Part of Bette Jones collectionDeep beige linen apron with bib. Bib and skirt embroidered with flowers and leaves in pinks and greens. Apron edged and trimmed with cotton lace. No straps, so either designed to be pinned on or unfinished.costume, female working

Found in the above ground rubbish pile at Days Mill and Farm. Probably used on site.Two enamel bowls with marbleized patterning on the outside. The larger wider bowl is blue and white the smaller but taller bowl is pinky/beige and white. Both have white interiors. Both are rustedwilliam day, ann day, joseph day, robert day

Bendigo Football League Official Programme Saturdays June 13th 1925 & September 18th 1926. Black printing on beige paper, double sided. Page torn from a larger booklet..football teams, names and advertising

replica Stock and Shares Certificate for fund Raising for the Centrl Deborah Gold Mine Under Cityof Bendigo header No dates defined Printed by Cambridge Press Black printing on beige paper

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes.The dress was owned, worn and donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long sleeved black cotton dress the fabric of which includes a pattern of small beige and cream polka dots. The ends of the sleeves and the base of the dress include ruffled trims of the same fabric. Label: TULLOnorma tullo, australian fashion - 1960s, women's clothing, day wear, mcintyre collection

It belonged to Beryl Mair of 20 Barton Street, Surrey Hills and was given to her by Mr W Sandoe on 12.11.1928. There are entries from family members and class mates from Mont Albert Central School (MACS). The first entry is written by her father, Dave Mair. Entries from: D Mair, Lance Young, Norma Dunn, I Goodes, Lorraine Potts, Mary Griffin, L E Jarman, J Stalker, Jean Fowler, Ailsa Hank (with an ink drawing of a cottage), May Leach, Merle Botten, Beryl Skinner, Enid Marro(w ?), Betty (S ?)oule, Fred A Teague, A Mock, Kath Paul, Melva Dare, Marjorie Smith, J Hargreave, Ethel Lillifant. Three entries are quotation only. One page lists teachers of Mont Albert Central School: E C Cairns, E E Holden, Alfred Harley, R Blackburne, R W Campbell, M (?) Sheahan, ------- (undecipherable), H McConville. Those dated are mostly from 1930.The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. Beryl married Lance Young. This is part of a large collection relating to the Mair, Deakin and Young families.In Europe autograph books have a history that can be traced back to 15th century university students. In Australia autograph albums were particularly popular towards the end of the 19th century, although there are known examples as far back as the 1830s. The increase in popularity coincides with printing and book binding becoming more affordable. Autograph books came in many sizes but were typically small with blank pages, usually in pastel colours. The books were often exchanged so the gathering of autographs was a very social pastime. Pages were filled with not only names, signatures and personal details but also poems, limericks, drawings, personal messages, small pieces of verse, and other mementos, such as pressed flowers, locks of hair and even embroidery. Although they could be very personal, unlike a diary they were meant to be viewed as part of the exchange. Autograph books from the 1950s may have a different focus. Although it remained common to collect the autographs of friends it was also highly desirable to collect the signatures of the famous, especially rock and television stars. Autograph books are of social relevance because they reflect the sentiment of the era of creation; they can also be reflective of social change, major political events or new inventions.A small autograph book with a mottled brown cover and faded pastel pages with gold edging. The end pages are detailed in beige and pink. There are multiple entries, those dated are mostly from 1930. Front cover: "Autographs" in gold within a gold oval. Front inside page in black and red ink: "BERYL MAIR / 20 / BARTON / STREET , SURREY HILLS / from / MR W SANDOE / 12/11/28" Embossed in back cover, lower right: "MADE IN ENGLAND" beryl mair, autograph books, dave mair, barton street, ernest lance young, lance young, norma dunn, i goodes, lorraine potts, mary griffin, l e jarman, j stalker, jean fowler, ailsa hank, may leach, merle botten, beryl skinner, enid marro(w ?), betty (s ?)oule, fred a teague, a mock, kath paul, melva dare, marjorie smith, j hargreave, ethel lillifant, teachers, mont albert central school, e c cairns, e e holden, alfred harley, r blackburne, r w campbell, m (?) sheahan, h mcconville

Pale green glass bottle with white, metal, screw-on lid. It has a beige-coloured label with red and blue writing, and a picture of an orange and a lemon, green leaves and one white flower.On the label: "Kia-ora 50 - 50 Fruit Juice Cordial, made from oranges and lemons. 26 FL. OZ NET. Preservatives: This food contains not more than 2 grains of sulphur dioxide to the pint. Kia-ora Industries Limited, Melbourne - Sydney - Australia".containers, bottles

Art CollectionThis painting depicts a green hill below a cloudy sky, and a sandy landscape below the hills. Towards the left of the hill there are trees and shrubbery. The frame is white with gold on inside, beige mount and glass.Front: Rita M McLean (grey paint, lower right) Back: (no inscriptions)goose lagoon, female artist, female artists

