Refer Cat No 2351.5P David James HAMILTON, 329 14th BTN, WIA twice KIA 7.6.1917, 12th M.G.Coy, Buried Strand, Military Cemetery, Ploegstreet, Belgium Collection of three items framed. Photograph- copy of black and white photograph- half portrait of a soldier in uniform Commemorative scroll- original scroll, printed in black and red ink, with colour to coat of arms. Coat of Arms of King George V on paper Frame- brown colour stain timber with decorative moulding. Dark green cardboard mount, glass front, cardboard back.photographs, frame, accessories, documents, certificate

Private David J.V. Jamieson, No.3875, 5th Battalion AIF, Killed in Action 25 July 1916.Certificate - sepia toned illustrated certificate with small inset sepia toned portrait photograph of a soldier in uniform from the Borough of Eaglehawk. Black print on paper. Frame - timber, brown stain, decorative edge, glass front, backing paper and cardboard.Handwritten on certificate in black ink "No 3875 - Pte David J.V. Jamieson - 5th Batt A.I.F./Killed in Action 25 July 1916 - "Dated 20 August 1920". Adhesive label back of frame - "Courtesy: Aylene Kirkwood OAM/ 40 Napier Street, Eaglehawk/ 8-8-2022.framed items, certificate, ww1

Item relates to Leslie Pyers MM No 2134, 38th Bn AIF. Refer Cat No 3993P for his service details.Certificate, “In Freedoms Cause”, has decorative coloured boarder with 5 flags across the top with Union Jack centre with a female kneeling in white robe at bottom. Mounted in a brown plastic frame with glass front. In pen, “Leslie Pyers 17.7.19”certificates, appreciation, military, shires

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

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. This wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s

Shows an accident between a Pengelly tram and an AEC solid tyre truck, possibly carrying sacks of coal. Reg Item 8321 shows an accident damaged tram of the same type - tram 22Provides information on the consequences of an accident between a larger heavy truck and a Pengelly tram on 9-2-1927.Mounted Black and White photograph mounted on a grey cardboard, embossed with lines and a decorative pattern of a Geelong Pengelly type tram in collision with an AEC solid tyre truck carrying bagged materials, possibly coal. Has a photographic studio stamp in the bottom right hand corner "C. V. El??". 2nd copy held - on a black plastic copy format.In pencil written under the print "9-2-27 Wed 4.10pm c/o Yarra & Ryrie Sts car going east".geelong, accidents, tram 22, ryrie st, aec trucks, tramways, trams

Items from 17th Light Horse Regiment collection.Leather waist belt, dark brown colour, embossed with decorative stitching, brass buckle & stud, attached shoulder strap with brass loops & studs, brass buckle. Attached below the belt with leather straps tooled leather pouch with brass loops, buckles & stud.trades-leatherworking, military equipment, uniforms, passchendaele barracks trust

Sewing machine - Treadle Y2255605 with decorative transfers on body of machine. Metal headplate decorated. Decorative wrought iron treadle. Stained and lacquered wooden base with decorative wooden carving on drawers and side exterior. Decorative wrought iron legs. Machine folds into body of cabinet with a fold over lid.Singer Manufacturing Co.domestic items, sewing, furniture, domestic

Was presented to Mrs Lucie Hallenstein, honorary secretary of Alfred Hospital combine auxiliaries c. 1920. Mrs Hallenstein's Granddaughter Jane Helena Walters nee Shannon trainee of Alfred Hospital 1948-1951 presented the box to the nursing achieves with a hand written letter of explanation on 28/04/2011. Paper card insert is signed by Louisa Mann who was matron from 1912-1928.Item is significant as it was presented from Louisa Mann. Item also carries the Maltese cross from the Alfred hospital insignia. Has been presented to the archive from Alfred Hospital trainee. Handcrafted wooden box with parquetry Maltese cross in center. Box is made with multiple timber types and shades, is finished with a gloss finish. Two brass hinges allow the box to open. Hand written note on buff card paper with sticky tape holding item together enclosed within on small card from Louisa Mann stating "Affectionate Xmas greetings from Louisa Mann Alfred Hospital" Four rubber stoppers on base, eight screws visible on base holding wood together Black text marking on underside of box 392/02.3 White sticker with black ink marking 392/02+3[Affectionate Xmas/ greetings/ from/ Louisa Mann/ Alfred Hospital] [392/02.3] [392/02+3]alfred hospital, alfred nurses hospital league, ahnl, wooden box, handmade wood item, lousia mann, parquetry, handcrafted, timber box, maltese cross

