This glass plate photograph shows good detail of members of the Warrnambool Garrison posing for their photograph in front of a young township. There are other well-dressed citizens behind them. The three men with frogging on their sleeves were commanders were likely to be commanders. The men are facing north with Cannon Hill and the fortification area in the background. It dates from the 1860s. The firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles. The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s. The three storey building in the photograph is likely to be the Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time; if one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications. The glass plate method of photography was widely used during the mid-19th to early-20th century. The donor and maker of the photograph are unknown. Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century.This photograph is a record of the very early local defence force, circa 1866. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at that time. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back, with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. Photographer looking towards the south east and Cannon Hill, with the Warrnambool Garrison facing north, ca.1860s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, helpmann, manifold and bostock, 1853 lee enfield musket, tintype, warrnambool garrison, 1860s, cannon hill, manifold & bostock, flour mill, 3-storey building

Poster - printed on off white paper of a lady with 5 parcels, a case mark "S. S" and a well dressed man reading a newspaper and with two fingers around the hand rail looking at here - taking up the whole of the seat. In the background is a sign on the tram with the words "Move Up Please" Has a message "Here's another "Selfish Sue" who dawdles all her shopping thru, then late she rushes for Tram, and some tired worker has to stand". Promoting early shopping and passenger behaviour. Has the initials JH on the bottom of the message.trams, tramways, passengers, behaviour, shoppers, cartoons, illustrations

Black and white copy of original portrait showing a man with a full beard and mustache, wearing a light coloured suit, sitting to the right of a lady who is standing, wearing a dark/black fitted long sleeve dress. She has her dark hair tied up in a bun and parted in the middle. Small white ruffle around her neckline, with a large cameo at her throat. Buttons down the bodice."Mr and Mrs John O'Meara".mr john o'meara senior, mrs john o'meara (nee maria o'brien), portrait, photograph

Sepia image of Pall mall, taken from just south of the Alexandra Fountain. Shows horse drawn vehicles, people walking. Women dressed in long dresses, tramline on road, tram heading up towards View Street. Poppet head and mining chimney of Royal Reserve mine on LH side of Pall Mall. Post Office and Shamrock buildings on either side in mid-ground. On back of image in biro 'Royal Reserve G.M., Hustlers line of reef, Pall Mall, Bendigo.'bendigo, streetscape, pall mall

Black and white photograph of Jacket Spud trailer set up on Esplanade with two unnamed proprietors dressed alike in striped trousers, black apron, light coloured T shirts and peaked caps standing in front of the oven Lakes Entrance Victoriabusinesses, restaurant, commerce

Black and white photograph of two young girls with long fair hair, wearing identical long sleeved short dresses standing either side of an ornate chair, girl on left resting left forearm on back of chair, right arm by side, girl on right holding right arm up on prop behind, left arm by side."Kitty and Lizzie Burke father was train engine driver from Linton".kitty burke, lizzie burke

Decorated with Allied flags to welcome home a family member after World War 1. Mr and Mrs William James Donaldson moved into the house after their marriage in 1900 and it has had a family connection ever since. Courtesy: Mrs Elizabeth Mary DonaldsonA black and white close-up of the decorated porch of a brick house. A man is sitting on the front steps, two women are standing to his left and a little boy is sitting on a verandah post. Flags, including an American, British and Australian flags, decorate the porch.clothing and dress, festival and celebrations, insignia, flags, world war 1, 1914-1918, william james donaldson

Sephia-toned photograph of May D. Harrison from the shoulders upwards. Nameplate at base of photograph reads 'May D. Harrison / First / Hon. Secretary & Librarian / 1894-1912'. Mrs Harrison looks to the right of the frame, and is wearing a dress with gathered bodice, puffed sleeves and lace neckline. Her small drop earrings are visible, as her hair is swept up, with two brooches on the bodice and neckline. A length of chain is worn around her neck, although its base remains out of shot. May Harrison was one of the first Braille transcribers trained by Tilly Aston and undertook the position of Honorary Secretary at the formation of the Victorian Association of Braille Writers (VABW) in 1894. Offering use of a room in her home in St Kilda for the storage of Braille books, she became the first librarian for the VABW. Mrs Harrison also taught Braille to other participants and her house became a meeting point for readers and transcribers alike. Her death in 1912 was greatly mourned, and a Memorial Fund set up in her honour, as well as a grave marker and tablet at the Braille library. Her niece Minnie Crabb, who assisted her work, assumed the role of librarian after Mrs Harrison's death. Inscribed in the lower right 'J O'S & Co, Melbourne'.Photograph in frame of woman in 19th century dressvictorian association of braille writers, may harrison

