Trooper M Spinelli of VMR Squadron 4th/19th Prince of Wales's Light Horse volunteered for full-time duty in 1999 and served with 2nd/14th Light Horse (Queensland Mounted Infantry) in East Timor as part of INTERFET. The International Force East Timor (INTERFET) was a multinational non-United Nations peacemaking task force, organised and led by Australia in accordance with United Nations resolutions to address the humanitarian and security crisis that took place in East Timor from 1999–2000 until the arrival of UN peacekeepers. INTERFET was commanded by an Australian military officer, Major General Peter Cosgrove.Camouflaged jacket and trousers with name panel above right breast pocket; plastic buttons.Spinelliinterfet, timor, spinelli, uniform, camouflage

A 'Boutonneur' or Buttoner; is an instrument wherewith buttons are pulled through their o'er-strait holes. To use the implement on a shoe, one firmly grasped the handle, and then inserted the steel hook through the eyelet, grasping the button and pulling it through.Small chrome plated steel hook with bone panels riveted to either side of the handle.footwear accessories, button hooks, boutonneurs, buttoners

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Cotton apron comprised of scalloped panels of plain green and white floral patterned fabric.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

Metal figurine of boy with raised racquet next to a round panel with hook. Materials: Metaltennis

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. Teal glittery top with short sleeves, fake tie at the front and in-built bodice panel. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

St Patrick's R.C.Church interior around 1920-30Black and white photograph Interior looking toward the altar and the 4 panel arched windowsRose Series P. 1138. interior of St Patricks Church Port Fairy Victoriachurch, sunday-school, building, st patrick, catholic, interior

An honour board listing the past presidents of Melbourne Legacy that hangs in the main function room at Legacy House.A record of the past presidents being honoured in a prominent position at Legacy House.Wooden panel with gold lettering showing the names of Legacy Presidents from 1996 onwards.past presidents, honour roll

Caulfield Town Hall was built in 1891. By the 1920's the population of the area had grown rapidly and the building was no longer fit for purpose. A major redevelopment was undertaken in 1930-31, including the building of the large portico entrance and entrance hall. This roll of honour was installed around the inside walls of the entrance hall. Labour on the rebuilding project was largely undertaken by unemployed workers, one of the key ways that Council supported the community during the depression. This roll of honour has considerable local significance to the community of Glen Eira across all of the significance criteria. Alongside the war memorial in Caulfield Park and Caulfield's avenue of honour this roll is a central site of memorial for the residents of the municipality who served in the First World War. It contains the names of all Caulfield residents, including nurses, and makes no distinction between those who returned and those who were killed, making it a rare example amongst Victoria's memorial rolls. The extensive list of names makes it a valuable research tool, and its capacity to interpret municipal, social and military history makes it one of Glen Eira's most significant sites. Large, rectangular, bronze panels displaying polished bronze relief letters alphabetically detailing names of living and deceased citizens who served in the First World War. The panels have been mounted on stone walls with a marble appearance. There are 31 panels - vertically arranged in groups of 9, 1, 2, 2, 4, 3, 2, 3, 2 (clockwise direction) on the walls of the portico entrance foyer, Glen Eira Road entrance to Glen Eira Town Hall. Each panel has 50 names, for a total of 1,550 names. City of Caulfield Honor Roll / Erected to the honor of the living and the glory / of the dead who served in the Great War 1914-1919 (See attached file for list of names)honour roll, caulfield, glen eira, great war, world war one, ww1, wwi, 1914, 1919, monument, memorial

This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations

A History of the Stawell School, (Mt Lofty S.A.) Green Card cover with white inner border two ochre panels seperated by two B/W photos and a awn panel containing text. The to photo shows a building, the lower phot in of a large group of girls sitting down outside,A Short History of Stawell School The Forgotten School on Mount Lofty Short Lived but Significant Barbara Walleducation

The wooden door was salvaged from the wreck of the sailing ship Eric the Red, which was a wooden, three masted clipper ship. Eric the Red was the largest full-rigged ship built at Bath, Maine, USA in 1871, having had a 1,580 tons register. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) – about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. The ship had been sailing for an uneventful 85 days and the voyage was almost at its end. On 4th September 1880 the Eric the Red approached Cape Otway with a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. He ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats. The mizzenmast fell, with all of its rigging, then the mainmast also fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital for care and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod and samples of wood. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". “The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) Door from the wreck of the ship Eric the Red. The wooden singular rectangular door includes three insert panel sections. The top section is square shaped and is missing its panel or glass. The centre timber panel is about a third of the height of the top panel and the bottom timber panel is approximately equal in height to the total height of the two upper panels. The door fastenings include both a metal door latch and traditional door bolt. They are both attached to the front right hand side of the door. The bolt is just below the top panel, and the door latch is in approximately the centre of that side. The door latch has a round mark where a handle could have been attached. The wood of the door has scraping marks in a semi-circle around the door latch where the latch has swung around on its one remaining fastening and grazed the surface. There is a metal hinge at the top section of the door on the opposite side to the latch. The painted surface has been scraped back to expose the wood. The door is shorter than the average height of a person. On the reverse of the door there are lines on the panels, just inside their edges, is what appears to be pencil. The door is not aligned straight but is skew to centre.warrnambool, flagstaff hill, flagstaff hill maritime village, maritime museum, shipwreck coast, great ocean road, shipwreck artefact, eric the red, jaques allen, sewall, 1880, melbourne exhibition 1880, cape otway, otway reef, victorian shipwreck, bass strait, eric-the-red, door

