The moustache cup is a drinking cup with a semicircular ledge inside. The ledge has a half moon-shaped opening to allow the passage of liquids and serves as a guard to keep moustaches dry. It is generally acknowledged to have been invented in the 1860s by British potter Harvey Adams (born 1835). Moustaches flourished throughout the Victorian era. Men often applied great gobs of melted wax to the moustache to keep it nice and stiff, with every hair in place.Between 1920 and 1930, moustaches progressively began to go out of fashion and hence moustache cup production gradually dwindled. This cup is an example of a common domestic item of its time. The Nixon families were among the earliest settlers on the Snowy River.A drinking cup with a semi-circular ledge inside - a moustache cup. It is white with a mauve stencilled border design and pink roses in the centre.Bottom - 34 472/5moustache-cup china domestic-items crockery

During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869) while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive' bamboo, aimed particularly at the export trade. Stating in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere and this item in the flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer here and put together by the purchaser. The bamboo plant stand is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain because the item is so fragile so this example is a valuable addition to the Flagstaff collection. It is believed,the construction method used is by a notable and respected maker in England of bamboo furniture that was aimed specifically at the export market and probably came to Australia in kit form to be assembled by the purchaser.Bamboo plant stand with octagonal top edged with tortoise shell bamboo the top is of wood and supported by four tortoise shell bamboo legs joined at the base by a square cane covered shelf. The tortoise shell appearance is brown lacquer. Item is part of the Giles Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, furniture, plant stand, bamboo furniture, etagere, victorian furniture, simulated bamboo, tortise shell, a englander & searle, domestic furniture, giles collection, henry giles, cooramook, mailor’s flat, wangoom, 19th century household goods

Carafe believed to be of the mid to late Victorian era and used as a bedside water carafe however the tumbler is possibly not of the same era could be later. These sets were in fashion from the 1700s filled with water and used if the owner required a drink during the night. however the subject item would have been made after 1850 as glass etching started to be used on glass from around this period.The carafe is most likely a vintage example of a Victorian bedside water container and for that is significant. The item was made in England.Bedside water carafe, onion-shaped, with a glass tumbler. The hand-blown set is clear crystal glass with an acid-etched fern decoration on both pieces. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, carafe and tumbler set, blown glass carafe and tumbler, hand made glass, carafe, tumbler, bedside set

This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture

This page of photographs is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Glen Eira Heritage Management Plan 1996 by Andrew Ward https://www.gleneira.vic.gov.au/media/4777/heritage_mment_plan_vol_3b.pdf (as of 27/01/2021) - p90 An imposing single storeyed Italianate bi-chromatic brick villa with three staged tower surmounting the entry and facetted corner bay with conical roof. White tuckpointed black body bricks are relieved with reds and stucco work. Gable ends are fretted and there is a concave cast iron verandah to the principal elevations.Victorian Heritage Database (as of 27/10/2020) - HO49 225 North Road Caulfield South https://vhd.heritagecouncil.vic.gov.au/places/42426 "Maniar" (?) is a substantial late Victorian Italianate villa with tower and extensive grounds built for Frederick Curwan, an inspector of the National Bank, in 1890. It is aesthetically and historically important. An imposing single storeyed ltalianate bi-chromatic brick villa with three staged tower surmounting the entry and facetted comer bay with conical roof. White tuckpointed black body bricks are relieved with reds and stucco work. Gable ends are fretted and there is a concave cast iron verandah to the principal elevations. It is aesthetically important as an imposing and substantially intact villa residence demonstrating the changing architectural fashions of the 1890's, evidenced by the use of face brickwork and fretted gables in the Queen Anne manner. It is historically important for the manner in which it demonstrates the lifestyle to which a businessman could aspire during the boom period.Page 150 of Photograph Album with four landscape photographs of Fairfield Hall on North Road.Handwritten: "Fairfield Hall" 225 North Rd cnr Younger Ave [top right] / 150 [bottom right]trevor hart, jenny o'donnell, verandah, porch, tower house, tower, mansion, three storey tower, bichromatic brickwork, fairfield hall, 1890's, george jobbins, conical roofed projecting corner bay, conical roofed bay, timber ceilings, north road, younger avenue, frederick wallis curwan, curwan, italianate, queen anne, australian homestead, arched windows, curved windows, columned parapet, return verandah, fairfield estate, fairfield street, slate roofed, red brick, polychrome bricks, victorian style, cast iron work, caulfield south, maniar, house names

