A copy of the Act of the Victorian Parliament relating to the property held in trust for Junior Legacy, Melbourne. It mentions that Richard Goldsmith of the United States wanted to mark his appreciation of services rendered in Australia to the armed forces of USA during World War 2 and in memory of the late David H Dureau. The company BG Corporation (of the USA), of which he was president, gave a gift of £27,059 to Junior Legacy Club of Melbourne for the purchase and fitting out of premises for the use of the club in its principal object of the care and welfare of children of deceased servicemen. Also that the building be perpetually known as the "D H Dureau Memorial Building". The first building that was purchased with the donation was 342 Swanston St, however it was found unsuitable and this Act allowed it be sold and a new building be found (293 Swanston St). The Act was cited as "Junior Legacy Melbourne (Dureau Memorial) Act 1953". The hand written note says that the Act "tells a story", is possibly part of the notes made when compiling the history of Legacy. They were in a folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). The notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The call for public donations was partially due to the purchase of the Dureau building and the need to modify the building for Legacy's needs. The documents from this folder have been added in separate records (see 01262 to 01281). The folder was part of an attempt to capture history of Legacy, generally from the 1950s. See also 01284 - Title deed of Legacy HouseThe documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future.Four page copy of an Act of the Victorian parliament relating to the property held in Trust for Legacy and a hand written note.Hand written on the note: "This Victorian Act (No 5717, 1953) tells a story:"properties, dureau house

The cap was found in 2017 during a clear up. It May have been donated or possibly left behind by a cadet who stayed at the Mission in the 20th C. The Mission was host to both Officers and Cadets during much of the 20th C.An example of trainee cadet clothing produced in the 20th C (ID No. 8405.66.075.6069).Stiffened size 17 white nylon-covered cap with air-vents and leather and black felt headband, with navy-blue woollen chin strap; lined with fabric and calico and stitched and printed nylon label.Combination of printing and hand-written; see image attached. Hand-printing "Reynold/ATC" (which possibly stands for Australian Trainee Cadet).sailor cadet, ran, trainee cadet, royal australian navy, agcf, reynold

Original owner - DOUGLAS John Charles Edward (Major), 10th Battalion, Yorkshire Regiment. Died 18th December 1915, Flanders.Rectangular shaped handkerchief, khaki colour, made of silk with hand embroidered name.Hand embroidered in white thread, top left hand corner "J. C. Douglas".clothing, handkerchief, ww1

This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration

Item appears to be all WW1 names, they are all being investigated to determine a possible area people were fromBanner, linen cream coloured with hand written names in black, sketches of plant motives, building, boardered with blanket stitching. Both sides are written on.“Hail ANZACS, Fight for Freedom, keep the home fires burning”anzacs, banners, ww1

These baby's silk socks x2 were made by a member of Gladys Reed's family c1930 in Moorabbin Shire and show the needlework skills .of residents . Gladys Reed was a member of the Ormond Choral Society c 1950 that performed plays and musicals in the the City of Moorabbin These baby's silk socks x2 were made by a member of Gladys Reed's family c1930 in Moorabbin Shire and show the needlework skills .of residents 1 pair x Finely hand knitted cream silk baby socks . Sole of foot is plain with decorative stitches on upper foot and leg. clothing, craftwork, silk, baby wear, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Grey cotton, fastened at wrist with a grey pearl button 1.5 cm in diameter. Three double rows of stitching in a V Shape on the back of the hand.Dent's Cotton Made in England 9costume accessories, male, gloves

This flag was designed and handmade by the South Vietnam Resistance Army. It was donated to the RAAF Vietnam Veterans Association by former soldier, Le Van Luc, who was a soldier in the South Vietnamese Army until 1975, and then a member of the resistance movement.Hand made Republic of South Vietnam National Flag. The main colour of the flag is yellow. It has three red stripes in the centre stitched in red.

Item re Ebdon.Khaki hat band, felt, cut on bias, black/red triangular, colour patches, machine and hand stitched. RAA 7th Australian Division uniforms - army, costume accessories - hat accessories, military history, passchendaele barracks trust

The train line from the city to Frankston was electrified in 1922 which intensified the sale in the municipality of Moorabbin, particularly land which was in the vicinity of the railway stations.Example of the progress of the Municipality of MoorabbinHand drawn plan of Scott's Estate, BentleighHand drawn plan of Scott's Estate, Bentleighcentre road, scotts street, renown street, lawaon street, wood street, leckie street, bolinda street, bentleigh, real estate

