Showing 106 items
matching ceremonial dress
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Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 1936
... NA3817 & NA3818. Dress worn by Ellen at her wedding and Veil worn ...Donated by grand daughter of Edith and Ron Palmer. Bride Ellen Lidgerwood married Ron Mathers on 4 September 1937.The Best Man was the brother of the Groom, George Mathers. The bridesmaid was the sister of the groom, Miss Mathers and the flower girl was the niece of the bride, June Lidgerwood. For full family history and photos of both weddings see Supplementary File NA3817 & NA3818. Dress worn by Ellen at her wedding and Veil worn by both sisters Edith and Ellen Lidgerwood at their wedding ceremonies, Edith in 1936 (see NA3817) and Ellen in 1937Prominent Box Hill families1937 cream seersucker dress featuring a cowl neck and long sleeve, slit at shoulder to create cowl effect. Slim at lower arm to a point over the hand and fastened at seam with press stud. Bodice cut on the cross under the bust. Cut on the cross figure fitting skirt to the floor, complete with long train. On the back is a slit opening fastened with hook and eye and glass clear buttons. Below the slit are eight glass buttons with false rouleau button loops. The train is made of an added detachable piece. Veil worn at both sisters weddings but with different headdresses. Headdress has small circle of flowers and berries. See sister's wedding dress NA3817.costume, female ceremonial -
Whitehorse Historical Society Inc.
Wedding dress, 1963
... Wedding dress worn by donor in 1963. In Supplementary File ...Wedding dress worn by donor in 1963. In Supplementary File, photocopy of house at 3 Buxton Road, Mitcham where bride and groom lived after wedding. Photos, invitation and marriage certificate also in Supplementary File1963 Wedding dress of cream satin; floor length, short sleeves, round neckline, fitted at waist. Cream Giupure lace motifs down down front of skirt, on bodice and sleeves. A detached triangular organdie and satin train held with bow to attach to waist of dress. See Veil NA3473costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - wedding gown
... ceremonial Cream lace dress and train overlaying pink satin ...George Harold Merrett married Dorothy Lorna James at Christ Church, Horsham 14/08/1954. wedding gown and accessories were donated by family members. Photo of wedding couple.Cream lace dress and train overlaying pink satin with attached cream taffeta half slip trimmed with 4 cm cream lace inserted with blue ribbon. Design is scalloped sweetheart neck, dropped waist line and 34 pink satin covered buttons down centre back of the bodice. Sleeves are crossover cap sleeves and 180 cm train from centre back waist line. Pair of elbow length cream kid gloves, three pearl buttons at wrist and cream net horseshoe with apple blossom and pink rayon horse shoe. Full length cream veil attached to pearl and blossom headdress. See also NA4231 Mauve Bridesmaid's dress, NA4138 Mauve hat for bridesmaid's dress and NA3949 Mauve fingerless gloves for bridesmaid's dress.costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 1886
Formally Miss Sharlene Barry now Mrs Ron Drager, the great grand daughter of the girl for whom the dress was originally made in England. The wedding was in Ceylon, and later the dress travelled with the happy couple to Australia. In total the dress has been worn four times. It missed one generation and then was sent to Adelaide for the wartime wedding of Sharlene's aunt, Mrs Hubbard. It returned to Melbourne for the wedding of Sharlene's mother Mrs Barry. The elaborately rouched dress with tight bodice and slight bustle effect was altered for the 1941 wedding.Used in 1950's for fourth wedding. Dress altered from the original dress made in 1886. Lace taken from draped overskirt and remade to square neck and long sleeve. Bodice pointed front and 22 satin covered buttons on back. Satin skirt and train edged with lace. Lace and cotton overskirt stiffened and draped and caught to the left side. Brussels lace mounted on satin.costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 1/12/1965
Wedding Dress worn by Liz Forster for her marriage to ? Humphries on 13 January 1965 at St Oswalds Anglican Church conducted by her father the Rev. Joseph Forster.1965 White Guipure lace full length short sleeve wedding dress, piped at waist with full satin lining.costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress
Wedding dress worn by Marian Hinde in 1886.1886 Wedding Gown with short waisted jacket, buttoned down front. Full pleated skirt with over hip yoke and bustled (beige). Lace at neck and at cuff edge. Worn by Marian Hinde in 1886. See framed photo NA750 of Marian in the wedding gown.costume, female, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 28.9.1936
... Church, Shepparton, Vic. costume female ceremonial 1936 Cream ...Worn for wedding of donor's mother on 26 September 1936. Eric Edward Pearce to Jean Isabelle Mansell at Presbyterian Church, Shepparton, Vic.1936 Cream satin dress with a V neck with pintucking featuring a diamond shape in centre front, also pintucked. Full length full sleeves with cuffs with two buttons and loops. Belt from diamond shaping to centre back panel. Panel opens out to train.|Marriage of Eric Edward Pearce to Jean Isabell Mansell. 26 September 1936 NO3222 Certificate|Wedding photo NP2391|Cake Photo NP2392costume, female ceremonial -
Whitehorse Historical Society Inc.
