Photograph - black and white. Portrait of a young child, dressed like a boy. Wearing a dark velvet outfit, big white buttons, and a very large lacy collar, sitting on a chair with a fur type rug around him.Bartlett Bros. Sandhurst.person, child portrait

Black and white photo, faded, pasted onto buff board. Possibly copy of original. Image shows 23 men standing and seated in front of corrugated iron mine shed. Men are dressed in suit coats and trousers, some wearing hats. Two men wearing collar and tie. On back of photo, written in pen : 'The photo of the New Chum Gold Fields Mine, Ddgiamond Hill, Bendigo, was taken about 1911, the Manager (Wilfred Rickards) seated in centre. There was a dozen or more mines in diamond Hill at that time. G.H. Furness, 116 High Street, Kangaroo Flat.'bendigo, mining, new chum goldfields mine

Purchased in 1968 by Phyl Johnson at Myers. Worn twice by her and then, in 1990, by her mother, Mrs M. Gray at her grand daughter's wedding at Box Hill, St Andrews Presbyterian Church1968 Pale pink pure wool, short sleeved dress. Round neck with zip from neckline to waist. Fully lined in pink polyester fabric. Detail stitching from bustline to waist and continuing across waist line at back. Fitted pink jacket has waist length long sleeve, trimmed with a collar of faux fur. Fastened with three buttons and loops, and has two pockets with detailed stitching. Jacket is fully lined with pink polyester.Merco Dabroncostume, female

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.Long black velvet evening coat with an attached wide collar of brown fur. The same fur is used to border the long sleeves. The garment and or the attached fur would appear to be homemade.women's clothing, evening wear, australian fashion, evening coats, teresa mayer

Large white fox collarfurs, costume accessories, arctic fox, women's clothing

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with a double band of jet passementerie. The capelet has a high dog neck collar, which is lined with leather. The original lace, of which some remains, has been removed in the past, probably due to damage, leaving some traces of its original style. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with shamrocks outlined in jet passementerie. The capelet has a dog-collar neck, that is lined with leather. The original lace, forms a wide border edging the satin. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear, catherine francis ellen gulliver, doris catherine kriesfield

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green woman’s hat created by Harbig of Melbourne with a large border of flowers and leaves in shades of green. The crown of the hat is swathed with pale green silk gauze.Label: Harbig. Melbourne, New York, Parismilliners -- harbig, women's clothing -- hats, floral hats

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Rounded hat covered with ivory coloured silk, simulated flowers attached to a stiffened net. Label: Harbigmilliners -- melbourne (vic.) -- harbig, women's clothing -- hats, headwear

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.Three quarter length faux fur, black astrakhan coat fastened at the front with hooks and eyelets. The coat has an unstructured wide collar typical of the period.women's clothing, coats, australian fashion - 1960s

This coat belonged to Brighton resident Audrey Winifred Pickett (nee Heriot; 1915-2011). The coat is made from the pelts of rakali, also known as the Australian water rat, a native rodent species similar to an otter. Growing up to 35 centimetres in length, rakali typically live in burrows near water, feeding on fish, insects, yabbies and waterbirds. Throughout the early twentieth century, they were widely considered to be a nuisance and were hunted for their soft and waterproof fur. Demand for rakali pelts increased during the 1930s Depression years, when a ban was placed on the import of overseas furs; rakali fur became a popular substitute for the fur of the American muskrat. The species was placed under a protection order in 1938, although periodic culls were allowed until 1957 due to their perceived destruction of irrigation banks and fishing nets. Audrey recalled that the coat was made for her by furrier F. J. Ellemor after a large cull of rakali. The coat was displayed in the window of Ellemor's Block Place store. F. J. Ellemor Pty Ltd was established in 1908 by furrier Francis John Ellemor (1867-1944) and continued into the late twentieth century under the management of his son Wilfred (1801-1972). Francis and his wife Edith lived in Rothesay Avenue, Brighton from the late 1930s.Three-quarter length brown fur coat made of Australian water-rat (rakali) pelts. Wide raised collar and cuffs. Fastens centre front with two large hooks and eyes. Lined with chocolate brown silk satin.Label, woven brown on beige silk, centre back neck: created by / F. J. Ellemor / FURRIERS / MELBOURNEfur coat, rakali, australian water rat, melbourne fashion, audrey winifred heriot, audrey winifred pickett, audrey winifred north, francis john ellemor, f. j. ellemor, furrier