This apron 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 - adding her own handmade embroidered or crocheted decorative trim. In March 1915 Eliza travelled to San Francisco to visit her son, James. She went by train to Melbourne ("a pleasant journey on the up express') and the next day caught the express train to Sydney. She noted in her letters home that a " number of young men were going to Sydney to enlist but they had to stop in the corridors most of the way as there was no room for them to sit down". She spent the night on the train and arrived in Sydney the next morning and on the following day she boarded the R.M.S. "Moana" (a steamer which took about twenty-four days to reach San Francisco). She returned from Vancouver about five months later on board the "Manuka". It is very likely Eliza took this "Travelling Apron" with her on her travels. Eliza was travelling by herself and had no one to help her with her dress or her hair. "Travelling Aprons" (also known as Toilet Aprons or Tourist Aprons) were designed with different sized pockets for holding a lady's toiletries - hairbrush, hair pins, comb and sometimes even soap and a powder puff. This allowed the owner, when travelling and getting dressed in small places such as an overnight train compartment or a ship's cabin, to have all her requirements at hand without needing to search for them or have them roll onto the floor. Some of the pockets are finished with buttoned flaps to keep the items in place and when not in use, the apron could be hung up or rolled up and put away. Articles about the "Traveller's Apron" appeared in numerous Women's columns in Australian newspapers in the early 20th century - often with instructions and sometimes a pattern. In the "Age" on Sat 5th October 1907 in a column titled "Feminine Facts and Fancies" the author wrote "No man can appreciate the difficulties of dressing in a "wobbly" train or trying to do one's hair while a ship is weathering a storm". A year earlier (Saturday 24th March 1906) in the same column, the author wrote "... you have to spend nights in a train... forever struggling to dress yourself in a wretched little lavatory. You know how your hairpins and combs jump all over the place ... a train is always at its liveliest when you're trying to do your hair. My travelling apron saved me many a rage."This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also an excellent (and rare) example of an early 20th century innovation that helped solve the difficulties of privacy and convenience that many women experienced at a time when travel was becoming more accessible to them. A half apron, made of ivory linen with two waist ties and seven pockets. Along the top are two smaller pockets with triangular, buttoned flaps labelled "Hairpins" and "Nailbrush" and one larger unlabelled pocket. Underneath are two larger pockets labelled "Brush & Comb" and "Work" and two unlabelled narrow pockets. The seams are machine stitched and the pockets are outlined with hand embroidered feather stitch. The labels on the pockets are embroidered in stem stitch."Hairpins" / "Nailbrush" / "Brush and Comb" / "Work"flagstaff hill maritime museum and village, nhill, eliza towns, apron, travelling apron, tourist apron, textiles, toilet apron, sewing, embroidery, travel, warrnambool, great ocean road, trains, ships, moana, manuka, feather stitch, stem stitch, fashion, handmade, clothing, charles towns, needlework

H.M.A.S Watson, navy cap. Cream cap with blue tally band around it and tied bow attached on side. Stitching at the front of blue band - words ‘H.M.A.S Watson’. Two holes on either sides of cap for string to go through. Blue ribbon attached to inside. Also piece of string attached to inner cap, coming off stitching on one side.H.M.A.S. Watson stiched in yellow stitching on blue band at front of cap. A B Young inscribed in pen on inside material in white. 5 also inscripted under A B Young with other text - nnoa? White label stiched inside - AGCF - Australian Government Clothing Factory, VIC RAN Size 6 7/8, Indent No. 8405.66.0756070

Biography of Ivan Hodder from after he left School in his own wordsBlack Card Cover with Blue Tape on Spine, White Hand Written TitleIvan Hodder ( Hand Written)stawell

Part of the Kevin John Herdman No. 397661 Collection. See Cat no. 5942P, for details of his service.1. & 2. Pair of brown soft leather gloves with press stud attachment. Three rows of stitching on back. Double stitched hem around glove opening. Right hand size label sewn inside on opening hem. Manufacturers name on press stud.1. & 2. stamped in black on inside of gloves '341 (upwards arrow), D (upwards arrow) D.'uniform, accessory, gloves

Worn by Miss Eva Sebire - 1950s.One pair of ladies' gauntlet-style apricot Kayser silk gloves with three covered buttons on feature cuff. There are three rows of diagonal stitching on the cuff, outlining three points, and one row around the cuff. There are also three rows of stitching on the back of the hand.clothing accessories, gauntlet gloves, gloves

Clothing. Swimming costume.Ladies black woollen knit swimming costume. Two shoulder straps - width 2 cms. Skirted model with pants section attached. No bodice support or shaping.Jantzen Melb fabric label stitched inside left shoulder strap; Georges Melb fabric label stitched inside right shoulder strap; Jantzen diving girl label stitched on lower left of skirt.costume, female, swimwear