Black and White formal wedding portrait. Mrs Alice Breen stands on the left wearing an ankle-length dress with high neck and full-length sleeves. She has a knee-length veil with a floral headpiece and is holding a large bouquet. Her hoes have a small curved heel. Mr Tom Breen is seated on a wicker chair. He is wearing a dark 3-piece suit, a shirt with a high collar, study lace-up shoes and he holds a pair of white gloves. They are in a photographer's study. Both look solemnly at the camera.

This fur coat is part of the Lingard Collection donated by Rod and Bev Lingard. It was made by Herbert (Bert) Lingard for his wife Sybil for whom he made nearly all of her dresses and coats..|Herbert, William Lingard was a tailor whose business 'Lingard Modes' operated in the Manchester Unity Building, Swanston Street, Melbourne, C1949. Later he worked from his home in 476 St Kilda Road Melbourne.|NP2453 shows Bert at his sewing machine.A mink fur coat, calf length, straight cut with two metal hooks and eyes. Padding in shoulders extend into the wide sleeves with turned up cuffs. The collar either mandarin styled turned up or turned back reveres. There are two slit pockets in front and it is fully lined with satin backed crepe.costume, female

RAAF woolen side hat worn by airman on airfield, in barracks and with ceremonial dress. Standard issue item as used by Australian servicemen during the conflict in Vietnam.Dark blue side-hat with turned-up brim bearing white embroidered insignia of the Royal Australian Air Force. Vic 1977/8405 66 090 0104/A222463 (SVC No ) Falvey/ Size 56raaf, airman, ceremonial dress, hat

1. Jacket - black woollen. four front pockets. The top pockets are held shut with brass buttons. It has the R.A.C.T. collar badges. There are no epaulettes. the arms have gold Sergeant's stripes. There are four brass buttons with RACT motif. 2. Trousers - black. There is a red stripe down each leg. The waistline has been lined with cotton. The fly is button up. 3. Belt - woollen with a brass buckle.uniform, post ww2, passchendaele barracks trust

This doll belonged to Grace Isabel Mitchel (nee Watson). Grace was born in Leongatha and grew up in Korumburra and surrounds. She was gifted this doll as a child. As with all her treasures Grace took great care of them. She died 30/10/2022. She would be very proud to know her doll will now be treasured forever in the town she was created. Kindly donated by the estate of Grace Isabel Mitchel on behalf of Kay Lockhart and Noni Harken.Shurl Doll dressed as a bride, eyes open and close. European details and colouring. Hair with blond ringlet. Blur eyes, rouge cheeks, red lips, calico torso.

