This is a studio portrait of Jessie May Partington (1911-1999), possibly in her 20s.Jessie May is a member of the Partington family, Greensborough pioneers.Sepia photograph on postcard depicting young woman (seated) in dark sleeveless dress with pearls.On back: "Auntie Tim" in blue pen and "Jessie" in black pen.jessie may partington, jessie angus, jessie scholes, partington family

This was the first police station built in Watgania, and it was probably built during the goldrush era of late19C to early 20C.The photo is of local significance to Watgania and the Ararat district because of its rarity and because of its subject. There is now (in the year 2023) little or nothing left of the township of Watgania, north of Willaura, though there are still several inhabited properties in this area, which shelters close under the eastern face of the Grampians mountains. The figures in the photo add to its significance, since a good deal of information about the goldfields can be gleaned from their manner and their dress.Black and white photograph mounted on cardboard. Photo shows two men standing outside a building. The man on the right is dressed in a suit and is wearing a hat. The other man is dressed in suits pants and a vest. The window to the right of the front door of the building is boarded up.Inscription: on front: "4216 / MH". Stamped on back: "F.W HARGREAVES". Inscription: on back: 592P (this is its Osborne nbr, and corresponds to a photo-negative taken of the original photo).goldfields, police, watgania, ararat, gold rush, mount william, grampians, police station

This 1920s wedding portrait helps understand the social and spiritual contexts of the Ararat community at a time when religious ceremonies were of great significance. The clothing helps identify the status of the couple and reflects their economic standing.Representative of the early social and spiritual Western ceremonies in the area of Ararat in the 1900sLarge, portrait-orientation black and white photograph mounted on card. Two people, dressed in formal wedding attire stand together in a studio. Bride carries a large boquet of flowers and has a ¾ length veil.Rear: "To Uncle Jim with best wishes / from Tom and Daisy / 11 2 20" / 1627 [cat.nbr]wedding, ceremony, photography, 1920s

The photograph is taken from the balcony of Leopolds Hotel, as favoured by many photographers. This photograph features Barkly Street in Ararat during a busy day of business and commercial activity. The vehicles in this photograph enable an estimated date circa 1950's and the pedestrian traffic state of dress in the image suggest it was taken in the cooler months.Langi Morgala museum holds a succession of photos taken from this same vantage point, which allows a comparison of the main street of Ararat over 100 to 150 years. The growth and decline of businesses and perhaps government buildings can also be ascertained. Because of this comparison value, this photo is of regional significance.Black and white photograph of Barkly Street, Ararat. Notable feature is the Turf Hotel to right of image.barkly street, ararat, turf hotel, 1950s

Black and white photograph showing a group of children in front of an old building. An adult male is standing to the right of the group. Girls in the photo are wearing light coloured pinafores over dark, long dresses. Males are wearing suits and ties. The building is weatherboard and has two windows.Handwritten in blue ink on the rear of the photo is "This old building was in Ingor St (near High St) where the ESSO station now is.

Black and white photograph of three men standing in a bushland setting. They are dressed in suits and are wearing hats.Written on the rear of photo: "Bob Forster, G. Gossip, Jessie Bail.

Black and white photo of 8 people - 3 females and 5 males. An older couple is seated with a young boy standing between them. All are dressed in formal suits.Written on back: Rita Snibson sec Women's Hospital. Front row: Nell Simpson had a son Jack had a business in Stawell then Melbourne. Nell became Mrs A.J. Sanderson who had a grocery business opposite Town Hall.

This tea towel was manufactured in 1978 in Ireland and shipped to Australia. This was in a period when the C.W.A. was the major women's organisation which had the greatest influence amongst rural women (especially in isolated areas). This was a period when broad based communications were mainly by radio,women orientated magazines and the telephone. The relay of television to "remote" rural areas was not yet established. The CWA was therefore a very important organisation that catered exclusively to women's needs. The C.W.A. motto "Honour our God, Loyalty to the throne, Service to the country, Through country women, For country women, By country women." The atmosphere was one of "sisterhood" and covered nearly all the needs of rural based women. This one organisation incorporated knowledge and learning targeting women who physically may be isolated but not mentally. On the tea towel are portrayed all the activities that would be beneficial to rural women.This tea towel with its respective motifs is very significant to the Kiewa Valley as it related especially to women who felt the limitations of social interactions within a rural area. This tea towel represents a era where communications was relatively based on radio, magazines, books and limited telephone access. Within these restrictive interactive communication levels, the isolation of a "back o' Bourke" location applied tremendous mental fatigue on women more than on men.This CWA Victoria Golden Jubilee (1928-1978) tea towel is made from Irish flax at the Blackstaff Flax Spinning and Weaving factory. It is therefore of high quality and very durable. The major colours projecting from a light blue background are red, yellow, green, orange and black. The motives portrayed the activities of the CWA in 1978. These activities are embroidery, crocheting, dress making, knitting, cooking, art, macrame, drama, music, patchwork, toy making and community relief, pennies for friendship, emergency relief and welfare, residential club flats, the thanks giving and Papua New Guinea.The main or central theme of this tea towel is presented in the central area within three rings. "1928" on the left and "1978" on the right. On the top part "GOLDEN JUBILEE" and at the bottom "COUNTRY WOMEN'S ASSOCIATION OF VICTORIA" There are various shapes representing the activities listed above.cwa promotional material, cwa golden jubilee, women only organisations, country women's association

From the 1960's this beret badge (in lieu of the official metal badge) was worn by officers of the Regiment as field dress. It was an individual purchase rather than official issue.Cloth Regimental beret badge. Coloured metallic thread on black stiff fabric backing.badge, 4/19 pwlh