Off white Christmas card with 'All Good wishes for Xmas and the New Year' printed at the top. In the centre is a circular picture of a mine with its buildings and two chimneys. The chimneys extend past the outer edge of the circle. To the bottom left is a bunch of wattle. A smaller piece of wattle is on the bottom right. Bendigo Amalgamated Goldfields No Liability and December 19th, 1917 is printed under the picture. All the printing and picture is printed in sepia and darker brown. On the back of the card, from the top centre to the centre left is a printed lace pattern in light red. On the inside left is a refreshment menu. It is a mixture of mining terms and food items. On the right side are Toasts. The first - The King . . . His Worship the Mayor, then Cigars. Cigarettes. The third The Industry . . . His Worship the Mayor, and the last line Responder . . . Mr. Dyason. Underneath is some decorative drawing.document, bendigo amalgamated goldfields n l, bendigo amalgamated goldfields no liability, christmas card, mr dyason

Steamer trunks were used on steamboats to transport luggage. Steamer trunks were intended to be stored vertically and were able to be opened vertically on long voyages. This steamer trunk belonged to Dr. Murphy (1905 - 1981) who was the first doctor of Emerald. It is believed to have belonged to his mother, Mary Murphy. Dr. Murphy's father, Sir Stephen James Murphy, was in the Indian Civil Service (1898 - 1935) serving in various positions including as the Justice of the High Court of Bombay. The trunk appears to date from the early 1900s.This item is significant as it belonged to Dr. Murphy who was an esteemed Emerald GP and local person.Large steamer trunk with wooden slats. Leather over wood exterior. Fabric interior. Leather straps. Decorative metal edging. Containing a hanging frame and a hanger. Lump on top of the chest. Trunk made by Murrells & Becker. Lock made by Corbin Cabinet Lock Co.On top painted: "M. MURPHY/ BOMBAY" On lock engraved: "CORBIN CABINET LOCK CO. NEW BRITAIN CONN. USA" Sticker on interior lid: "MURRELLS & BECKER / MELBOURNE & BRISBANE TRAVELLING GOODS MANUFACTURERS / QUEEN ST BRISBANE / COLLINS ST MELBOURNE" Sticker on right side: "P - .CO / NOT WANTED VOYAGE"dr. murphy, steamer chest, bombay, stephen murphy, emerald, doctor, 1900s

Steamer trunks were used on steamboats to transport luggage. Steamer trunks were intended to be stored vertically and were able to be opened vertically on long voyages. This steamer trunk belonged to Dr. Murphy (1905 - 1981) who was the first doctor of Emerald. It is believed to have belonged to his mother, Mary Murphy. Dr. Murphy's father, Sir Stephen James Murphy, was in the Indian Civil Service (1898 - 1935) serving in various positions including as the Justice of the High Court of Bombay. The trunk appears to date from the early 1900s.This item is significant as it belonged to Dr. Murphy who was an esteemed Emerald GP and local person. It also gave insight into how people of the upper class would have travelled.Large steamer trunk with wooden slats. Leather over wood exterior. Fabric interior. Leather straps. Decorative metal edging. Containing a hanging frame and a hanger. Lump on top of the chest. Chest made by Murrells & Becker. Lock made by Corbin Cabinet Lock Co.On top painted: "M. MURPHY/ BOMBAY" On lock engraved: "CORBIN CABINET LOCK CO. NEW BRITAIN CONN. USA" Sticker on interior lid: "MURRELLS & BECKER / MELBOURNE & BRISBANE TRAVELLING GOODS MANUFACTURERS / QUEEN ST BRISBANE / COLLINS ST MELBOURNE" Sticker on right side: "P - .CO / NOT WANTED VOYAGE"dr. murphy, steamer chest, bombay, stephen murphy, emerald, doctor, 1900s