Wedding Dress, 1978
... , daughter of Frances Warren COSTUME Female Ceremonial 1978 White ...Wedding gown worn by Dianne Warren for her wedding in 1978, daughter of Frances Warren1978 White wedding dress in a fibre material with all over pattern embossed full length with train, long sleeves coming to a point, 5 buttons and loops fastening. Curved shape neckline, high waist, curved at front, seams over bust, five panel skirt. 34 covered buttons and loops down back.costume, female ceremonial -
Clunes Museum
Photograph
A CEREMONIAL OCCASION AT A UNKNOWN CITY HALL. A MAYORAL PERSONAGE & VARIOUS OTHER WELL-DRESSED ONLOOKER.local history, photography, photographs, ceremony - unidentified -
Whitehorse Historical Society Inc.
Wedding Dress
... Keene in February 2001 COSTUME Female Ceremonial All over lace ...Purchased in Swan Hill on behalf of the Society by Barbara Keene in February 2001All over lace dress. Sweetheart neckline lined in silk. Three petticoats, one silk, second one tuille with 17cm double flounce in front and third skirt stiffened cotton. The back 52cm train.costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding headdress & veil, 1978
Made for and worn by Jeanette Margaret Bennett for her wedding at Uniting Church, Riversdale Road, Wattle ParkWide, white 1978 headband padded and covered with nylon net, and decorated with satin flowers. Veil trimmed with 4 cm wide satin ribbon|NA3596 wedding dresscostume, female headwear, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 1978 c.February
Made for and worn by Jeanette Margaret Bennett at her wedding at Uniting Church, Riversdale Road, Wattle ParkWhite chiffon 1978 round neck line dress with high waist, long sleeves; with cuff and six covered buttons. Hem line and neck trimmed with satin. Dress lined with satin underskirt. See also 3597., Wedding Veilcostume, female ceremonial -
The Beechworth Burke Museum
Ceremonial object - Ushabti of Taweret-Khaiti, Circa 1292 BC
Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt -
Bendigo Military Museum
Uniform - MESS DRESS
Items issued to Francis William (Dinky) DEAN BEM, No's VX93960 2nd AIF, 3742 1RAR. Refer Reg No 124.2 for his service details.Pants, cummerbund, sash, peaked cap and white jacket, belonging to Frank (Dinky) DEAN.uniforms, army, costume, male ceremonial, military history -
Whitehorse Historical Society Inc.
Wedding veil, 1912
Veil worn by Margary (Madge) Isabelle Brydon. Was later worn by many (about 15) local ladies who lived in the area of Rushworth. Madge's daughters, Molly and Isobel both wore the veil at their weddings in 1938 and 1945. Donor is granddaughter of bride. Veil made by bride and described in the Waranga Basin newspaper at the time. Margary (Madge) Brydon married Edward (Ward) Sprunt at the bride's family home in Carag Carag, Victoria on 10th April 1912. Veil also worn by Mary (Molly) Leith at her wedding to William (Bill) Paynter on 18 January 1932 at Stanhope Presbyterian ChurchCream 1912 cotton net Princess veil. Lace is handmade tape and cotton embroidery. See Also NA3494 -wedding dress, NA3496 - shawl and photograph NA3498costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding dress and petticoat, approx 1930's
Dress worn by Bette Jones sister. Petticoat probably made 60's to 80's as zip dates from this eraCream machine lace long sleeved wedding dress with faggotted collar from 1930s. Thirty eight covered buttons down front from collar to thigh. Three covered buttons on each wrist. Front buttoned opening and wrists bound in georgette. Short train. Petticoat probably made between 60's and 80's judging by zip at back. Straps over shoulders. (see NP2502)costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Wedding dress, 13.5.1945
Worn by Jessie Allan for her marriage to William Thomas Kenny on 13 May 1945 at St Stephens Church, Richmond. They lived in 19 Baldwin Road, Blackburn from 1965. Jessie deceased 1.4.2010. Funeral at St Alfred's Anglican Church, Blackburn South.1945 Cream satin wedding dress with a rouched bodice to a centre panel, high neckline and pointed collar. Bead work on centre panel and edge of bodice, long sleeves to a pointed wrist and beading. Thirty covered buttons down centre back. Skirt cut on cross and three metre train at back.|.2|Champagne coloured Wedding Veil - (approx 6ft in length) - complete with orange blossom 3 1/4' headdress. Headdress is handmade, attached to a wire frame|.3|Cream satin slipper. Machine stitched half in rows. Bow with satin loop and spray of wax orange blossom attached.