Belonged to Kathleen Marjorie Dunn (nee McKenzie)Formal day dress in black crepe. It has a round neck and short set-in sleeves. The front opens from neck to waist and has four self-covered shank buttons. The bodice is slightly gathered at two points front and back. The skirt is gathered centre front with seven rows of shirring. The bodice features six arabesques in black and white beads. The skirt has two false pockets with similar beading. A small vent at the left waist closes with a hook and eye. The dress is machine sewn with a hand sewn turn-up on the hem.Nonecostume, george evans collection

Object. Green Velvet & Silk Decorative Chocolate Box Late Victorian Era Circa 1890. Gold Metal Edged Decoration On Each Corner & Gold Metal Clasp. The Centre of the Lid is Decorated with a Large White Moulded Piece of Celluloid Over Heavy Cardboard. The Celluloid Decoration depicts a Classical Scene either Roman or Grecian; 2 Ladies, 1 Reclining & 1 Standing, With A Peacock & A Swan Around A Pond Containing Lotus Flowers Or Water Lilies in Foreground. The Side of the Box were Silk & 3 Beads in Each of the Corners.J.S. Fry & Sonsdomestic equipment, containers, green velvet chocolate box

Uniform Trousers - MMTB - dark blue serge cloth, red stripe or bead on the outside of the trousers vertically, two front pockets, one back pocket from heavy calico cloth, belt loops, buttons for a pair of braces to be attached if needed, white cloth inner band at the top of the garment, button up fly and leather strips around the front of the trousers at the bottom where they would contact a shoe. Stamped inside on a pocket - "This garment has been permanently creased" and on the top band on the inside stamped "7-65", probably indicating the date of manufacture.trams, tramways, mmtb, uniforms

Wedding dress and veil worn by Margaret Vyner at her wedding to Ian McKendrick on 11th January 1958The McKendrick family came to Mt Beauty very early in the Kiewa Hydro Electric Scheme (KHES) days. Their son, Ian, worked in the Mt Beauty Post Office for 40+ years. The Vyner family were long time employees of the SECV working on the KHES and were residents of Mt Beauty. Margaret was a nurse at the Tawonga District Hospital at the Tawonga site and at the Mt Beauty site.Long soft white taffeta under-skirt. The outer is cut on the cross, made of nylon and with a train and has appliqued lace of a flower and is beaded. The sleeves are long and shear. The taffeta bodice is fitted with a featured V waistline. The sleeves are pointed (to cover over the hand) with a flower applique. There are 5 pearl buttons down the back and are fastened with loops. The side zip is metal and on the right hand side and at the top there is a hook and eye. The bridal veil - A large tulle circle edged with lace and formed into a 2 tiered veil held together with a green covered wire circlet decorated with wax flowers.vyner family, mckendrick family, wedding dress with veil

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia..1) black and white photograph of a woman dressed in a dark ankle length dress with a scalloped overskirt, wearing beads around her neck. She is standing on the steps of a cottage "Laura Villa" with a shrub to the left of her. The woman is Laura Wright. .2) black and white photograph of a woman wearing a long dark dress and a white cravat with a brooch, standing of the steps of a cottage. The woman is Sarah Wright and the cottage is "Laura Villa". .3) black and white photograph of a woman wearing a long dark dress and a white cravat with a brooch, standing of the steps of a cottage. The woman is Sarah Wright and the cottage is "Laura Villa"..1) Handwritten on back - Laura Wright, aged 25 years. Taken at Smeaton, January 28th 1922, by Frank Wright .2) Handwritten on back Mrs W. Wright, "Laura Villa" Smeaton. Taken by her son, Frank Wright on January 28th, 1922laura wright, sarah wright, laura villa, frank wright, smeaton

Page with copies of three black and white photos. One is a group - The Peanut Set 'Knuts' 1914. The ladies are in fancy dress. Their dresses are knee length with bobbles on the hem s and diagonally around the skirts. They are also wearing various head dress. The other two are head and shoulder photos. They are dressed in clown costumes. Both are wearing high peaked hats. The one on the left is wearing a dark collar with long triangular edges. The one on the right is wearing a collar and tie and a jacket with beads along the edge of the collar. The one on the right is Daisy Kline, Geelong and the one on the left is not named. Written on the bottom of the page is Feldheim & Gotthelf.photo, group, female, peter ellis collection, fancy dress sets, the peanut set 'knuts' 1914, daisy kline, feldheim & gotthelf

Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl. The donor's father was the youngest who was born in 1911.  The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist. The donor's father lived until he was 100 years of age.The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The costume, which may have been used as a mourning dress is comprised of a matching heavy black silk skirt and top. The styling of the short bodice is accentuated by pleating and by the use of spirals of Parisian jet (black glass beads) on the bodice and cuffs. Chiffon lace is attached to the cuffs and is of the period. The dress is made of silk damask with a woven design of joined lines and circles. The rigidity of the fitted bodice is achieved by the use of baleen and by a heavy striped cotton fabric. The wide skirt, in contrast, has a stiffened brown cotton lining. There is a small insertion on the inside of the bodice that may have been used for a watch. The dress is in excellent condition. elizabeth morrison, australian fashion - 1890s, women's clothing

The Fenton Art Glass Company was founded in 1905 by brothers Frank L. Fenton and John W. Fenton in an old glass factory in Martins Ferry, Ohio. Originally, they painted glass blanks from other glass makers, but started making their own glass when they became able to buy the materials they needed. They moved across the Ohio river to Williamstown, West Virginia, and built a factory in 1906. The first year for glass production was 1907. Frank Fenton was the designer and decorator. Jacob Rosenthal, a famous glass chemist is known for developing chocolate and golden agate glass. Perfume bottles for the Wrisley Company in 1938 were made in French opalescent glass with the hobnail pattern In 1939, Fenton started selling Hobnail items in milk glass. During the Great Depression and World War II, Fenton produced practical items such as mixing bowls and tableware. Fenton ceased "traditional" glassmaking at the Williamstown, West Virginia factory in July of 2011. However, the factory remains open as a jewellery making operation, producing handcrafted glass beads and Teardrop earrings.Late early to mid 20th century Jack-in the- Pulpet style Fenton vase. Hand-blown outer aqua blue glass over base of white milk glass. Heavily ruffled and crimped rim, with clear glass edging. The narrow neck joins to larger circular base. The body of the vase is also decorated with swirling ridges. Clear glass handle. Pont mark on base, but no Makers Mark. Fenton's glassware bore no Makers Mark until the 1950s.glassware, lights, fenton art glass company, ohio, west virginia, usa, fenton frank l., fenton john w., rosenthal jacob, early settlers, pioneers, market gardeners, moorabbin, bentleigh, ormond, cheltenham

Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress

Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress

Full length ivory coloured wedding dress. Fitted bodice of lace lined with satin. Small cap sleeves of lace. Vneckline edged with tulle. Nine appliqué flowers with beads and pearl in centre edging the neckline. Piping around waistline with V at centre front. Full length satin skirt with small train at back. Two layers of tulle over skirt at waltz length with dips to floor at centre front and back. Top layer of tulle has lace insert from waist to 37 cms drop back and front.Top layer of tulle below lace has scattered lace flowers appliquéd. Zip (35cms) opening left hand side.costume, female, wedding dress

Rectangular, beige, cloth-covered box with lid. It has a green, pink and red floral pattern overall. The lining and the inside of the lid is of a pale green fabric. A fine, pale green cord and knot braid decorates the edges of the lid. Inside the box there are: a)1 cream-coloured silk, handstitched bird pouch, with a gold-coloured patterned edging. The bird has 2 gold-coloured bead eyes. b) 1 square purple cloth perfume sachet containing rosemary. c) 1 small, glass-covered, coloured picture of a girl in a green and orange dress, with a pigeon on her shoulder. She is feding some birds and chickens.containers, storage boxes