The striking fabric of this wall hanging was recovered from the sinking Schomberg. It was originally one of the many curtains adorning the captain’s cabin and ladies’ saloons that attracted first-class passengers to this luxury vessel, built for comfort and speed. The clipper ship was on its maiden voyage, full of passengers emigrating to Australia in 1855. Its commander was Captain James Nicol Forbes, who had been selected by James Baine & Co for his navigation skills, experience, and reputation for breaking sailing records. However, on December 26th, 1855, the vessel became stranded and sank west of Cape Otway, not quite reaching its destination of Melbourne. A reporter explored the Schomberg before its journey; the following detailed description is an excerpt of his article published in a newspaper after the disastrous voyage was announced. “ … descending by a flight of stairs, covered with carpet of a very rich pattern, we came to the saloon passengers’ cabin. This is a noble place, and all that refined taste would suggest has been done to make each berth a miniature palace. The bedding is of the very best material, and the fittings are replete with every convenience. The carpets are of various coloured velvet pile, and the curtains are of satin damask, lined with white satin … The fronts of the berths are highly decorated, and festoons of flowers are painted on the panels … No two berths are furnished with the same-coloured material … the visitor is, therefore, much pleased with the variety which he has to inspect….” (Trove: Shipping Gazette and Sydney General Trade, 31 Dec 1955, p. 283) The curtain material, ‘folded into a single piece and parcelled for protection’, has been passed down through generations of Captain Forbes’ relatives, starting with his half-sister Isabella Jeffrey Nicol. The curtain has remained with the family, although some transition details are incomplete. About a century later, Isabella and Blakiston Robinson’s great-grandson and his wife had the fabric professionally mounted as a wall hanging to showcase the beauty of the woven brocade. Eventually, the custodianship of the curtain was transferred to the donor, who is also a great-grandson of Isabella and Blakiston. He and his wife hung the curtain on the wall of a high-ceilinged room in their home, away from direct light, making it visible for all to appreciate its beauty and significance. In 2024, they donated the curtain for inclusion among the collection of artefacts that help tell the story of the Schomberg and those who sailed on its first and last voyage. The donor’s aunt was highly involved in the family’s history. She had collected and recorded information that dates back to pre-1341. A footnote included in a handwritten letter dated April 20, 1959, from the late Arthur William Rudd, OBE, MA, LLB, husband of another of the donor’s aunts, states, “The curtains you mentioned came from the Schomberg. AWR.” CAPTAIN JAMES NICOL FORBES (1821-1874) and the donor’s family: - Captain Forbes was born in Aberdeen. In his late teens, he moved to Liverpool, a hub for international trade and an emigration port. By the age of 25, he was master of the Prince of Waterloo and later, the Wakefield. He then commanded the Cleopatra for the James Baines Co., which, two years later, transferred him to command the Maria, providing fast and lucrative passage to the gold fields in Ballarat, Australia. James Baines Co. and shipbuilder Thomas Mackay formed the Black Ball Line of clipper ships in 1852. Forbes was appointed master of the largest ship in the fleet, the marvellous Marco Polo. He broke the record time for the passage to Australia, taking only 68 days at sea, and the return journey in only 76 days, a total of 5 months and 21 days. On his second voyage to Melbourne in the Marco Polo the following year, he took 75 days, and 95 days on the return trip. His accomplishment made him famous. James Baines reported that the Marco Polo was the only ship, sail or steam, to do the round trip within 6 months, and it had done it twice. Captain Forbes then took command of the American-built clipper Lightning, one of four built for the Black Ball line. His 19-year-old half-sister, Isabella Jaffray Nicol, was also onboard when he sailed for Melbourne in 1854. During the 77-day voyage, Isabella met Blakiston Robinson, and not long after the ship arrived in Melbourne on July 31, the couple married, with James Nicol Forbes as a witness, on August 16. When Forbes returned to Liverpool, he took a record-breaking 63 days, which has never been bettered. James Baines Co. ordered a new luxury emigrant ship from Alexander Hall of Aberdeen; the Schomberg was the largest sailing ship ever built in Britain. On October 6, 1855, the vessel departed Liverpool commanded by Captain Forbes, with 430 passengers on board, 54 of whom were First Class. It had almost completed its voyage to Melbourne when, on the night of December 26, it ran aground west of Cape Otway. Captain Doran, master of the steamer Queen, responded to the distress signal while on its way to Portland and, with the agreement of his passengers, rescued as many as possible from the Schomberg and returned to Melbourne with them. Captain Helpman, master of the steamer Champion, rescued most of the remaining Schomberg passengers on December 27. On Friday, 28th, Captain James Lawrence was on his way to Adelaide in the steamer Burra Burra, and called past the Schomberg. He reported that the remaining crew were all doing their duties, but the Schomberg was deteriorating on a sand spit and had about 16 feet of water in its hold. That same day, the schooner Jane Elizabeth collected 220 packages of passengers’ luggage to deliver to Melbourne on the 29th. Two steamers also arrived on the 29th with 20 men to collect passengers’ luggage and valuable ship’s cargo items. They were accompanied by water police, customs agents, company representatives and a Lloyds agent. The decision was made to abandon ship on the 30th due to rough and unsafe conditions. The officials and Captain Forbes voyaged to Melbourne, while the seamen remained behind awaiting rescue. Evacuation by sea became too risky, so on January 2, 1856, while the first Mate and Steward remained at the wreck site, the rest of the crew began the 70-mile march to Warrnambool, led by the band. They arrived on January 5th and left for Melbourne on the steamer Champion on January 10th. Parts of the Schomberg wreck ended up in New Zealand. The curtain is important for its connection to the Schomberg, which was unique for being designed and built in Aberdeen, and commanded by an Aberdonian who was the most celebrated clipper captain of the age. The ship was the largest sailing ship ever built in Britain, and reported as the largest vessel that sailed to Australia. The curtain is an example of the rich decorative furnishings available in 1855. The preservation and respect the donor and his family have shown towards the curtain over many decades reflect its important role in telling the family’s history; the journey, the romantic attachment, the family connection to the sea, and travel in gold rush times. The curtain is significant for its connection to James Nocol Forbes, a famous sailing ship commander who broke several sailing records, one of which has never been bettered. This wall hanging, also known as the Schomberg Curtain, was created from a curtain recovered from the stranded luxury ship Schomberg in December 1855. The woven satin damask fabric in blue and cream has been meticulously joined to blend the intricate pattern. The reverse features a soft cream lining. The hems at the top and bottom of the fabric hold wooden rods. The side edges feature decorative braid that has been hand-stitched in place. On the reverse, the bottom hem includes the same braid, which remains unseen from the front, and the centre of the top hem has a hand-worked, unused buttonhole. Each of the hems varies in depth. The curtain was tastefully mounted later to highlight the beauty of the original saloon curtain. A decorative twisted cord of cream silk threads, accented with gold highlights and decorative tassels, was coiled and attached to the ends of the top rod. The elegant display was completed with an ornate gold hook, chosen to complement the wall hanging.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, shipwreck artefact, memorabilia, curtain, saloon curtain, schomberg, wall hanging, decorative object, domestic item, warrnambool, flagstaff hill, maritime museum, maritime village, maritime history, shipwreck, stranding, schomberg curtain, schomberg wall hanging, luxury ship, 1855, damask, silk damask, blue and cream, captain’s cabin, ladies’ saloon, clipper ship, migrant, emigrant, liverpool to australia, captain james nicol forbes, james forbes, captain forbes, bully forbes, james baines & co, james baines, cape otway, aberdeen, prince of waterloo, wakefield, cleopatra, maria, thomas mackay, black ball line, marco polo, sailing record, lightning, isabella jaffray nocol, blakiston robinson, alexander hall, steamer queen, captain helpman, james lawrence, steamer burra burra, steamer jane elizabeth, water police, customs agents, lloyds agent, ship’s band, walk to warrnambool, march to warrnambool, steamer champion, agnes nicol robinson, arthur william rudd obe ma llb