Unofficial badge. Worn by officers on field dress berets. 1960's - 1970'sCloth beret badge of 4/19 Prince of Wales's Light Horse Regiment. Coloured metallic thread on black cloth. badge, 4/19 pwlh

This wedding photo is of local pioneer families, Cooper and Larkins. John Cooper Jnr. married Annie Emma Larkins. The exact date is unknown. This is not only important for the Cooper & Larkin families but for historical reference for the Tawonga area where these families lived. It shows that even though the Kiewa Valley was considered remote during this period the tradition of a big formal wedding was still held with fashionable weddings. This photo was included in a group of photos. This photo has historical significance as it depicts members of local pioneer families getting married. It also is representative of the style of wedding dresses of the period and the style of men's wedding attire. The photograph itself is also significant as is demonstrates the style and formality of wedding photos during this time. The picture frame is likewise the style of the period. However, this is in bad condition with bore holes in it. This photo has good interpretive value and is well provenanced. Black and white wedding photo of John Cooper Jnr. and Annie Emma Larkins. The centre of the frame has carved hearts 3 cm wide all the way around.Photographer "Mendelsfohn's and Co. Melbourne"mendelsfohn's & co.. photographer of melbourne. wedding. furniture. wooden frame.

This sewing machine was bought by Alex Craig's dad in 1942 for his wife whom he married in 1943. Alex's grandmother used it in 1942. It still works (2013).Historical: Type of sewing machine used by S.E.C.V. wives living in Mt Beauty during the 1940's, 1950's and 1960's. Ladies made the family's clothes and sewed for the Annual Church and School fetes. eg. children's clothes and dolls' clothes. They bought dozens of dolls and made 'fairy' dresses for them using coloured netting.Singer sewing machine - brown wood lid & base. Handle on top of inside of lid as is the wooden bench that clips on to the side of the machine and also the steel knee lever that fits into the front of the machine. Black steel machine with silver fittings. Brown and white electric cord plugged in. "Singer" on front centre of lid. On machine - "Singer" above light. "The Singer manufacturing Co. / Manufactured in Great Britain" top of machine. "Singer" on front side of machine. Front - Gold plate - "The Singer Manfg. Co. / Trade Mark." Decoration on machine base and silver end.singer manufacturing co.. sewing. fetes. clothes. domestic.

This sewing machine was bought by Alex Craig's dad in 1942 for his wife whom he married in 1943. Alex's grandmother used it in 1942 to make button holes.Historical: Type of machine used by S.E.C.V. wives living in Mt Beauty in the 1940's, 1950's and 1960's. Ladies made the family's clothes and sewed for the Annual Church and chook fetes e.g.. children's clothes and dolls clothes. They bought dozens of dolls and made 'fairy' dresses for them using coloured netting.Green & white box containing black & silver metal with 4 parts for attaching to Singer sewing machine for sewing button holes."Singer Buttonhole Attachment" on green 'cloud' top of box. "The Singer manufacturing Company" on green 'cloud' on side of box. "For Light Manufacturing and Home Use" on green 'cloud' on side of box. "Made in Great Britain" on white top half of end of box & teen 'cloud' below end of box is "Singer / Buttonhole Attachment / No. 86662 / For Singer Lock Stitch/ Family Sewing Machines.singer manufacturing co.. clothes. fetes. domestic. sewing.

Mt Beauty Workman's Club was formed in 1945, re-built and opened in 1954 and again in 1962 and 1968. The Bowls club was founded in 1970 and later was affiliated with the Victorian Ladies' Bowling Association (VLBA) and the North Eastern District LBA in 1974. There were strict rules regarding the Bowlers' uniform.The Mt Beauty Workman's Club was built by the SECV in 1945 to service their employees on the Kiewa Hydro Electric Scheme. As Mt Beauty grew it became the centre of activity for residents including the Bowling Club. The blazer is an example of the dress code for men playing bowls at the time.Black wool blazer fully lined with long sleeves, collar, 2 silver buttons. 3 pockets on the front - 2 on the bottom - left and right - and one at the top on the left. This one has a woven green, yellow and white logo with RVBA at the top and 'Mt Beauty Workman's Club' underneath. There is an inside pocket on the top right side with a label 'Blazer and Uniform Specialists / David Lack / Pty Ltd / Melbourne / Name "R. Burnett" / No. "3888"' - the name and number are typed in.mt beauty workman's club, mt beauty bowling club, r. burnett, bowling blazer

During the early 1900s little girls' dresses were fashioned on the style worn by older women. Girls dresses were knee length with trimmings of lace and ribbon. Collars were often removable for ease of washing. Leather lace-up boots and woollen stocking or socks were usually worn with these dresses. A pinafore or apron would be worn over the dresses to help keep them clean. Girls' hair was kept long, with curls and tied with ribbons.Boys' clothing was fashioned on sailor suits, blouses/shirts with a collar and trousers or knickerbockers. Woollen jackets, shirts and ties were suitable attire for older boys. Children's fashion of this time was dictated by long lasting durability, local manufacture, earthy colours and ease of mobility. Because of the long distance to haberdashery stores, the majority of children's garments would have been hand made by a local seamstress, mother or relation.Black and white photo of a family with 5 children in the foreground with trees in the background.children's clothing

Bright pink ball gown , with lace sleeves and floating panel. Long straight pink satin dress with lace sleeves and scoop neck. Princess line with lace under the bodice and across the back. Long back zip and a pleated chiffon attached train.Black label across the top 2 inches x 1 inch.ball gown, reid family