Malachite is a green copper carbonate hydroxide mineral and was one of the first ores used to make copper metal. Malachite has been utilised as a gemstone and sculptural material in the past as its distinctive green color does not fade when exposed to light or after long periods of time. Malachite is formed at shallow depths in the ground, in the oxidizing zone above copper deposits. The material has also been used as a pigment for painting throughout history. Malachite is considered a rare gemstone in that the original deposits for the stones have been depleted leaving behind very few sources. In addition, the use of Malachite as gemstones and sculptural materials remains just as popular today as they were throughout history. It is quite common to cut the stone into beads for jewellery. The fact that Malachite has such a rich colour and one that does not fade with time or when exposed to light makes it particularly rare. Although there is no indication available of the locality from which the specimen was sourced, it is likely that the specimen was collected either in South Australia in the vicinity of the Burra Burra mines or in Victoria as part of programs of geological surveying undertaken in the Nineteenth and Twentieth centuries. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized copper carbonate hydroxide mineral with quartz pebbles in red conglomorate matrix presenting shades of cream, brown and green.Existing label: Malachite / (green) in / conglomerate / (white quartz / pebbles / in red matrix /geological specimen, geology, geology collection, burke museum, beechworth, geological, indigo shire, malachite, malachite specimen, australian mines, mines, geological survey, conglomorate, matrix

"Two hundred men of the Holy Name Society made a striking spectacle on March 26 when they marched through the streets of Daylesford to the Town Hall for a Communion breakfast, after Mass at St. Peter's Church, which concluded a tridium for the men of the parish, conducted by Rev. Father Whelan, P.P. There were many "New Australians" present. Among the visitors present were Mr. C. Condon, Mr. F. Frawley and Mr. Hooper, of the Melbourne Diocesan Union executive of the IIolv Name Society, and also eight members of the North Melbourne branch, beaded by their president, Mr. V. Sheahan. The president of the Daylesford branch (Mr. J. A. Gleeson) proposed the toast of "The Hierarchy and Clergy," to which Father Whelan and Father Moynihan, P.P.. responded. Mr. H. Poulson, vice-president, proposed the toast of "The Holy Name Society," and appealed for in increase in membership. Mr. C. Condon responded. The toast of "The Visitors" was proposed by Mr. H. Lilburne, who referred to the unavoidable absence of Father Day, spiritual director of the society. Mr. V. Sheahan and Mr. Hooper responded." (The Advocate 18 May 1950)Black and white photograph taken in Daylesford Town Hall depicting numerous men standing, and sitting at tables during the St Peter's Catholic Church Communion Breakfast associated with the Holy Name Society. st peter's catholic church, daylesford, communion breakfast, daylesford town hall, gus gervasoni, john hogan gervasoni, c. condon, f. frawley, father humphrey moynihan, h. poulson, j.a. gleeson, daylesford, holy name society, jim walsh, bert gervasoni, jack gervasoni, adrian rienets, terry mahoney, pat rodoni, rob rodoni, ken cantillon, eddie frith, j. keogh, eddie murphy, cocky collins, carl martin, jackie richards, jackie dwyer