This cotton baby's nightgown is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire.The Maggs family were early settlers in the Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. A long white cotton infant's Christening or 'walking-out' dress. The neckline and short sleeves have broderie anglais trim. Bodice has extensive cut-work and hand embroidered feather-stitching. There is further hand-embroidered feather-stitching around the waist band. The skirt of the garment has pin-tucking and lower borders of further cut-work The garment is in good condition.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, baptism, dressmakers, craft work, maggs nance

In 1906 the Ballarat Progress Association commissioned Powell and Co. to publish a booklet called Guide to Ballarat the Beautiful.This booklet contained many photographs (including coloured photography) and description of businesses and icons of which inhabitants of the city could be proud. Berry, Anderson & Co. were commissioned to produce: 1918 Beautiful Ballarat: The City of Charm & Beauty and 1923 Beautiful Ballarat: The City of Charm and Beauty. http://bih.ballarat.edu.au/index.php/Ballarat_Progress_Association The card was made out to Frederick Martell who was registrar of the School of Mines Ballarat (SMB). W. Coulthard was secretary of the Ballarat Progress AssociationTwo cream cards with black print and some hand writing 12067.1 Cream front and verso 12067.2 Light brown with cream strip on right hand side , cream verso12067.1 24 Sept 07 hand written in black ink towards top right hand side of card. "Election of officers etc" hand written towards bottom middle of card. "Mr Martell" hand written in black ink on verso 12067.2 "June 10th 1907 hand written in black ink on front. Mr Martell handwritten in black ink on backballarat-progress-association, martell, coulthard, meeting-notice, 1907, frederick martell, ballarat progress association

Typed letter from Keith Kings of the TMSV, Secretary to Mr Denmead, Tramway Supt dated 9/3/1962, asking to charter a tram for the purpose of sound recordings on Friday 16/3/1962. Asks for the use of trams 17, a bogie tram, and the scrubber and nominates the proposed routes. Mr Charles Craig will do the recording. Not known if these tapes have survived.Yields information about hiring a tram to do sound recordings.Carbon copy of a letter on quarto sheet with hand written notes.Has typed "Copy Mr D Irvin" in red and a hand written note in ink in the top left hand corner.secv, ballarat, sound recordings, tmsv

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Myoora - Victorian Heritage Register (VHR) Number H0490 https://vhd.heritagecouncil.vic.gov.au/places/275 Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to port phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions.Page 7 of Photograph Album including four black and white photographs. Three photos are in a portrait orientation and placed diagonally across the page from the top left hand side to the bottom right hand side. One photograph in a landscape orientation is on the top right hand side of the page. Handwritten: 007 (bottom left hand corner)caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, views, cast iron work, reed henderson & smart, flats, gardens, asymmetrical style, slate roofs

Trudi Hogeman made this fan from old greeting cards. This is an old way of making fans with blanket stitch around the edges. She was a member of a craft group when she made this object. Trudi Hogeman died in January 2017 and is buried at Marlo. Her daughter is heather Terrell, president of the Orbost Historical Society.This item is an example of a handcrafted item and reflects the needlework skills and hobbies of women at the time.Six teardrop shaped leaves held together by a paper clip to form a fan. It has been blanket stitched around the edges of each leaf. Leaves are made of cardboard photographs possibly cut from greeting cards. All cards have floral images.handcraft hogeman-trudi fan

Purchased at Blackburn Op Shop.Hand crotchet doyley - a koala in a gum tree bough with sprigs of wattle top and bottom. Triangular shape stepped down corners. Tricot stitched edge.handcrafts, crocheting or crochet work

Black satin tea cosy hand embroidered in grub stitch with pink roses and cording in gold thread. Black cord Trim lined in cream silkhandcrafts, needlework, domestic items, cooking

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black

'List of Nursing Staff - 8th Division, evacuated from Singapore on steamship "Vyner Brooke" on 12th February 1942, and subsequent fates.' Table list column headings: Surnames; Initials (etc); Unit; Enlisted; Fate. Also provides other recommended sources with some statistics on the final page.A4 photocopy of a typed and hand-written document with hand-written annotations. Document is a list table in five columns.'Mr & MRS Jim ROGERS' [blue ink in the top right hand corner of the first page] '(NOW MRS FRANK STATHAM [WAS]) [blue ink on the lower right hand side of the first page]vyner brooke, ss vyner brooke, singapore, wwii, ww2, world war 2

At the end of World War One, there was a renewed interest in residential land and a number of estates opened up in the Municipality of Moorabbin. The train line from the city to Frankston was electrified in 1922 which intensified the sale in the municipality of Moorabbin, particularly land which was in the vicinity of the railway stations.Example of the progress of the Municipality of MoorabbinHand drawn plan of the McKinnon Railway Estate, McKinnonMcKinnon Railway Estate, McKinnon - hand drawn planmckinnon road, watkins street (now bent street), claire street, real estate, mckinnon, moorabbin

The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline.