Slouch Hat made 1953 with King’s Crown blackened “Rising Sun” Badge (King George 6th) Square Bash Style. Worn during Korean War EraAustralian slouch hat with right hand side brim turned up and clipped to the body of the hat. Has Blackened Brass Rising Sun badge attached with inscription. Has attached Chin Strap & Hat BandBlackened Brass Badge has an inscription “Commonwealth Military Forces”hat, slouch, passchendaele barracks trust

Marion 'Annie' (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.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 silk woman’s hat in a soft unstructured style retailed by Anne Harrison of Kew. The hat is banded with braid in contrasting colours. It has a soft bow at the rear.Label: Anne Harrison of Kew. WM 9906anne harrison, milliners - kew (vic), women's clothing -- hats

The photograph shows the Delegate Lodge with the Orbost Brass Band at Christmas 1892. They travelled by horseback to play for the Star of Delegate Order of Oddfellows. The first Orbost Brass Band was formed in 1889. Around 1908 the town band split and the Orbost Workers' Band was formed. Eventually the two bands merged in 1913 to reform as the Orbost Municipal Band under conductorship of Charles Spink. The band continued for many years but was later disbanded and again reformed. This was to happen a number of times, the last time being in 1961 and continuing through to the late 1970's. Further info and Ref: In Times Gone By - Deborah HallThis is a pictorial record of the Orbost Brass Band. The various Orbost bands over the years played a major role in community activities providing entertainment and musical experiences for the many members.A very yellowed photograph of a band procession with the men holding their instruments. Two men are holding a large banner. In the background are wooden cabins. The photograph is on a white buff card. There are four copies of this photograph.on back - handwritten - "Presented to Mr C Spink Bandmaster Orbost Brass Band by the members of the Star of Delegate Lodge MUIOOF P Crawford Secretary"orbost-brass-band spink-charles delegate-oddfellows

Part of the Leo Reoch Cohn Collection. See Catalogue No. 5527.2 for his service record.Australian Army khaki felt slouch hat with a light khaki cotton seven-pleat fabric puggaree. Four holes in the side of the crown for ventilation. Brass clip and hook on the left-hand side of the hat for pinning up the left brim. Brown leather sweat band and chin strap.Stamped on sweat band in white: 'MADE BY "FEYREFIELD" MELBOURNE, 7, 1965'.army headwear, slouch hat, leo reoch cohn

The hat belonged to Edna Vlassopoulos of Bulla and Sunbury. It was purchased to wear at a family wedding.A steel blue mohair and felt lady's hat with an upturned brim which is trimmed with blue fake fur. There is a band of blue petersham ribbon inside the crown with black hat elastic fastened to the ribbon.STYLED BY / MICHELEclothing and dress, headwear, felt, costume, george evans collection

This cap was part of the uniform of the Orbost Municipal Band. 1937-1975 (circa). It was worn by members of the Wehner family who played in the band. They were Tom, Eric and Max Wehner.The Orbost Municipal Orbost Band played a major role in the Orbost community activities. Charles Spink made sure each soldier returning home from the 1914 to 1918 war was welcomed home in front of the Shire Hall to the music of the Orbost Municipal Band. The band played in the main street on most Friday nights and in 1929 the band played at the official opening of the Buchan Caves, by Sir Albert Lind.A black serge cap with a black shade peak on front. It has a brass lyre insignia badge on the front. The hat band is trimmed in gold braid.cap hat orbost-municipal-band wehner uniform

General MONTGOMERY with escorts Drum Major W.A. SIMPKINS and Major General CLOWES inspecting Southern Command Military Band at Essendon Airport in 1947Unframed black and white photograph of soldier with base drum facing three soldiers one wearing slouch hat, one wearing peak hat both behind soldier wearing beretBack of Photograph - General Montgomery at Essendon Airport 1947 - inspecting Southern Command Military Band Escorts - Drum Major W Simpkins and Major General CLOWESgeneral montgomery, major general clowes, drum major w. simpkins, southern command military band, 1947

Hat belonged to Leslie Ricketson's mother.Small cylindrical dark blue velvet pillbox style hat with small stiffened black half veil secured around 3 quarters of top rim of hat. Makers label attached to blue moire ribbon band. Hat fully lined in black rayon silk - hand stitched.Janifer Reg'dcostume, female underwear, trades, millinery

Shire of Eltham Archives Series 13, Photograph Album, 1985. Originally contained in a 2-ring PVC binder and document sleevesColour photographseries 13, shire of eltham archives, shire of eltham, david band, eliza smith, eltham cemetery, john cork knell, william band

thompsons foundry band

This boudoir cap was worn by women wearing a negligee in the 19th century in their boudoir in the morning. In the early 20th century women wore these boudoir caps while sleeping to protect their hair styles. The name "Ogier"' inside the cap indicates that it has a connection to the Ogier family in Warrnambool.This is an interesting example of a woman's head-wear in the past.This lady's boudoir cap has white, discoloured, net with floral woven edging and leaves and dots in the body of the net. It is circular in construction drawn on thread to the centre of the head and decorated with a tassel folded over. There are two layers of lace, the bottom one is attached to a black, velvet covered wire and has bunched flowers with violet ribbon as decoration. The top layer also has the bunched flowers. The cap is lined with cream silk. The lace hangs down at the back. The brim is stiffened inside as is the crown. On the item inside is a small piece of red ribbon with a name written. OGIERvintage women's clothing, boudoir caps

Ed Stuyfbergen 1988 Entrant No. 26 Ref: Series 34, Items 13, 14, 66-68 The images in this record were not selected for inclusion. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. shire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 35, ed stuyfbergen, film - ilford fp4, montmorency, scan - 35mm negative, fayrefield hat factory, sherbourne road

Black and white copy of photo printed on glossy photographic paper 30.5 x 40.5 cm (12 x 16 inch); image size approx. 18.5 x 28 cmbowler hat, cricket bat, diamond creek, hurstbridge

Shire of Eltham Archives Series 13, Photograph Album, 1985. Originally contained in a 2-ring PVC binder and document sleevesSeven colour photographsseries 13, shire of eltham archives, brisbane street, depot, fayrefield hat factory

Pencil drawing from a sketch book by Walter Withers. Photograph of pencil sketchwalter withers, walter withers sketch

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

world war, world war 1, lighthorse, creswick lighthorse, emu, emu plume, emu feathers, slouch hat

A collection of poems written about Australian soldiersSlouch Hat Soldiers is about the everyday experiences of war - not least, it's about families and mateship and all sorts of sacrifice.australians - vietnam - poetry, world war, 1914-1918 -- poetry, world war, 1939-1945 -- poetry

Donated through the Australian Government's Cultural Gifts Program by an anonymous donor, 2016

Hardcoverwalsh st library

Hardcoverwalsh st library

Mr. Randle - Mining Scene. Male with gold pan is Scarsi.stawell