The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Characteristics of Maltese lace. Maltese lace usually has the following characteristics which are useful for identification. It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Camisole, made of silk thread Maltese bobbin lace that is constructed of lengths of lace forming two rectangles with a hole for the neck. Shows the characteristic Maltese cross and wheat ears. Fabric is made of tape lace joined togethercamisoles, maltese lace, bodices

This RAAF Flying Log Book belonged to Flt Lt Basil John Adam 400451. The first entry in the log book is 16 November 1940 at Elementary Training Course at Narrandera NSW.This is a RAFF Flying Log Book belonging to Flt Lt B J Adams.Not quite square book, blue cloth cover. White tape on the front upper left cover with the number 59259. On the spine the number 4259. On the spine on tape the number 184. Writen on the bottom pages thickness of the book ADAM.B. 400451.Royal Australian Air Force Flying Log Book Form A.18 (Revised April, 1937.) (RAF Form 414) Name ADAM Basiel John 400451.raaf, log book, adams b.j., 1940.

A Thornton 'The Monarch' Special tennis racquet, with solid convex throat, cloth tape reinforced shoulders with string whipping, and fine-grooved octagonal handle. Materials: Wood, Lacquer, Glue, Metal, Gut, Leather, Cloth tape, Inktennis

Mark 77 brand tennis racquet. West German. Reinforced stringing across centre of net. Aluminium frame. Fluorescent cloth tape along top of head with words 'Fischer Besaitungstechnik'. Materials: Metal, Nylon, Cloth tapetennis

Mark 77 brand tennis racquet. West German. Reinforced stringing across centre of net. Aluminium frame. Fluorescent cloth tape along top of head with words 'Fischer Besaitungstechnik'. Materials: Metal, Nylon, Cloth tapetennis

A Grenvilles 'The Varsity' wooden tennis racquet, with solid convex throat, cloth tape reinforced shoulders with string whipping, and a slightly fantailed handle butt. Materials: Wood, Lacquer, Glue, Metal, Gut, String, Cloth tape, Inktennis

An H.H. Co. Multnomah tennis racquet, with string whipping around shoulders, and cloth tape wrapped around the lower half of the fine-grooved handle. Materials: Wood, Lacquer, Glue, Metal, Leather, String, Ink, Cloth tapetennis

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton voile puff sleeved chemisette with four engraved pearl buttons. Neck edged with an edging lace and narrow tape. Sleeves finished with two rows of pin tucking and edging lace. Insertion and tape lace at neckline.lace, women's clothing, underwear, undergarments

A Goodwin Trophy tennis racquet, with cloth tape reinforced shoulders, string whipping around shoulders and shaft, and leather handle grip. Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Leather, String, Paint, Cloth tapetennis

A Wales Topspin tennis racquet, with string whipping around shoulders and shaft, and a leather handle grip with quatrefoil perforations. Materials: Wood, Ink, Glue, Lacquer, Metal, Nylon, Enamel, String, Adhesive tape, Leather, Adhesive tapetennis

A 'Lawn Tennis Measure' retractable tape in circular brass housing. Brass winding handle attached to centre of housing. Housing engraved with instructions and measurements for a standard lawn tennis court. Materials: Brass/Metal composite, Cloth tapetennis

The tape has not been played but presumably is a recording of part of the Annual Dinner held in 1958 due to the label.A record that Legatees felt their meetings were worth recording for future reference.An audio recording on a clear plastic spool of an Annual Dinner in 1958 in a cardboard box with the Mastertape logo.Printed with Mastertape M.S.S. recording company LTD. Type in red print. PM15, BW2.561, stamp. The master sound system, Poyle farm, Colnbrook, Bucks, England in blue print Torn cardboard, Annual Dinner 1958.legatee event, legatee

Con Kroker CollectionBlack & white photograph of a narrow pathway winding down a grassy slope to the beach. There is a simple stool on the right, and a wooden table & stools on a flat area just above the bench. A woman is sitting on the wooden seat to the right of the table & stoolsBack: 843 stamp Attached to the back by tape, is a photographic competition entry form, for C. O. Kroker

This blazer was worn by Helen Veitch in 1948, while a student at the Ballarat Teachers' College in Dana Street. She lived in Ascot Street South and attended the Urquhart Street Primary School. The first class she taught was grades 1&2 at Wedderburn Primary School with 46 students. She also taught at Wendouree West, Wendouree, Urquhart Street and Pleasant Street Primary Schools. She married in 1955 and died in 1979.This royal blue woollen, unlined blazer is bound on all the edges with braid including the tops of the three pockets and 8.5cm from the sleeve edge. The embroidered patch breast pocket has the emblem of the Ballarat Teachers College. It has three buttons at the front. Most of the seams are bound, though some are turned back and stitched down. The back of the top of the pockets are reinforced with cotton fabric.Maker's embroidered patch - Paterson, Powell Pty Ltd, Ballarat White tape with handwritten marking - Veitchblazer, helen veitch, costume, textiles, logo, embroidery