An apron is an outer protective garment worn over clothes to cover the front of the body. In Victorian and Edwardian times, women were using aprons for both utility (they were easier to wash than dresses) and fashion and women's magazines and pattern companies were offering patterns to allow women to be to sew their own aprons at home. There are different styles of aprons including bib aprons, waist or half aprons, pinafores, tabards and pinner aprons. The word "apron" comes from the old French word "naperon" which means a napkin or small tablecloth. This apron is one of two similar aprons that were donated from the estate of Susan Henry nee Vedmore (1944 - 2021). It is in very good condition and appears to be more decorative (and possibly used only on special occasions) rather than everyday wear. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.This item is an example of clothing worn by working women in the late 19th and early 20th centuryShort white cotton apron featuring gathering along the waist band and a gathered frill with scalloped edging along the bottom. The scalloped trim is repeated on the edge of a single pocket on the right hand side. It has ties attached to both ends of the waist band and the main body of the apron is made of of three rectangular pieces of cotton joined with french seams.warrnambool, great ocean road, textiles, lady's garment, apron, parlour apron, waitress apron, half apron, waist apron, handmade, domestic clothing, domestic work, vedmore foundation, susan henry oam

An apron is an outer protective garment worn over clothes to cover the front of the body. In Victorian and Edwardian times, women were using aprons for both utility (they were easier to wash than dresses) and fashion and women's magazines and pattern companies were offering patterns to allow women to be to sew their own aprons at home. There are different styles of aprons including bib aprons, waist or half aprons, pinafores, tabards and pinner aprons. The word "apron" comes from the old French word "naperon" which means a napkin or small tablecloth. This apron is one of two similar aprons that were donated from the estate of Susan Henry nee Vedmore (1944 - 2021). It is in very good condition and appears to be more decorative (and possibly used only on special occasions) rather than everyday wear. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.This item is an example of clothing worn by working women in the late 19th and early 20th century Long white cotton apron featuring gathering along the waist band and a gathered frill with scalloped edging along the bottom. The scalloped trim is repeated on the edge of a single pocket on the right hand side. It has ties attached to both ends of the waist band and the main body of the apron is made of of three rectangular pieces of cotton joined with french seams.warrnambool, great ocean road, ladies' garment, apron, half apron, waist apron, domestic clothing, domestic work, parlour apron, waitress apron, handmade, sewing, vedmore foundation, susan henry oam

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

This handmade women’s nightgown features hand-worked Broderie Anglaise yoke and trim. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. This design of nightgown was worn by females in the 19th century and is still worn today.The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's long straight nightgown, white cotton, with long sleeves gathered at the cuff, stand-up lace collar, and a small catch closure on the bodice's centre opening. Hand-worked Broderie Anglaise yoke and sleeve tips.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, nightie, nightgown, women’s nightwear, sleepwear, night dress, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, nightdress

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, neck trim and waist trim. Drawstring, tie and button closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. It has button closures down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s pair of bloomers, or drawers, features hand-worked Broderie Anglaise and applique trim and a drawstring rear closure at the waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's bloomers or drawers, handmade from white cotton fabric, with hand-worked Broderie-Anglaise trim around the bottom of legs with applique motifs. Bloomers have a drawstring, back of waist closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, bloomers, drawers, underpants

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and drawstring peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. Front closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

