horse and Jockey" Hotel Orford. Frame composite wooden gilt embossingChristopher Mathews Ruby Young 1989 50 Whalers Road Victor Harbor S.A. 5211 1/2/84local history, illustrations, watercolours, horse and jockey hotel, ruby young, horseracing

Obituary of Marjory (Marg) Lane who passed away on March 27, 2001. The tribute, penned by her nephew Peter Baker and friend Marjory West, chronicle her early family life, experience as a student teacher, and lifetime involvement with the Guiding Association, volunteer service with 3RPH and helping establish Audio Description service for theatre goers. 1 photocopied article on cut down A4 sized pagenon-fictionelizabeth maxwell, neil maxwell, vision australia foundation, marjory lane

MEYER COLLECTION - FALLS CREEK PHOTOS In 1947 a determined group of like-minded State Electricity Commission (SEC) staff including Ray Meyer, the chief surveyor of the Kiewa Hydro-Electric Scheme, had a common interest that revolved around the skiing potential of the snow-covered high plains which included what is now the resort of Falls Creek. The six SEC employees, Toni St Elmo, Ray Meyer, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson (together with their families) banded together to secretly build a 'hut' that was the first ski lodge at Falls Creek. Using a road built in 1930s to gain access to Falls Creek, their hut project was carried out in secret as efforts by other skiers were blocked by H.H.C. Williams – the engineer in charge of the Hydro Scheme. In 1946 Ray Meyer made a trip to the Lands Office in Melbourne. He came away with a 99-year lease on three acres that was ideally suited for a hut designed by Lloyd Dunn. Adrian Ruffenacht (Design Engineer for the KHS) had suggested where the group should build because of easy access to a spring for water. Much of the building material required was scavenged from derelict huts on the high plains. Due to the need for secrecy, the determined group worked on the hut in the evenings and weekends to avoid detection. During the building period the group had met at Echidna Rock (now known as Eagle Rock) where Skippy St Elmo announced, "This is my favourite ‘Skyline’.” And so the first lodge in the area at Falls Creek Ski Resort came into existence. With the development of the International Poma in the 1970s, the Skyline Lodge, which was sited between the ski-lift’s pole one and pole two, was demolished. However, the legacy of Ray Meyer, Toni St Elmo, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson and Skyline lives on in the vibrant atmosphere of Falls Creek Resort. The MEYER COLLECTION documents developments on the Kiewa Hydro Scheme and their life at Falls Creek from the mid 1930s to 1960s.This image is significant because it documents the activities of a prominent family in Falls Creek, VictoriaA photo of Ray Meyer at the Kiewa River near Blairs Hut. The original hut, built by cattlemen Frank and Tim Blair in 1923-24, was burnt down around 193o. It was rebuilt by Frank and his son in 1932. It is constructed of Alpine Ash.ray meyer, blairs hut, falls creek, victorian snowfields

MEYER COLLECTION - FALLS CREEK PHOTOS In 1947 a determined group of like-minded State Electricity Commission (SEC) staff including Ray Meyer, the chief surveyor of the Kiewa Hydro-Electric Scheme, had a common interest that revolved around the skiing potential of the snow-covered high plains which included what is now the resort of Falls Creek. The six SEC employees, Toni St Elmo, Ray Meyer, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson (together with their families) banded together to secretly build a 'hut' that was the first ski lodge at Falls Creek. Using a road built in 1930s to gain access to Falls Creek, their hut project was carried out in secret as efforts by other skiers were blocked by H.H.C. Williams – the engineer in charge of the Hydro Scheme. In 1946 Ray Meyer made a trip to the Lands Office in Melbourne. He came away with a 99-year lease on three acres that was ideally suited for a hut designed by Lloyd Dunn. Adrian Ruffenacht (Design Engineer for the KHS) had suggested where the group should build because of easy access to a spring for water. Much of the building material required was scavenged from derelict huts on the high plains. Due to the need for secrecy, the determined group worked on the hut in the evenings and weekends to avoid detection. During the building period the group had met at Echidna Rock (now known as Eagle Rock) where Skippy St Elmo announced, "This is my favourite ‘Skyline’.” And so the first lodge in the area at Falls Creek Ski Resort came into existence. With the development of the International Poma in the 1970s, the Skyline Lodge, which was sited between the ski-lift’s pole one and pole two, was demolished. However, the legacy of Ray Meyer, Toni St Elmo, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson and Skyline lives on in the vibrant atmosphere of Falls Creek Resort. The MEYER COLLECTION documents developments on the Kiewa Hydro Scheme and their life at Falls Creek from the mid 1930s to 1960s.This image is significant because it depicts a member of a pioneering family of Falls Creek area, and one of the founders of Skyline Lodge.A black and white image of Joan Meyer in Diamantina Hut. The hut on Mt Hotham, was built originally as a Country Roads Board workers hut in the early 1920s to shelter workers who were building and maintaining the Great Alpine Rd. It was rebuilt in about 1968 as the original hut was burnt down in the 1939 fires.falls creek, victorian snowfields, joan meyer, diamantina hut

MEYER COLLECTION - FALLS CREEK PHOTOS In 1947 a determined group of like-minded State Electricity Commission (SEC) staff including Ray Meyer, the chief surveyor of the Kiewa Hydro-Electric Scheme, had a common interest that revolved around the skiing potential of the snow-covered high plains which included what is now the resort of Falls Creek. The six SEC employees, Toni St Elmo, Ray Meyer, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson (together with their families) banded together to secretly build a 'hut' that was the first ski lodge at Falls Creek. Using a road built in 1930s to gain access to Falls Creek, their hut project was carried out in secret as efforts by other skiers were blocked by H.H.C. Williams – the engineer in charge of the Hydro Scheme. In 1946 Ray Meyer made a trip to the Lands Office in Melbourne. He came away with a 99-year lease on three acres that was ideally suited for a hut designed by Lloyd Dunn. Adrian Ruffenacht (Design Engineer for the KHS) had suggested where the group should build because of easy access to a spring for water. Much of the building material required was scavenged from derelict huts on the high plains. Due to the need for secrecy, the determined group worked on the hut in the evenings and weekends to avoid detection. During the building period the group had met at Echidna Rock (now known as Eagle Rock) where Skippy St Elmo announced, "This is my favourite ‘Skyline’.” And so the first lodge in the area at Falls Creek Ski Resort came into existence. With the development of the International Poma in the 1970s, the Skyline Lodge, which was sited between the ski-lift’s pole one and pole two, was demolished. However, the legacy of Ray Meyer, Toni St Elmo, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson and Skyline lives on in the vibrant atmosphere of Falls Creek Resort. The MEYER COLLECTION documents developments on the Kiewa Hydro Scheme and their life at Falls Creek from the mid 1930s to 1960s.These images are significant because they depict aspects of the life of a pioneering family of Falls Creek and the founders of "Skyline", the first lodge at Falls Creek.A collection of photos related to a sledge trip between Fitzgeralds Hut and Shannonvale in September 1937. 1. L - R:- Cyril Louder, Eileen McEvoy, Bill Burrows (?), Dad Fitzgerald, Olive Sandell (standing in front of Marie Hatters) 2. Little Jimmy Wheeler 3. Fitz's Hut - leaving for Shannonvale 4. Looking down Middle Creek valley from SEC Camp Bogong High Plains 5. Tom Fitzgerald has a nap at Fitz's Hutfalls creek, fitzgerald hut, shannonvale, sledge party 1937