The cedar sideboard has two cupboard doors below two corresponding drawers. The style is in keeping with the completion date of the lightstation in 1884, when furniture in the late nineteenth century had squarer, more defined lines and angles, and ornamental features. This sideboard is a modest version of this trend combining a pediment‐shaped back board with turned side columns and finials, rectangular mirror, decorative drawer pulls and door handle, as well as cupboards and drawers with bevelled, raised panels. The initials ‘PWD’along with a crown motif and letters are inscribed on the side indicating that the furnishing was the property of the government and made in its workshops. The Public Works Department, which operated in Victoria from 1855 to 1987, was responsible for the design of Victoria’s major public buildings and provision of furnishings to its offices as well as residences where the need was required.301 The keepers’ quarters at Cape Otway Lightstation were supplied with two of the same sideboards, which remain there today; on is intact (COLS 0001), the other missing the backboard (COLS 0015). Two similar but plainer examples, which are probably earlier in date, also remain at Cape Schanck (CSLS 0007.3; CSLS 0009.3). The Cape Nelson sideboard has first level contributory significance as a fine example of the good quality domestic furnishings made by the Victorian Government and provided to lighthouse keepers and their families in the late nineteenth century. It is also significant for its provenance to the lightstationThe cedar sideboard has two cupboard doors below two corresponding drawers with pediments‐shaped back board with turned side columns and finials, a rectangular mirror, decorative drawer pulls and door handle, as well as cupboards and drawers with bevelled, raised panels.

Floor length dress of royal blue silk fabric with a metallic thread forming a tinsel like pattern. There is a V neck at front with a high round neck at the back. The bodice front is made from two pieces with a centre seam. The bodice is attached to midriff panel of royal blue satin. At the front the bodice is gathered slightly onto the panel with a V shape at t centre front of the panel. At the hip line centre front the midriff panel narrows and then widens and the panel extends to the hem. The centre panel is divided and has a godet insert in the centre. Fifteen decorative fabric covered buttons with roulette loops are attached at centre of midriff panel. The back of the bodice is one piece is gathered slightly into a high waisted skirt made up of four gored pieces. The side opening (21 cm) at the waist on the LHS has three metal hooks with cotton loops and two press studs. The long sleeves are set in with lily point finish at the wrist. The underside of the sleeve at the wrist has ten decorative fabric covered buttons with roulette loops. Machine and hand stitched.costume, female daywear, blue silk dress

Photographs of Legatees in fancy dress at a function at Grimwade House, Caulfield. 01381.1 Has names written above the Legatees. From left to right: Harry Anderson, Harry Rigby, Harry Sa__? in beefeater costume, Bob Law, Keith ?_? and three Junior Legatees or school boys. 01381.2 On the back are 7 names in pencil. From left to right: __?, McCure, Carleton, Morgan, Hugh Brain (at the piano in clown costume), and Harold Peters. 01381.3 On the back are 5 names for the 7 men. From left to right: __, E.A. Doyle, Hugh Brain, Murray, Cox, __, Mathew in barrow. 01381.4 On the back are 4 names for the men in the photo, children are not named. From left to right: Gavan Cox, S.H. Birrell, J.R. Hall, and F. Whitman. 01381.5 On the back are 5 names. From Left to right: Lee Murray, Frank Meldrum, G.B.Law, Cyril Smith, and Neville Beech. According to the text on the back of one photo the venue is Grimwade House. From comparative photos it would appear the buildings in the photos are part of Grimwade House, which has been part of Melbourne Grammar School since 1918. A record that in the 1920s the Legatees held events to gather together for entertainment and pleasure. Black and white photo x 5 of a Legatee function at Grimwade House in the 1920s.Handwritten on the reverse: 'At Grimwade House, Caulfield / in the 20s' in blue pen. Some names on each panel in pencil.legatee event, founding legatee, costume

August 2000 until September 2002Manufactured by GMH AustraliaTungsten Pearl 4 door Commodore Equip sedan.Registered number RFL 681 Commodore Equip on rear Front left and right panels Ecotek V6vehicle, commodore, gmh, car, holden

This model was an early venture by General Motors in a more streamlined body shape than previous vehicles.This 1959 Vauxhall was bodied by GMH at the Dandenong plant in 1959. This vehicle went on sale in competition to the new FB Holden and was originally considered a serious challenge to the Holden.White body, blue roof, Four door sedan with mirror on driver’s door.Vauxhall badge middle of bonnet.. Cresta badge rear quarter panel. Chrome strip with Vauxhall on boot. vehicle, vauxhall crest holden, car