The inscription "T L" on these early 20th century ladies button-up boots lead to the maker likely to be Tony Lama, a famous USA boot manufacturer, son of Italian immigrants. The "Rome" is the style of boot. The "6" is likely to be the soot size. Tony Lama began work at age 11 years in the leather trade industry, serving an apprenticeship as a shoemaker. He joined the US Cavalry when he was 16, after lying about his age, working as a cobbler to make boots for the soldiers. His workmanship became popular, particularly for the 'Western' style of boot. TONY LAMA boots In 1911 Lama established a company in Texas, first repairing boots, then adapting his shop to manufacture boots in order to meet the many orders he was receiving. He married and he and his wife Esther brought up six children who also went on to work in the family business. The business continued to grow through WWII. Part of the business included custom boot making and Tony's eldest son Joseph presented President Truman with a pair of kangaroo skin boots. The prosperous business became a company and eventually, in 1990, was sold to Justin Industries.This pair of boots is an example of women's footwear dating around the early 20th century. Pair of ladies leather button-up boots. Two-tone style: black bottom strong leather bottom and white, soft kid leather top. Boots have a curved fly fastened by 11 white buttons with metal shanks. Boots are constructed with cork filling. Inscriptions of both boots. "6 101" "TL" " Rome" "Cork Filled"flagstaff hill, warrnambool, maritime-museum, shipwreck-coast, flagstaff hill maritime museum & village, ladies button up boots, footwear, victorian era, granny boots, tony lama, ladie's boots, ladies' fashion, women's clothing, rome, kid leather, two-tone boots, leather boots, button-up boots

A capelet is a small cape, usually worn around a person's shoulders and often chosen to wear with an evening outfit. The design may include a hood, collar or even ruffles. Fabrics range from fur, leather, velvet and wool to shear silk and net. Trimmings include buttons, lace, ribbon, and tassels. A capelet was a fashionable garment from the late 19th to the early 20th centuries.Capelet with collar. White fur lined with white fabric. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, capelet, cape, evening wear, fur garment, fashion, edwardian, victorian, white fur

Starting in around 1850, women began wearing boots that resembled the ones already worn by men in high society. Women’s Victorian boots were slightly more feminine in nature, however, than those worn by their male counterparts. The boots first worn by women extended to the middle of the calf so that her ankle would stay properly covered underneath her many skirts. These boots often featured laces or a row of buttons to keep them secure to the foot and ankle. Although usually made from durable materials like rubber and leather, boots that were worn purely for fashion were sometimes made of more elegant materials like patent leather or dyed suede. Fashion boots from the Victorian era exude all of the opulence and decadence that are unique to that time period. Design elements like scalloped trims, intricate embroidery, and lace accents were also not uncommon when it came to elaborately designed Victorian boots. Unlike men’s boots, they also boasted a slight heel that was thinner and more feminine in design. How lavish a woman’s boots were greatly depended upon how much money her family had and her place within society. While footwear was standard during this time, shoes were still quite a luxury to the modern Victorian. Only very wealthy women owned multiple pairs of boots that featured eye-catching design elements. https://www.wardrobeshop.com/blogs/victorian-era/an-in-depth-look-at-victorian-footwear These boots appear to be of a practical nature, designed for comfort, warmth, and proof against the rain and mud, rather than high fashion.These ladies' boots are historically significant for their manufacture and use during the Victorian period.Pair of ankle length black ladies' boots with long tan coloured laces.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, boots, victorian, leather, footwear