Uniform items issued to "BROWNE" Service No. F3207137.Garments - dark green colour wool and polyester fabric. 1. Jacket - Winter service dress jacket - collarless, with two curved inset pockets at hip. Four gold colour plastic buttons with shank and metal safety pin. Buttons have raised emblem "Australian Army Psychology Corps". Dark green colour polyester fabric lining. Manufacturer's label at back below neckline. White cotton label. 2. Skirt - Winter Service Dress skirt. A-line skirt, narrow waistband, five belt loops. front of skirt pair of box pleats. Rear at waist, nylon and metal zipper and dark green plastic button. Dark green colour polyester fabric lining. Manufacturers label sewn to waistband lining. 3. Belt - self fabric belt with gold colour plastic buckle. 4. Slacks - Winter Service dress slacks - full length with five belt loops, front nylon and metal zipper fly, dark green colour plastic button at waist, Manufacturer's labels two outside back. 5. Belt - self fabric belt with keeper and metal press stud. 6. Hat - Service dress hat - dark green colour fabric split brim, turned down at front and up at rear with light green colour fabric three panel crown. Light green half hat band with a rising pointed peak at front attached with black elastic. Interior - black velveteen sweatband lining, crown lining dark green polyester fabric. Manufacturer's label sewn rear lining. Manufacturer's labels - black ink print. 1.& 2. "A.G.C.F. ^/VICTORIA 1981/ 8410-66-096-5154/ SIZE 14 AVE HEIGHT/FULL HIP/ 90cm BUST/ 70 cm WAIST 100 cm HIPS/ Wool & polyester/ Garment/ NAME / SERVICE NO" With garment care instructions. Handwritten - blue ink pen "BROWNE/ F3207137" 4. " A.G.C.F. VICTORIA 1984 ^ 1984/ 8410-66-096-5173 SIZE 14 AVE HGT/ AVE HIP Waist 70 cm/ Hip 96 cm/Name/ Service No". With garment care instructions. Outside back - 'THIS TAG IS FOR IDENTIFICATION PURPOSES ONLY/ PLEASE REMOVE BEFORE WEARING" with printed and handwritten information. 6. "EMERCO VIC./ ^/ 8410-66-097-4922/ SIZE 56/ NAME/ SERVICE NO".passchendaele barracks trust, uniform, winter service dress, army, browne

Miss Martha Eveleen O'Meara, born 1886 at Spring Vale (Pittong), a daughter of John and Maria O'Meara. Died 27 September 1953 Aged 67 years. Buried Linton Cemetery.Black and white copy of original photograph showing the side profile of a young woman wearing a light coloured, flora-print, long sleeve dress with high neckline. Her dark hair is up in a loose style bun."Miss Martha O'Meara".martha eveleen o'meara, portrait, photograph

1. Jacket - black woollen. It has four front pockets with flaps. It has one external fob pocket on right side. It is lined. There are no buttons. 2. Trousers - black. Red stripe on trousers. Button up fly. It has two hip pockets and one rear pocket. 3. Belt - black woollen. No buckle, two black buttons.2. Written inside on the pockets is name "CHADWICK" with different numbers = "609", "4956". There is a paper note in pocket (RSL Paper) - "Warren Chadwick".post ww2, army uniform, passchendaele barracks trust

Part of S E Surman collection (album) page 3 upper left.Sepia photograph of a bearded man wearing a suit, with left arm resting on chair back, right hand holding hat on lap, seated beside a well dressed woman wearing long sleeved long gown with large collar. seated with left arm on lap, right elbow in chair back with hand up to face."Mr and Mrs Lloyd".mr lloyd, mrs lloyd, surman collection

1. Jacket, Battle dress - Woollen, Khaki. On the arms are cloth badges, "ROYAL AUSTRALIAN CORPS OF TRANSPORT" and Sergeant's stripes. 2. Trousers - woollen, khaki. This pattern trouser has no cuffs but has small straps and buttons to close up the ends. Trousers have 2 hip pockets and one leg pocket. Button up fly.In jacket is written; “VANSTAN 3156685” Both on label and on back.passchendaele barracks trust, uniforms, winter battle dress, army

Black and white photograph of Miss Leonie Sparks 18 years of Lakes Entrance taken by Bairnsdale Advertiser announcing her entry into the Miss Gippsland lead up to the Miss Australia Quest, Bairnsdale Victoria. Second black and white photograph showing Leonie Sparks in white dress, long white gloves as Miss Gippsland 1956 . Plus 4 newspaper clippings about the eventevents, contestants, fundraising