Black cotton lace, 50 cms deep, and 115 cms wide. A 2 cm wide band of hexagon shaped lace a 4 cm wide band incorporating a floral design, a 23.5 cm hexagon panel edged with a 21 cm peak edged panel. Oval shapes in edge panel, 12.5 cm deep, have what could be interpreted as a rose in each oval "frame".manchester, trimmings, delicate black lace piece

This hat was probably used in both China and Australia during the 1940s as a procession garment. It is linked to the Young Chinese League.This hat is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.A red, purple and blue silk, six paneled hat embroidered with gold braid and adorned with mirrors. Tip of hat has red, silk bobble sewn into place. Each panel is embroidered with gold and orange thread. Among the threads are eight circles of metal around one central, circle. There is a blue band around the bottom and a ribbon tie attached to one panel and it is lined with pale blue cotton fabric.There is a black stamp of a Chinese character on the inside of the hat.young chinese league, processions, melbourne, victoria, china

Textiles. Fine linen fabric, white in colour. A 19 cm wide panel of fabric has been sewn to the top of the cover and is edged on three sides with finely embroidered broderie anglaise featuring a circular, six petalled flower impression. A panel of the same broderie runs through the centre of the panel and is bordered by a band of three pin-tucks on each side. An envelope of the linen fabric backs the bolster pillow.textiles, domestic, bolster pillow case with pintucks

The internal decorative scheme of Villa Alba is significant as a fine example of the work of the leading Melbourne decorators, the Paterson Brothers. It is one of their first interiors to depart totally from the use of pre-prepared wallpapers of repetitive designs and it is a rare and comprehensive extant example of their domestic work. The decorative schemes in the ground floor hall, the dining room, the drawing, the vestibule, the stair hall, the upper hall, bedroom 1 and the boudoir are also individually of significance as outstanding examples of Victorian decoration. The frieze in the Dining Room of Villa Alba was painted by Hugh Paterson in 1883-1884, and depicts scenes from Walter Scott's novels 'Rob Roy' and 'The Heart of Midlothian.'High quality photographic record of the Rob Roy section of the frieze with annotations by Robyn Riddett. Photographs were taken by Trevor Mein.Panels 1 to 10 of scenes from Sir Walter Scott's novel 'Rob Roy'. Positioned below the architrave, each panel or lunette is separated by tromp loeil columns. The Rob Roy section of the frieze begins on the north wall, continues above the fireplace on the west wall, and concludes above the bay window on the south wall. [The panels on the east wall depict scenes from Scott's 'The Heart of Midlothian.][The captions on each image were created by Robyn Riddett using the text of each novel as a reference]villa alba museum, domestic interiors -- 1880s, hugh paterson, the paterson brothers, walter scott, rob roy

.1) Piece of dark khaki material. Sewed onto it are 3 cotton panels. One panel has regimental number: 1392 Name: Curtis. No other markings visible. .2) Set of six coat buttons R.A.M.C. gold colour plastic. .1) “1392 Curtis” .2) “RAMC” corp motiffabric, buttons, accessory, ramc

Cream sleeveless nightdress with round neckline. Fine lace insert on front of neckline and around arm holes and extending to back of neckline. Panels of ten pin tucks on each side of front lace panel and twelve pin tucks at centre of neckline.costume, female nightwear

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Long silk taffeta skirt made of patchwork silk pieces/panels with a matching silk scarf. The patchwork panels are in shades of pinks, purples and blues. The skirt is secured with clear plastic press-studs. A narrow internal border of lace is attached to the basque.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Clothing. Navy blue textured fabric possibly crimplene. Long tapered sleeves fastened with three covered buttons and loops at the wrist. High back neckline shaped to a V shape at the front. Centre front opening fastens with sixteen covered buttons and loops. Front yoke has a rouleau trim of fleur-de-lyse, and circular coils from 1 cm to 1.5 cm diameter. Side front panels are shirred at the yoke seam, and gathered at the shaped waistline panel. Waistline has a diamond shaped panel- 2.5 cm wide at the side seams, and eleven cms wide at the centre. Where the buttons extend over the midriff panel, the panel is shaped in a 7 cm V shape. Midriff panel extends into a belt at the side seams, fastening at the centre with a press-stud, and decorated with a flower of seven rouleau coils-1 cm in diameter. Hand stitched hem.costume, female, long sleeved navy dress

Copy of artist's map of the Shire of Eltham with numerous historical and cultural places of interest illustrated and notated including evidence of original Wurundjeri occupation and local flora and fauna. The original watercolour is held in the Nillumbik Shire Council Civic Collection. "Evans remembers being surprised they had asked an artist to create this map rather than a designer. Originally made as a watercolour, the map was later made into posters and adorned many homes around the area. The map creatively interprets the town and provides a wayfinding to both cultural and historical points in the area." Nillumbik Arts News December 2023. artist, buildings, cultural heritage map, fauna, flora, map, megan evans, shire of eltham, wurundjeri

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details..1) & .2) Pair of brown leather gloves. Panels have been stitched with brown thread. gloves, flying, raaf

Blue cloth featuring 4 panels with floral designs within them. Sitting in a silver frame"WMA 5" "PMA 1504" on verso "GS/LINE"