Before the invention of woven baskets, people used tree bark to make simple containers. These containers could be used to transport gathered food and other items but crumbled after only a few uses. Weaving strips of bark or other plant material to support the bark containers would be the next step, followed by entirely woven baskets. The last innovation appears to be baskets so tightly woven that they could hold water. Depending on soil conditions, baskets may or may not be preserved in the archaeological record. Sites in the Middle East show that weaving techniques were used to make mats and possibly also baskets, circa 8000 BCE. Twined baskets date back to 7000 in Oasisamerica. Baskets made with interwoven techniques were common at 3000 BCE. Baskets were originally designed as multi-purpose vessels to carry and store materials and to keep stray items about the home. The plant life available in a region affects the choice of material, which in turn influences the weaving technique. Rattan and other members of the Arecaceae or palm tree family, the thin grasses of temperate regions, and broad-leaved tropical bromeliads each require a different method of twisting and braiding to be made into a basket. The practice of basket making has evolved into an art. Artistic freedom allows basket makers with a wide choice of colours, materials, sizes, patterns, and details.Before the advent of plastics (1907), the is now used for many different types and styles of storage container rattan, wicker or cane was used to make containers with a lid for the storage of linens etc. The subject item was probability used at the end of the Victorian era and into the Edwardian period around the 1900s as a household storage facility. These types of wicker or cane containers started to go out of fashion due to their fragility around the 1920s into the 1940s due as well to the introduction of synthetic materials. Wicker cane rectangular shaped domestic storage container with reinforced leather pads on 4 corner sides. lid fits inside the other. Black cane piece around top edge.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This set of decorative buttons is a replica of buttons that would decorate formal wear in the Victorian era.This set of buttons is representative of buttons work on garments int he Victorian era.Set of six round, clear, diamond-like buttons with gold coloured base and shanks. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, buttons, set of buttons, diamond look buttons, clothing buttons, accessories, fashion

Prestige Limited was formed in 1922 by George Foletta to manufacture fine silken hosiery. The company had acquired the Atlas Knitting and Spinning Mills Pty Ltd which had been established in 1920 and produced "Prestige hosiery" from 1921. Prestige Limited merged with Holeproof Hosiery Company (Australia) Pty Ltd in 1964. Both were taken over by Pacific Dunlop in 1968. The Prestige name was dropped in 1978/79. George Gotardo Foletta (1892-1973), hosiery and knitwear manufacturer, was born on 30 January 1892 at Northcote, Melbourne, eldest son of Victorian-born parents Henry Gotardo Foletta, a stonemason of Swiss extraction, and his wife Gertrude, née Bright. Henry repaired the depression-ravaged fortunes of his family by starting a successful fancy goods commission-agency.....George persuaded the demoralized board to restructure around a quality-first marketing policy. By 1924, when George A. Bond & Co. Ltd ( Sydney) was liquidated, Prestige was back in the black. About this time the company became the first Australian knitter to make fully-fashioned silk stockings, outselling the best imported brands and giving Prestige dominance of the local hosiery market. With the arrival of British-trained Leslie Gough in 1926, Prestige entered its period of greatest expansion. By 1933 it was spinning its own silk yarn, had diversified into lingerie and commenced business in New Zealand; three years later it was spinning imported rayon filament into hosiery yarn.A pair of unworn lady's brown nylon 'service weight' stockings made by 'Prestige' Pty Ltd. in the original boxBox Lid: House of / Prestige / ‘monogram’ / WONDERSOFT / SERVICE WEIGHT “FOOT COMFORT’ NYLONS. Box inside lid : ‘monogram’ / You will have day long comfort when your feet are cushioned / with the softness and the smoothness of ‘Prestige “Foot Comfort” nylons. The secret is in the Nylon soles / …and you will find these “ Foot Comfort” / soles in ultra sheer, sheer, service sheer / and service weight nylons. / by Prestigeclothing, stockings, nylons, prestige hosiery pty ltd, melbourne, bentleigh, cheltenham moorabbin

Jet became popular in the Victorian era for mourning jewellery, which became fashionable after the death of Queen Victoria's husband Prince Albert in 1861. Jet is a dense black fossilized wood, almost like coal, and very light in weight. It is easy to cut, so carved well. It became popular in the Victorian era for mourning jewellery, which became fashionable.This jet necklace is typical of the mourning jewellery worn by early settler women in Moorabbin Shire c1900A continuous circular, long, black necklace with small jet beads.Nonejewellery, mourning wear, jet stone, queen victoria fashion, early settlers, pioneers, black clothing, moorabbin mirror, bader fran, rietman august, rennick stefanie, resin jewellery,