Ivory coloured silk bodice. Part of wedding ensemble with matching skirt with train. (11400.513B). The silk fabric has an all over pattern of scattered leaves. The bodice has long sleeves and is fully lined with cotton fabric with a front opening. The cotton lining at the front forms a separate bodice with a front opening fastened with fifteen hooks and eyes from throat to waist. The lining is edged at centre front on both sides with a border of the silk fabric. The border narrows from 7 cm at the throat to 3 cm at the waist. In the lining of the bodice are two casings on either side of the front opening containing boned segments. Across the lining of the back are seven casings containing boned segments. The front LHS of the bodice has an outer layer of silk fabric with a squared neckline. The RHS of the bodice overlaps the centre opening of the bordered lining to attach across the left shoulder. From the left shoulder the front tapers diagonally to the waistline 4cm to the left of centre. This cross over section is fastened with ten hooks and eyes – seven of the eyes are attached to the bodice lining and three are on the LHS outer silk fabric layer. This section crosses full width to the edge of the LH sleeve, across the top of the shoulder to the neckline. The LHS outer section crosses back over the edge of the centre section. There is a third layer on the RHS with a squared neckline to form a symmetrical appearance. The two side sections are edged with ruffles of fine silk ribbon. The centre section of the crossover part has vertical pintucks extending from the throat for 9 cm. The fullness created by the pintucks is gathered to centre front where the waist dips to a shallow V shape. The back of the bodice has vertical pintucks extending 12 cm from across the shoulders, narrowing to a single vertical strip of pintucks (4 cm) ending at centre waist. The waist is edged with a border of silk ribbon with a horizontal tuck. Inside the back of the bodice above the waist cotton tape ties are attached. These ties extend to the front of the bodice and the ends are fastened with a metal buckle. On this cotton tape at centre back there are to metal hooks for attaching the skirt. Attached to the neckline of the front section of the bodice is a 7 cm stand up collar. The collar extends from the RH shoulder in front of the neck and across the LH shoulder and continues unattached around the back of the neck to attach to the edge of the collar at the RH shoulder. The edges of the collar are fastened with three hooks and eyes. The collar has three full width horizontal pleats and the top edge is trimmed with a frill of fine gathered silk ribbon. On the waistline at centre front and centre back are decorative buttons (3.5 cm) of pearl coloured beads. The buttons have a centre pearl bead bordered by small glass beads surrounded by 9 smaller pearl beads and nine small pearl beads. Each button is edged with a row of tiny class beads with 18 points. The long sleeves are fully lined and made of two sections. The underneath section of the sleeve is ungathered and shaped at the elbow. The upper section of each sleeve is gathered at the shoulders and attached to the underneath section with a series of small pleats down to the elbow creating fullness. There is a small cap sleeve at each shoulder over the top of the gathered sleeve. The cap sleeves are edged with a frill of gathered silk ribbon with a decorative row of gathered silk ribbon parallel to the edge. At each wrist is a gathered frill of silk fabric edged with silk ribbon. Each sleeve has an 8 cm split at the wrist on the back seam. Full length ivory coloured silk skirt. The silk fabric has an all over pattern of scattered leaves. The skirt is fully lined with cotton fabric. The skirt is made of 5 pieces. The centre front panel has two darts at the waistline. The two side panels are cut on the bias and wrap around to form a centre back seam gathered into the waistband and finishing 44 cm below the waist line. Two triangular pieces of fabric are inserted at the back below the centre seam to complete the full circle of the skirt. There is 30 cm back opening. The waistband is made of cotton tape (3cm) fastened with two hooks and eyes with a 2 cm crossover. There is another hook and eye fastener halfway along the opening split. There is one upward facing hook on either side of the centre back opening to attach the matching bodice. The LHS of the back opening has a cotton fabric pocket inserted along the seam. The hem of the skirt is edged with two 5 cm frills of gathered silk fabric.costume, female daywear, silk bodice

Clothing. Oval in shape, 4 cms deep at the back, and slightly flattened to 2 cms deep at the front. Deep brown straw on the outside, with a slight sheen, deep blue straw on the inside with a glossy finish. A fine elastic is attached at each side, to hold the hat in place. A band of stiffening lines the inside of the back, to hold the shape. Attached to the front of the hat is a 51 cm long, deep brown ostrich feather. A cluster of seven deep red (one loose) glass bead 'berries' and a scrunch of dark red velvet, hold the feather in place. The feather passes over the top of the pill box and extends an extended 30 cms over the back edge, in a sweeping, gracious curve.costume accessories, female, straw pill box hat with feather

Marine art, Maritime artLarge framed glazed landscape format painting depicting in foreground a rusty hull of a ship against a deep aqua blue sky. The hull appears to be in a dry dock with a stylized figure with a red top and blue pants looks down from the prow at the set of low buildings and yard in the foreground. Another ship appears to be moored behind the rusty hull but only the bridge of the ship is visible. At near right in foreground there appear to be two rounded graves or headstones.The frame is sharply beaded and with gilding. The painting has a window mount and is glazed with glass. Paint surface is thinly but intensley painted and seems to be gouache or watercolour on paper. Sealed at back with brown paper mostly intact and a corded hanging system.at lower right corner quadrant there seems to be a mainly rectangular ciphertankers, marine painting, artwork-paintings

Clothing. Navy blue velvet, on a brass frame, with a 34 cm long brass chain. A ''push-button'' 1.2 cm diameter, fastens the bag. A decorative, oval brass loop is attached to the centre of the frame. The velvet fabric is tightly gathered onto the frame. One side panel of the bag is exquisitely embroidered in a ''corded'' floral design, in pink, blue and greens. The bag is lined with a smokey blue watermark silk, with a flat pocket on one side. The bag contains a smokey blue pouch 7.5 cm square, holding a bevelled edge mirror on one side, and a pouch on the other, a blue nylon comb, two metal hair pins and a 5.5 cm long hat pin. with a pearl bead at one end.costume accessories, female, navy blue velvet embroidered bag