This scrapbook contains newspaper cuttings, hand written poems and quotes from friends and family members and pressed flowers and ferns. Entries were made in the mid 1800s to early 1900s and relate to Duncan family history. The initials suggest this is Lillie and Olive's father, David Hood Duncan, who created this scrapbook. David Hood Duncan married Ada Blanche Thomson (1861-1928) on 25 November 1896. Ada was the daughter of John Gilmour Thomson (1829-1905) from Moonee Ponds and Hannah Davies (1834-1890) Their first daughter, Lillie, was born on 15 October 1897 in Woodland, South Gippsland where he was a farmer. In 1908, 1910, 1911, 1913, Lillie Duncan sent letters to Patience from the Young Folk section of the Australian. She was writing from Woodlea, Cathkin, where they had moved as there was no school in South Gippsland. They moved to 11 Paxton Street, East Malvern when David retired. He was leasing a farm, Kia Ora, in Koo Wee Rup, the South Gippsland. Ada Blanche died on 28 December 1928. David died on 24 May 1942.This is an album of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals and families involved in the Ladies Harbour Lights Guild and the activities carried out by that organisation.Decoratively embossed word on front cover : "ALBUM" . Inner pages: Handwritten in various inks throughout are poems and quotes. Two unidentified initials followed by Duncan name on the inside page. duncan, poems, quotes, newspaper cuttings, albums, scrapbooks, lillie duncan, olive duncan, poetry, ferns, plants, david hood duncan, ada blanche duncan (nee thomson), epistolary

David Waterston, refer Cat No 2410 for service details.Warning Unexploded Projectiles. Frame black painted metal, poster has red and black printed instructions on beige background. Small white label at top of frame contains information in black print.On the back board - handwritten in red felt tip pen "The Tree Warning Poster/ was printed the same month/as the battle of Long Tan/ (18 Aug 1966 SVN) D Coy 6 RAR.documents - posters, frame accessories, signs- warnings

Stout, a strong dark beer, came in bottles and was bought at licensed premises either locally or in larger cities visited during shopping expeditions. This bottle may have been brought as a gift from a friend / relative from overseas. This bottle differed in that it is made from porcelain and contains, stout, not the common beer.Historical: Types of bottles change with the material they were made from, shape, size, inscriptions and weight. Aesthetic: Display showing inscription, material and shape.Beige porcelain heavy bottle used for stout 'a strong dark beer'. It has straight sides two thirds of the way up tapering to the lip and opening. On the bottom of the side is an oval stamp with inscription.Oval stamp: Circumference - Along the top - 'Port Dundas' along the top. Across the middle - 'Glasgow' Along the bottom ie. Underneath - 'Pottery Co.bottle, porcelain bottle, stout, beer, port dundas glasgow

7 black and white negatives and 1 larger one. Contained in a beige envelope. Br 1235 3/- written on the envelope. One negative is a Scalebuoy, 1 is the interior of a room and the rest are photos of scales?sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, negatives, envelope

The Phonic Ear hearing aids were actually auditory trainers for children in school. This aid was also an FM receiver so the child could clearly hear the teachers' voice. This was used by the student to receive the teachers' transmissions. For more information see: http://www.hearingaidmuseum.com/gallery/Miscellaneous/Assistive%20Devices/Phonic%20Ear/info/phonicearfmsystem.htm Beige FM Receiver with red plug-in crystal module (colour coded for frequency) and two leads on either side for hearing aids. This would have been used by the student to receive the teachers transmissions. Masking tape on front, obscuring name, writing on tape faded. "MODEL/HC 421 R/STEREO/AUDITORY TRAINER/FM/CERTIFICATION/THIS RECEIVER COMPLIES/ WITH FCC RULES PART 15/OPERATION IS SUBJECT/TO THE CONDITION THAT/ THE DEVICE WILL NOT/CAUSE HARMFUL INTER-/FERENCE AND THAT THE/DEVICE MUST ACCEPT ANY/INTERFERENCE THAT/MAY BE RECEIVED, INCL-UDING INTERFERENCE/THAT MAY CAUSE UN-/DESIFED OPERATION./PHONIC EAR/MODEL HC 421 R/TYPE GODKENOT/ deaf children australia, hearing aid, auditory training device, phonic ear

Published for 150 years of Melbourne Trinity Lutheran Church, 1853-2003, not only as a source of reference and awareness about its own background but also as an incentive and motivation for continued active engagement of a large membershipCharcoal grey to beige at the top, of a hard cardboard cover book. Cover depicts Melbourne 1887 and title in black text. Back cover depicts "The Sower" window donated in 2004. 2 copiesPresented to Tatura & District historical Society In. with the compliments of Trinity Lutheran Church of Melbourne.luthern church, melbourne, mees hd, steiniger d, steiniger h, rechner p, camps, tatura, ww2, lutheran church, books, history, local

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

Pair of women's beige coloured 'Sueded Calfskin' gloves size 6 1/2. Decoratively pierced and stitched with cross stitch along back of wrist, labels in both gloves inside cuff.Left hand label '6 1/2' / 'Made in Western Germany'costume accessories, female