|.4|Horse shoe shaped wedding item to hang over bride's arm. Rouched satin with ornamental - artificial (wax) orange blossom and buds with 2 mm ribbon to hang over arm. Cream coloured to match wedding dress.|.5|Satin horse shoe, rouched, with satin ribbon handle.|.6|Cream braided horse shoe with gilded wishbone and wax orange spray attached. A bow with long loop to hang on the arm.|.7|Satin Horseshoe Good Luck charm with 'petal' flowers surrounding it, made of cut material - ribbon bow with pearls in centre.|.8|Doll in taxi - Rosy-cheeked, dark hair, blue eyes, dressed in bridal dress with veil, with pearls and 'flowers' decorating the doll. The doll stood across the back seat, under the window. Lavender in base of stand.|.9|Bridal Ring Box - 'Good Luck' horseshoe charm box - in the shape of a prayer book. Cream box with silver motifs printed on.|.10|Groom's Buttonhole of spray of wax orange blossom - 4 flowers and 3 leaves. Cream flowers with yellow stamens - green leaves. 10 Items in total..7 'Wishing you all The Best' 'Good Luckcostume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Bridesmaid Dress, c. 1966
... at Christ Church Hawthorn. costume female ceremonial Cream Crepe ...Worn by donor to her sister's wedding 25 February 1966 at Christ Church Hawthorn.Cream Crepe bridesmaids dress Sleeveless which has a taffeta lining. the dress is a princess line style and has stiffened cream fabric flowers, with pearl centres. The flowers are mounted on continuous wire thread, Dress has a round neckline with a zip down the back. Gloves - Elbow length coloured cream with 2 pearl buttons at wrist closing. (Left glove has stain on back.)costume, female ceremonial -
Whitehorse Historical Society Inc.
Costume - Good Luck Charm
Heart shaped white good luck charm. White cardboard hollow heart enclosed in a ruffle of net. Four flowers of satin & net & pearl stamens decorate one side. White satin ribbon forms a loop to hang from wrist. See also items NA4579 - wedding dress NA5076 - Garter NA5078 - Bible NA5090 - Stocking NA5091 - Veil costume, femaie ceremonial, costume accessories, clothes accessories, femaie -
Whitehorse Historical Society Inc.
Accessory - Garter
Blue satin elasticised garter decorated with 2 white flowers. See also items NA4579 - wedding dress NA5077 - Good luck Charm NA5078 - Bible NA5090 - Stocking NA5091 - Veil costume, female ceremonial, costume accessories, clothes accessories, female -
Whitehorse Historical Society Inc.
Clothing - Stocking
One winter white nylon stocking with reinforced heel and toe - very sheer, probably 10 denier & feather shaped leg. See also items NA4579 -Wedding dress NA5076 - Garter NA5077 - Good luck Charm NA5078 - Bible NA5091 - Veil costume, female ceremonial, clothes accessories, costume accessories -
Whitehorse Historical Society Inc.
Clothing - Wedding Dress, 1966
... female ceremonial None 1966 wedding dress of silk, velvet ...Dress made by Ludmilla Jenkins at her shop in North Road, Ormond. The dress was made for Rosalie Schwerkolt for her marriage to Marvin Bruce Whalen at St Andrew's Presbyterian Church, Gardiner, Victoria on Wednesday 1st June, 1966 and afterwards at Butleigh Wootton, 867 Glenferrie Road, Kew. Rosalie was married from 33 Straughton Road, Glen Iris.Rosalie is the great granddaughter of Johann August Schwerkolt, pioneer of Mitcham.1966 wedding dress of silk, velvet in Winter White colour lined in silk voile. The dress is a princess line with round crew neck. Sleeves are narrow and taper to a point using a dart and with a zipper fastening on seam. The arm seam also features three pleats at the inside of the elbow crease. The back has a zipper closing and princess line seams. The gown is full length at the front and at the back extends to a point for a 40cm train using an insert gore in the princess seam. Approximate measurement bust 31 inches or 79 cm waist 24.5 inches or 62 cm Hip 36 inches or 94 cm See also items NA5076 - Garter NA5077 - Good luck Charm NA5078 - Bible NA5090 - Stocking NA5091 - Veil Nonecostume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Veil
White net veil is gathered to a net rose on the head to a plastic comb. it is of two lengths: one short length not decorated and a double thickness full length which is decorated on the upper layer with 3.5 cm net roses attached through the net to a clear sequin. Short length is 66 cm. Long length is 1 metre 90 cm. See also items NA4579 -Wedding dress NA5076 - Garter NA5077 - Good luck Charm NA5078 - Bible NA5090 - Stocking costume, female ceremonial -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life -
Kew Historical Society Inc
Clothing - Christening gown
In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life