Clothing. Rounded neckline at the back, deeply scooped at front. Back fastens with 12 metal hooks and eyes. Back hemline is slightly shirred to nip in the 67 cm waistline, which is peaked at the cntre front. ''Leg-o-mutton'' type sleeves are gathered at the shoulder, and above the elbow, and finished with an 8 cm band of beading and sequin embroidery and a 4.5 cm black silk frill, and a frill of black lace, with an exquisite fruit and floral woven pattern. The neckline is trimmed with a deep lace and sequined silk overlay. Three velvet ''rosettes'' trim the centre front of the overlay. The silk bodice is shirred from just below the shoulders, to give fullness for the bustline sequins, tiny beads, velvet rosettes, silk chiffon frills.costume, female, black silk boned bodice with lace

B&W photo of a group of people in front of a partially constructed farm shed. Bill Hermon is seated on the ground in front. He is wearing shorts, long socks, a dark jacket and white shirt, and is holding the family dog. Seated behind him are his aunt, Kitty Quixley, wearing a dark skirt, top and cardigan, a string of beads, possibly pearls, and holding what appears to be a wide-brimmed hat on her lap, and his mother, Alice, who is wearing a dark skirt, dark top, and lighter jacket or cardigan, and who appears to have a large brooch or ribbon pinned to her chest. Standing behind Alice is Bill Hermon snr, wearing a dark suit, light shirt, and dark hat.

A black cotton tie pouch with embroidered yellow flowers and green leaves on two sides and pink flowers and green and white leaves on the other two. The pouch has a pink satin border and a pink bow on the fold, as well as two interior pockets and two pink ties (one detached). The pouch contains a shadow apron with a floral pattern and a lace border and it also has a separate beaded waistband. There is also a small satin sachet with the letters "J S T" embroidered in pale blue with a scalloped edging on the gold coloured side and a gold and white wreath embroidered on the crimson side with a white zig-zag embroidered edging. Finally, there is an unfinished, purple, velvet pouch with a pale blue satin lining."JST" embroidered in pale blue thread on the small satin sachet.pouches, sachets

Clothing. Wedding Dress - Bodice.Cream coloured bodice of wedding dress. ''Japanese silk with transparent yolk of chiffon tucked Russian Body'' ( Quote from newspaper of the day).Long pintucked sleeves. Fine ribbon trim and bows at wrists. Two flounces of silk, trimmed with ribbon at elbows. Front panel fastened at side with metal hooks and hand made loops, to show a centre panel trimmed with chiffon frills. Pearl beaded motifs at front. Sash at waistline ties at the side - finished with pearl beading, and and a stand up chiffon collar. Worn by Mary Smith who was the daughter of Felix Smith. He built the Wycheproof Court House, Post Office and Royal Mail Hotel. Mary and John Keane lived in a mud brick house after they their marriage. See also 11400.75, & 11400.77.costume, female, wedding dress bodice

A thick black Methodist Hymn - Book with self texture and embossed lines around the edges of the front and back covers. It has a black and pink handmade embroidered bookmark with a black beaded tassel included. The title is printed in gold lettering on the spine with four bands of indented stripes. On the endpapers at the front is The Lord's Prayer printed inside a red ornate frame and opposite is the hymn, Gloria with music similarly framed. The back endpapers have the hymn music for Dorology and the prayer, Benedictions - both are framed in red lines. The edges of the pages are gilt. At the back of the book there is an Index of first lines, an Index to the first line of every verse, except the first, in each hymn and an Index of authors. On the title page as well as the title - The Methodist Hymn - Book, there is included, For use in Australasia and New Zealand. 992p.non-fictionA Methodist Hymn - Book with It has the words for 1035 hymns and includes at the back an Index of first lines, an Index to the first line of every verse, except the first, in each hymn and an Index of authors.religious books, hymns