Black & white reproduction photograph of Changi POW Camp in ornate wooden frame. Photograph shows variety of tents and structures in foreground and groups of figures in background. Vehicle with Red Cross emblem in background.On Photograph: 6-Bartack SQ,. Sept, 1942. Black tape on frame: Changi POW Camp 1942of, war, changi, prisoner, 1942, barrack

Complete record of the Footscray/Sunshine Branch meetings between the dates mentioned. Also handwritten roll call of Legatees 1965-1973 at back.Describes and itemises the activities and work of a typical Melbourne Legacy Branch in the 1960s and 1970s.Dark blue hardcovered foolscap book, tan spine and corners, initial minutes written in blue ink, typed minutes glued or stapled to the lined book pages. Includes a newspaper cutting from The Mail, Wed., Sept.12, 1979 recording the establishment of the Footscray Legacy Branch originally reported in The Mail 17/9/59.On spine in gold on red “Faint Paged Collins 4393” Front cover: red metal tape “Footscray.Sunshine.Legacy”minutes, activities, branch

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and coloured pencil landscape drawing on paper.Obverse: BEECHWORTH / VIC. / MARCUSE Reverse: BEECHWORTH NOSTALGIA / BW – 03 (on masking tape) 003 (pencil) ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

This VHS was produced by the State Electricity Commission of Victoria, to show the pristine state of the Kiewa River and Valley post the completion of the Kiewa Hydro Electricity Scheme (Circa 1950s), The late 1970s on wards was the beginning of deeper social scrutineering by pro environmental groups such as the Australian Wilderness Society (1976) and the Greens (political Party), before, during and after the construction phases of any man made structures in forest/bush areas which may or could damage or adversely affect the natural flora and fauna of sites. This promotional VHS, which was produced in the 1990s, was to project that unlike the Tasmanian State Electricity Commission (Franklin Dam issue), the Victorian State Electricity Commission acted in a way to protect the environment to the maximum level possible. With the passage of time since, and the issue of the global push to minimise carbon pollution, and as an alternative to coal fired power stations, the use of hydro electricity can now be seen as a highly efficient alternative to "coal powered" electricity. This VHS is a snap shot in time (1990) when the Kiewa Valley was still relatively under populated and holiday houses owned by city bound workers was still relatively insignificant. As more and more holiday makers retire to a small but friendly region(Kiewa Valley and Mount Beauty) the increase in visitor numbers will affect the local rural bush scene more and more. The changes that will occur (in time) can be measured against the scenes presented in this video. The additional resources provided by the State Electricity Commission of Victoria of "alpine bush" fire control and management, together with an ongoing educational scheme for school children in learning about what constitutes the Alpine country's unique environment, are a very important offshoot, benefitting to both the communities within the Kiewa Valley and regional Victoria.This VHS tape is stored within its own plastic cover which has a front side covered by a coloured photograph(both front and back cover) of the Kiewa River, just to the north east of the Mount Beauty township. The VHS tape is nestled within a formed inner structure which not only prevents the tape from moving to and fro but also unnecessary intrusion of foreign particles.Front cover "KIEWA" on the spine top circle with lines projecting out and below this "SEC". Middle of spine "KIEWA" and bottom of spine "VHS"secv, kiewa valley, dale-bromley, cy-duff, chris- harding, michael-glucz, forestation education, wilderness photography, nature film.

Bottle brown glass with plastic screw cap. Paper label secured with glue and tape.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Photo taken for Country Road Board study of Main Road wideningshire of eltham archives, aerial photo, bellevue road, country roads board, eltham, main road, road widening

Victorian Railways Aerial Surveyshire of eltham archives, aerial photo, main road, anzac avenue, hursbridge, parker road, hurstbridge railway station, rose road

Victorian Railways Aerial Surveyshire of eltham archives, aerial photo, main road, anzac avenue, hursbridge, parker road, hurstbridge railway station, rose road

Victorian Railways Aerial Surveyshire of eltham archives, aerial photo, main road, anzac avenue, hursbridge, parker road, hurstbridge railway station, rose road

Victorian Railways Aerial Surveyshire of eltham archives, aerial photo, main road, anzac avenue, hursbridge, parker road, hurstbridge railway station, rose road

Victorian Railways Aerial Surveyshire of eltham archives, aerial photo, main road, anzac avenue, hursbridge, parker road, hurstbridge railway station, rose road