Photos taken by Victor Cycril Smith on his journey home after serving overseas in World War 1. Victor embarked on the HMAT Port Sydney in England on 22 September 1919. The vessel carried 1,307 men. The first home port was Fremantle where 170 disembarked before continuing the trip stopping at Adelaide where 101 soldiers disembarked. The next port was Melbourne and arrived in Melbourne On 12 November 1919, the ship arrived in Melbourne where 340 Victorians and 35 Tasmanians disembarked. They were motored through the city by the Royal Automobile Club and were greeted in the usual hearty fashion, crowds of men, women and children congregated at various points along the way to shout and cheer and wave flags in welcome. The soldiers from New South Wales, 430 and Queensland, 515 boarded special trains to take them home.Victor Cycril Smith was the son of a pioneering family in the Shire of Moorabbin. Six black and white photographs taken on board HMAT Port Sydneywwi, hmat port sydney, soldiers, victor cycril smith, moorabbin, world war one, bentleigh

Black and white photocopy of newspaper photograph. Mezzanine floor with balustrade around open area to lower floor. Small rooms along each side. Open metal curved beams under translucent roof. Two females facing camera, one female in doorway. Inscriptions: Printed under image 'two office girls take a break from work on the mezzanine floor of Allan's Arcade, a noteworthy Victorian era'. At top of plate 'page 52 - Supplement to the Bendigo Advertiser, Wednesday, September 24, 1986'.Bendigo Advertiser photographer?place, arcade, allan's arcade, bendigo, business, supplement, office, individual, female, person, workers, clothing, costume, clothes, fashion

An image of 'Juliet' after the original painting by A. Asti (Paris Salon.)Tuck's Post Card. Carte Postale. Postkarte. Raphael Tuck & Sons 'Connoisseur' series No. 2731. ' Juliet' is in a red gown with a white garment underneath. She has long flowing hair and has a hat or band around her hair. Art Publishers to their Majesties the King and Queen. Post card addressed to Miss L. Pethard, Fir St., Golden Square. Victorian stamp dated 26/ 5/ 06.postcard, photograph, female portrait, lydia chancellor collection, collection, female, individual, portrait, painting, costume, fashion, clothing, tuck's post card

Raphael Tuck & Sons 'Oilettte' Connoisseur postcard 2747. Tuck's Post Card. Carte Postale. Postkarte. The 'Crayon' series. Four ladies are enjoying tea in a formal room. There are pictures on the walls and a lamp and clock on a mantelpiece. On a stand or auto tray are teapots and cups and saucers. Art Publishers to the King and Queen. The post card is addressed to Miss L. Pethard, Fir St. Golden Square. The one penny (1d.) Victorian stamp dated 3/11/?.postcard, lydia chancellor collection, collection, female, entertaining, entertainment, costume, fashion, clothing, recreation, tucks post card

It is a portrait of a person assumed to be a distant relative of the Evans family. The photo has been handed down through four generations to the donor, Jane Ireland.A framed copy of an oval type photograph of a lady. The frame is made up of a brown stained timber on the outside with a gold surround in the middle and a red velvet inner surround. The head and shoulders portrait shows a lady dressed according to the fashion of the late Victorian era.evans, anne, holden, anne, emu bottom homestead, settlers, george evans collection