The photograph on the obverse side of the postcard was taken in Egypt on 4 March 1916, during World War I. Depicted are three unidentified Australian soldiers part of the Australian Imperial Force. They are dressed in military uniforms. Each of these men are seated atop a camel's back. All three camels are draped in - what are believed to be - traditional Egyptian textiles, including tassels, carpets and beads. In the background, we can see a triangular pyramid and the Great Sphinx of Giza. The Australian Imperial Force (AIF) were established by the Australian government in August 1914. This announcement marked the beginning of Australia's involvement in World War I. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first contingent of the AIF departed Australia by ship in November 1914. England was their destination. Although, their convoy was diverted to Egypt after the Australian High Commissioner in London, Sir George Reid, and the British military authorities unanimously agreed that the overcrowded military camps in England were unsuitable for so many men over winter. The AIF disembarked in Alexandria, Egypt on 3 December 1914, and the men moved to training camps near Cairo. It was in Egypt that the AIF and the New Zealand Expeditionary Force (NZEF) formed one united corps - the Australian and New Zealand Army Corps (ANZAC). This group of troops trained in the desert beneath the pyramids until March 1915.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. On 25 April 1915, members of the Australian Imperial Force landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day. The record's unique research potential is strengthened by its relationship to a historically significant site: the Egyptian pyramids. Since the postcard was produced in 1916, the record can be used as primary evidence for historians and conservationists studying these sites, or how these sites have evolved over time. The record may also be a useful resource for those interested in the history of Egyptian textiles. Furthermore, it may also provide insight into international relations between Egypt and Australia in the past and present.Sepia rectangular postcard printed on paper.Obverse: 172 / Reverse: 6536 / CARTE POSTALE / 4/3/16 / Rough riders under / the shadow of the / pyramids /military album, army, war, wwi, world war i, egypt, pyramid, great sphinx of giza, textiles, australian imperial force, aif, uniform

Assay is a process of metallurgy and chemical analysis used to determine proportions of precious metals in ores and other metallurgy substances such as silver or gold. The process helps identify pollutants present within a sample and can indicate a high level of pollution in a mining site. Stoneware crucibles are used in the fire assay process due to their ability to withstand high temperatures. Fire assay is a three step process where by samples from the mine are ground in a find powder and then mixed with dry powder chemicals. This mixture is heated in a crucible to extreme temperatures (crucible fusion) until all of the powers fuse into a glass like slag. Once this reaction is complete, the contents are poured into a mold and cooled. In step three (known as cupellation) the mixture is separated in a fire assay cupel and once this is complete the cupel with reveal a small bead of precious metals. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running potteries in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Two stoneware vessels of differing dimensions (0287.1 & .2). Unglazed and porous, showing extensive signs of use. Stamped and marked on the outside. 0287.2 has a shaped pouring lip. Six smaller items, coins, buttons (0287.3,.4,.5,.6,.7,.8) were found with the crucibles but their relationship to the assay items is unknown.0287.1; Large crucible; Bendigo Pottery / E. 0287.2; Small crucible: Pottery / C Icity of greater bendigo commerce, city of greater bendigo mining, making a nation exhibition

From Jessie Smith's collection of Island Events & Landscapes. Ventnor State School Students.Grade photo mixed girls & boys in front of weather board wall - doors at right. Two girls in white with beads front row. All look very serious!! Possibly 1919 or 20 and possible list of names following: Front Row: Nancy Grayden, Alma Forde, Ivy Forde, Ethel West, Berta Grayden, Elma West 2nd Row: Teddy Chapman, Harold Jones, Len Jenner, Sid Forde, Reece Jones, Len West, Isobel Chapman, Gwen Minus 3rd Row: Bert West, Ray Jenner, Gordon West, Charlie Grachan, Allan Jenner, Isla Chapman, Estelle Grayden, Dolly Dixon 4th Row: John Minus, Rex Dixon, Ken McKindlay, Billie Hunter, Teacher - Kath Cummings, Myrtle Jones, Pearl Kent, Mabel Jones.Ventnor S. S. No. 3895local history, photographs, state schools, black & white photograph, early education, ventnor state school, jessie smith collection, stan mcfee