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. These include an extesive use of lace in horizontal and triangular panels of various styles at the front. Two long bands of lace frame this central panel.Nilchristening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This child's dress was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Short, white cotton child's dress. This high-necked dress with long sleeves, compared to other infant's clothing in the Weir Family Collection, is quite ornate, indicating that it was designed to be a piece of 'best' clothing. It is the only child's dress in this collection which is otherwise comprised of christening or infant's gowns. The dress is a one-piecer. It has wide sleeves with scalloped cuffs, designed to allow for movement. What was the waist in the infant's gowns has moved higher towards the neck, but still maintains the decorative eleent of ruching below it. The dress includes extensive use of scalloped lace in the lower portion of the outfit.Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1891 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 19-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, fine white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. These include an extesive use of white work on the sleeves, bodice and gown. Tight ruching at the waist allows a central panel of white work to be framed by the larger panel which acts as a polonnaise. This contains the finest workmanship of the christening gowns and infants clothing in the Weir Collection and may date to 1891.Nilceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life, christening gown

One of a series of gilt bookmarks in the large bookmark collection at Hymettus Cottage dating from the late twentieth or early twenty-first century.Bookmarks created more for the tourist market than for the bibliophile.small stamped out framed and gilt figure of Japanese lady with umbrella.bookmark, metal, gold, souvenir items, japan

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. This includes an extesive use of lace in diagonal panels at the front above four horizontal layers of the same lace. There are two layers of lace forming the sleeves. Nilchristening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown includes a triangular panel of lace at the front of the bodice and a band of ruffled fabric at the hem..Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown includes a triangular panel of lace at the front of the bodice and a band of ruffled fabric at the hem.Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown includes a triangular panel of lace at the front of the bodice and a band of ruffled fabric at the hem.Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown includes a tie at the waist and a ruffled band forming the hem.Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown is identical to 2025.26.Nilchildren's wear

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of nine items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. Nilchildren's wear