Friendly Societies originated in the industrial areas of the United Kingdom. The first society in Victoria was formed in 1839 and by 1913 more than half of the Victorian population was insured by Friendly Societies in some fashion. The societies were financed by Members' subscriptions and offered health benefits and other welfare services, before these services were provided by the government. Doctors were paid by the societies to treat members free of charge, and Dispensaries were established to provide members with subsidised quality medicines. The Sunshine and District Friendly Societies Dispensary was established on the 1st of March 1930 with a membership of 896, and it was located in Sun Crescent Sunshine. The membership grew to 1052 within 4.5 years, and the number of prescriptions dispensed in the 6 months prior to November 30,1935 totalled 10,535. The Dispenser was Mr. C. H. Semmens. Most Friendly Societies operated democratically with office bearers changed regularly to prevent power cliques. The Sunshine Dispensary appears to have operated in the same way as the societies that owned it. The Advocate of 10 July 1936 reports that the seven newly elected office bearers or delagates were from the Friendly Societies; A.N.A., M.U.I.O.O.F., P.A.F.S., and G.U.O.O.F. The names of all the seven people can be found on the Honour Board, indicating that they each have served at least one term as President of the Sunshine Dispensary. The health professions and the Labour Governments of the 1940's wanted to see the involvement of Friendly Societies in health care broken. The Commonwealth Free Medicine Plan appears to have been drawing customers away from Friendly Societies Dispensaries in general. The Sunshine Dispensary placed several advertisements in the Sunshine Advocate during late 1950 urging members to remain loyal to it. By the 1980's the increase in entrepreneurial clinics and the availability of take away medicine helped to vastly diminish the involvement of Friendly Societies in health care provision. The 1936 Sunshine Advocate refers to the Sunshine and District United Friendly Societies Dispensary, with the same office bearers as the Presidents on the Honour Board but on which the 'United' is missing from the name of the Dispensary. The 1950 advertisements were placed by Sunshine U.F.S. Dispensary of 23 Sun Crescent. It is thought that all three names refer to the same business, but the writer stands to be corrected. The above is a compilation of information sourced from Sunshine Advocates published in January and July 1936, and in September, October and November 1950. It also draws on an article written by Elizabeth Willis and published online by the the Department of History (University of Melbourne), and on an article written by Mr. Bill Kelly of the Australian Friendly Societies Pharmacies Association, and also on an article by Museum Victoria Australia. Corrections to what has been written are welcome from interested readers.The Honour Board provides a historical record of the Presidents that served 61 terms on the Board of the Sunshine and District Friendly Societies Dispensary. It also provides a reminder that when a government does not adequately look after the welfare needs of its citizens, the people can band together to find ways of helping each other. The Sunshine Dispensary no longer exists, and a more recently established Community Pharmacy which operated in Hampshire Road could not compete against the discount pharmacies that have taken over. These new pharmacies sell a wide range of profitable product lines, as well as dispensing traditional prescription medications.Brown stained wood particle board with picture frame type edging. The board has six straight sides however it is not typical hexagon shaped. The top is composed of three straight short edges to give an almost rounded edge to an otherwise oblong shaped bottom section. On the board in gold coloured lettering are the names of 'brothers' and 'sisters' who served a total of 61 terms as PRESIDENTS of the SUNSHINE AND DISTRICT FRIENDLY SOCIETIES DISPENSARY, which was established on the 1st of March 1930. Eight of the men served more than one term with BRO. I. MILLER serving four terms, and BRO. F. RICHER serving three. The three women SISTER. I. REWELL, SISTER. C. JOHNSON, and SISTER. M.S. ARMSTRONG served one term each. There is no indication of when each person served, but it is believed that the term length was around six months and that the list is in chronological order. This conclusion results from seeing that BRO. W. ROONEY is the 11th listed President, and that the Sunshine Advocate of 10 July 1936 states that he was elected as the new President.sunshine and district friendly societies dispensary, honour board, 1st march 1930, 1/3/1930, sunshine u.f.s. dispensary, semmens, rooney, miller, richer, armstrong, rewell, johnson

A fashion item. Probably home made.A collar edged with tatted lace. Tatting is a knotted lace

This collar was made by the mother of the donor. A home made fashion item.Tape lace collar. Machine made tapes with needle made filling stitches.