253 p.; 25 cmnon-fictionThere is no other store like David Jones... and there is no other consultant like Sheila Scotter! Known variously as the Kangaroo editor (by Diana Vreeland), the black and white lady from Albert Park, and the Silver Duchess, this is the autobiography, scrapbook-style, of one of Australia's doyennes of style. For Sheila Scotter's seventeenth birthday her parents put on a 'coming out ball' in the United Services Club in Calcutta, where they lived at the time. The teenager wore a pale turquoise silk taffeta ball gown. Sheila no longer remembers what happened to that dress, but she does know that it is responsible for the black-and-white wardrobe that has been her hallmark ever since, with the exception of one occasion and one occasion only. For her seventieth birthday party, close friend John Truscott conned her into wearing red, insisting that the theme for the event was all red. And what did the guests all wear? Black and white! This anecdote lite, stylish, idiosyncratic is typical of the many that make up Sheila Scotter's autobiographical assortment. Most Australian women know Sheila Scotter through her Women's Weekly column 'Sheila Scotter Suggests' which ran between 1975 and 1980 and totalled some 235 instalments. The fact that this column is still vividly remembered 17 years later attests to the sacred place it held in every Australian household. A feminist before the word was invented, Sheila has had a formidable career. Two chapters are devoted to her career in fashion, including her time as the editor-in-chief of Vogue and founding editor of Vogue Living. The art of fundraising is also treated in some depth. In snippets, we hear of her love of cricket (which she once played); we find out how she came to live in Australia in the first place and why she has made Melbourne her home. Not surprisingly, the book reflects the personal contradictoriness of its author/subject on the one hand an aristocrat, on the other a rogue who does not respect rank; blithely mixing innate feminism with blatant coquettishness; outrageous yet scrupulously stylish; in the know yet discrete; courting notoriety while at the same time needing solitude a Like all celebrity autobiographers Sheila reserves her right to privacy while basking in the limelight. But she has used this book to set the record straight on a number of issues, including why she left Vogue, her many romantic involvements, her much-publicised spat with socialite Lillian Frank, and what was wrong with David Jones, to whom she consulted during 1994-95. The book contains the expected wining, dining and partying, as well as the inside story on some recent scandals. Sheila Scotter is glamorous and alluring, a forthright mover and shaker who inspires fear in some, awe and respect in others, and admiration and loyalty in most. No matter what you think of her, you simply cannot ignore her. Friends and enemies alike are awaiting this book with bated breath for one reason: when Sheila Scotter speaks, people listen. Contents Foreword (by Ruth Cracknell, a personal friend) Before I Begin a (explaining the rationale for the book) 1 Thursday's Child (birthdays) 2 Christmases to Remember 3 In Fashion (career in fashion) 4 A Matter of Style (Vogue Living and its influence) 5 Marriage and Other Liaisons 6 A Mixed Salad of Letters (letters, personal and business, from prominent people) 7 Fundraising: Are Committees Really Necessary? 8 Loved Ones Departed (or Why I Envy the Angels) 9 Disappointments and Other Disasters (scandals and inside stories) 10 London, Paris, Sydney, Melbourne (the places she has lived) 11 Not the Last Instalment (a look ahead) Postscript (a tribute to some special men read between the lines) Source: Publishersheila scotter, fashion

Sepia photo taken c.1890 of Charlton's first fire station. Fire station replaced in c.1930 with a £1200 Fire Station after inspection by Chief Officer Chellew. A wooden fire station with a tall bell tower. In front are 19 brigade members. There is also a horse drawn fire cart in front with 6 members on. 4 members have two hand drawn fire carts which are ready to roll out. Firemen are dressed in uniform.The b/w portrait photo is a close up of the original photo. The photo shows extensive damage."Fire Station" across the front of buildingcharlton fire station, charlton, fire, charlton fire brigade

Men are wearing three piece suits, variety of collars and ties. Sarahs dress has short bodice, folds at waistline extending up to shoulder cape over full sleeve, ribbons at neckline tiny bonnet with stiffened upright ribbons on top.A sepia toned photograph of Sarah Grant and sons Edward, Walter and George Price believed to be taken after the death of her husband and father George. Taken in photographic studio Bairnsdale Victoria. Plus another photo of Sarah Grant genealogy, fashion, families

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. Golda Whelan, a designer with Hartnell of Melbourne designed this wedding dress for her daughter Liane Whelan. Liane married John Merry at St John's Anglican Church in Toorak in 1969.The dress was manufactured in the 'house' of Hartnell of Melbourne, a leading Melbourne Fashion House in the 1950s and the 1960s.White slim line lace wedding dress, featuring eleven self-covered buttons down centre back Off centre rear opening done up by metal press studs. The dress has a silk satin lining and netting underskirt.hartnell of melbourne, golda whelan, wedding dresses, lace dresses