The horse collar would have been used on draught horses to pull a wagon or plough on farms.A large vintage leather horse collar with leather straps and buckles at the bottom. It is padded possibly with straw and lined with felt, fur or animal hair. It was part of the horse harness used to distribute the load around the horse's neck and shoulders when pulling a plough or wagon. It often supports and pads a pair of curved wooden or metal hames to which the traces of the harness are attached.horse accessories, horses, agriculture, harnesses, horse tack

1. Jacket, Khaki Woollen. Four pockets held shut with copper buttons. Four copper buttons on central front. Two Rising Sun Badges (darkened) on collars. Metal "Australia" badges on each epaulette. 38 Bn colour patch on right shoulder. 2. Trousers - Khaki Woollen. Fly held shut with 6 Bakelite buttons. No belt loops - buttons for braces. Trousers are cuffless. 3. Hat Khaki - fur felt. Light khaki puggaree. Copper A.C.M.F. badge. 4.& 5. Puttee, khaki Woollen. It has a 25mm wide tape at one end. It's length is 116 cm. The broad piece is 202 cm long. Width 10cm 1. Written inside, appears to be "L. Townsend". Stamped date of 1943 has '3' crossed out and '6' inserted.38 bn, aust, ww2, passchendaele barracks trust

1. Battle Dress Jacket. Wool Khaki. It has Sgts Stripes, on each shoulder are cloth badges. 3 Div and Northern Victorian Rgt. The jacket has two breast pockets and a purpose made cloth belt. 2. Trousers Battle dress. Wool, khaki. Fly held shut with five buttons. Brown buttons hold belt loops. 3. Shirt, polyester. light Khaki. Long sleeve. Two breast pockets held shut with brown buttons. 4. Tie, light brown. 5. Hat, Khaki fur felt. It has a silver hat badge of 38 Battn - Motto HONOREM CUSTODITE.Inside shirt collar has letters. “R.W” written in ink. Written in texta, inside leather band is: - “Atkinson 2794820”38 bn, post ww2, cmf, passchendaele barracks trust

BHS CollectionBlack fox / fur stole, lined with polished cotton lining(?). Lining pleated at back neckline. Two fox heads- one either side of front shoulder. Front panels- 11.5 cm X 52 cm finish with a luxuriant fox tail, and two smaller ''tails'' on each side. Neck panel at back 16cm wide. Metal hook, chain and loop fastening at centre front.costume accessories, female, black fox fur stole.

BHS CollectionKnee length fur fabric coat, lined with soft black satin-like fabric. Long sleeves, revere collar and five black button fastening at front, five machine stitched button holes. Shoulder pads give a broad shouldered profile. One button at top is high under the collar, allowing the coat to button up to the throat.costume, female, black fur fabric coat

Coat was worn by the grandmother of the donorFull length fur coat in varying shades of brown. Origin of fur unknown. Coat is lined with a rayon damask and has a deal of detail i.e. pocket with self rouched trim and bows, the hem was self rouched trim, rosettes and bows. The coat has three self-covered fur buttons closing with elasticised loops. The collar is a stand-up shawl collar. The style is 1920s. One sleeve has a split at cuff.costume, female

Worn by donor's grandmother Florence. Use by Kael's mother Ruth who had it from long to short.Short brown fur jacket. Fur in panels from shoulder to waist. Round collar, raglan sleeve, slit pockets on front. Fully lined in Polyester material.costume, female

Fur belonged to Mrs Eley Howes who wore it in the 1940s. She was the mother of Peg West, a Member.A silver fox fur, bushy tail four legs attached with claws and . Pointy nosed face, eyes and ears. The nose has a clip which joins the fur up to one leg around the shoulder.costume accessories, female, costume accessories, collar accessories

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

Black and white photograph of a lady wearing fur coat with flowers centre of collar, long skirt and hat, standing with arms by her sides."Sincerely yours Lily E Gorman".lily gorman, lily severino