Royal blue rayon knee length dress made of rayon fabric. Bodice is sleeveless with three shoe string straps on each side. Straps have a decorative knot at shoulder joining the three straps. The neckline is an inverted U shape across the front. The bodice is lined with the royal blue rayon fabric. The front of the bodice has two pleated panels running diagonally from the top with the right side overlapping diagonally. The skirt is an A line shape attached to the bodice with two pleats on either side of the front and back. The skirt is lined with brown paper stiffening fabric. A 9cm horizontal band with three pleats is attached above the waist line. On each pleat is a row of decorative buttons (6, 5, 6) made of strings of clear glass beads coiled into a spiral shape. The central back opening has a 36cm zipper.Tag sown inside back of bodice on RHS - Styled by Jeffrey of Melbourne All Rayoncostume, female daywear, dress

Clothing. Woman's black waist length long sleeved silk blouse. Wide scooped neckline with fold over collar (10 cm) with rounded corners. Kimono cut sleeves with geometric pattern of black beading at wrist (5 cm wide). Front of bodice has crossover section with fastening across left shoulder. Front section has 30 cm panel of black beading geometric pattern. Waist is gathered by a cotton tape casing 2.5 cm above the hem. The front opening is on the LHS from shoulder to waist with eight metal hooks and cotton loops. Opening across the left shoulder is fastened with four hooks and loops and one press-stud. Back of bodice has matching panel (30cm wide) with a black beading geometric pattern. Garment is unlined. Beading patterns use 1mm black beads.costume, female, woman's black silk blouse.

Charlemont & Co., operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Silver albumen cabinet card by Charlemont & Co., who operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. In this portrait of Mrs Merritt, she is posed gazing directly at the lens, thus achieving a potentially more intimate relationship with the viewer. All that is revealed however in this supposedly more direct pose is her face. As with an earlier generation, her hair is centrally parted and flattened to accommodate her bonnet, which is surmounted by feathers. The detail in her coat-dress is sharply revealed by new photographic processes that allowed firms like Charlemont & Co., to capture greater light and shade, as well as the detail of fabrics. The entire garment is beaded with what is probably Parisian jet. The beading is arranged in a ‘paisley’ design. The paisley pattern was to become ubiquitous in the 19th century as a design on everything from carpets, to shawls, to clothing.Mrs Merrittcharlemont & co., mrs merritt

The donation records indicate that this dress was worn by Georgiana Elizabeth Moore (1899-1974), who lived for most of her life in Brighton at 38 and later 40 Cochrane Street. Since the dress is of an earlier date, It is likely that it belonged to Georgiana's mother, Elizabeth Moore (1860-1950). Georgiana was born to Richard and Elizabeth Moore in Brighton in 1899. She was named after Richard's first wife, Georgiana Leake Moore (nee Paul), who had died in 1893 aged only 38. Georgiana is recorded as having been "tall with red hair". The family moved to Diamond Creek for several years, but returned to Brighton after Richard's death in 1922. Georgiana and her mother settled in Cochrane Street, where they lived for the rest of their lives. We know very little about Georgiana herself. Newspaper records indicate that she was a talented musician, graduating from the University of Melbourne with a diploma in music in 1927. BHS holds a small collection of items belonging to the Moore family. This dress was donated by Georgiana's niece, Jeannette Fraser, along with two nightgowns: a c. 1880 night dress believed to have been worn by Elizabeth and a c. 1910 night dress believed to have been worn by Georgiana's sister Amelia Henrietta Fraser (née Moore) while boarding at Merton Hall (this nightdress does also show a laundry mark of G.E. Moore and so may have been worn by both women). Georgiana herself donated a number of items to the Society in 1972, including a 1920s black and white geometric loom-beaded handbag.A good example of a princess line dress of this period in good condition and with provenance.A one-piece princess line dress, circa 1878-1882 of deep royal blue silk featuring Chinese-inspired self pattern. The neckline features a standing collar and is secured through the centre front from neck to floor with self covered buttons. At the front knee the fabric has been gathered and drawn to the back into a tiered fish-tail swag and trimmed with a matching blue knotted fringe. The swagging is created by interior tapes. The dress is backed with cream cotton.georgiana elizabeth moore, elizabeth moore, amelia henrietta fraser, brighton