Trifold beige flyer with brown writing. Flyer for an exhibition for portraits on loan from the Bendigo Art Gallery at the Sandhurst Trustees Company 18 View Street, Bendigo; held June to August 1982Exhibition supported by Bendigo Trustees Company.portraits, bendigo art gallery, sandhurst trustees company, june - august 1862

Royal Historical Society of Victoria, Bendigo Branch Alexandra Fountain - Costume Dinner Ball Saturday 4th July 1981, 7:30PM - 1:00AM A ticket, beige B programme, yellow

Decorative embroidered Photo Frame. Covered in Beige/Fawn colour. Soft cotton embroidered in shades of green, scrolls and leaves. Pink rose and petal. Mrs Hopkins in pencil on back. Image of infant.stawell

Harry Gee (26/10/1882-7/12/1924) married Edith May Bray (1883-27/5/1957) in 1904. They had the following children:- Harry Edward b. 1904-1904; Harry Herbert b. 1906,Bessie Elsie b. 1908; William James b. 1909.Harry & Edith Gee with young son Harry. Posed studio B&W photograph with beige cardboard mount. Square format with circular cut out for the family photograph. McKenzie Family Collection.Photographers stamp Laurel Studios Bendigohistory, eaglehawk

A dark beige coloured cardboard phamphlet folded in four places. The information on the front is in black ink. Top of the front page is a Serial No. 062. The Royal Australian Artillery Insignia is near the top of the page.phamphlet, citizen mitilarty forces, royal australian artillery, 7th field regiment raa, 7th field regiment lad raeme, programme of training, lt col h.a.f. benson, capt w.d. feakes, lt d.r. bird, wo1 c.j. maynard, capt d.k. lehmann

Shrapnel and Semaphore. My grandfather's diary of Gallipoli is an amazing story of courage, faith and service. It provides a graphic account of the horrors of the fateful ANZAC landing and of the courageous attempt to take the peninsula against impossible odds.Soft cardboard cover, purple print on beige background on front, spine & back beige print on dark brown background. Sepia photo of 3 men in uniform on front. Sepia portrait photo on back (New Zealand uniform). 60 pages, cut plain paper, illustrated with black & white photos. Biography & diary of Walter EDMUND (Bill) LEADLEY Reg No 6/1122 Lance Corporal 1st Battalion, 2nd Corps, Canterbury Regiment of New Zealand.books, military, nz, shrapnel

Ladies’ gloves were an essential part of life in the 1840s to 1900 Victorian era, regardless of class most ladies wore gloves. The glove design, material, and fit would hint at a lady's status, despite their hands being covered. A shorter style of glove would have been used for daytime wear, along with the matching parasol cover and would be matched to the owner's outfit. Leather was a material often used since the 1900s, however when WWI hit the price of leather gloves increased and many resorted to cheaper materials for their accessories. Although particular styles for evening-wear gloves altered throughout the 20th Century, the classic neutral leather glove was a staple throughout Australian ladies' fashion during this time. The need for gloves and parasol cover however disappeared in the 1960s when gloves were only used in the winter months as a practicality rather than a fashion accessory.The leather gloves and parasol cover indicate the owner was wealthy and was able to spend money on good quality accessories. This may have been due to the fact that Chiltern was a gold-rush town and would have had some wealthy families living there from the late 19th Century. The leather items are a symbol of such wealth and social signifiance in the rural town of Chiltern.Gloves: Beige colour with brown hand stitched detail on the upper hand - 3 lengths. Brown stitched all around with finger gussets. Three brown leather button detail to the upper cuff (actual leather circular pieces meant to resemble buttons, hand stitched in beige). Umbrella/parasol cover: Same soft leather as gloves and detail, metal zip along the length and tapered to one end. Two leather circular pieces meant to resemble buttons, one missing at the top). chiltern, leather, leather gloves, leather parasol cover, parasol, parasol cover, gloves, wealth, gold rush, chiltern athenaeum museum, chiltern gold rush

In rural Australia phone calls were made through the switchboard usually situated at the local post office. This book lists the residents of Kergunyah and their phone numbers. If you want to talk to a neighbour for example, you ask for that person or give the operator their number. The switchboard operator 'puts the caller through'. However some people shared a number and were therefore on a party line eg. in this book 6 people share number 3. The operator would then ring the individual's code, like morse code, eg. 1 long 2 short. Also ref. KVHS 0897 Mt Beauty SwitchboardThis book is a list of residents living at Kergunyah who have a phone and lists their phone numbers. Kergunyah is in the Kiewa Valley. The book also notes some problems with the line eg. 'suspect sheath damage'. Stiff beige cardboard cover bound by black tape "Subscribers' M.D.F. / Record" printed on centre of cover. 7 pages but only written on pages 2 and 3 with residents' names and phone numbers in columns."Kergunyah" on front coverkergunyah, telephone, kiewa valley, switchboard

Was used in second world war as a training manual for drivers.Small booklet,Beige in colour made from cardboard and paper.These orders are designed to meet training in general and transport work in particular. they will be supplemented if necessary , by formation or unit orders to meet local conditions and circumstances.