Bishops Palace was built in 1877 as the home for the first Bishop of Ballarat. The Palace was designed by Melbourne architect, Joseph Reed, of Reed and Barnes, and built by George Broom at a cost of £6,000. The property is particularly notable for its four acres of impressive heritage-listed gardens. In 2019, Bishops Palace opened its doors to the public in the form of an accommodation, wedding and event venue.Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron

Bishops Palace was built in 1877 as the home for the first Catholic Bishop of Ballarat. Designed by Melbourne architect, Joseph Reed, of Reed and Barnes, it was built by George Broom at a cost of £6,000. Reed and Barnes also designed Melbourne’s State Library, Ripponlea Estate and the Melbourne Royal Exhibition Building. The original heritage-listed gold lead stencilled paintwork that can be seen in the front entry and on the staircase walls at Bishops Palace was replicated in the Royal Exhibition Building. The original property was 140 squares set on 11 acres of gardens and took up an entire block of Sturt Street. This was on scale with the importance of Ballarat as a gold-mining centre at the time. Bishop's Palace is of architectural, aesthetic and historical significance to the State of Victoria. The two-storey bluestone mansion is an impressive example of 19th-century Gothic architecture with an unusual design. It retains many of its original features, including lead stencilled paintwork, cornices, ceiling roses, fixtures and fittings. Since sold by the Catholic Church the Bishops Palace has undergone a number of transformations in its lifetime, from the home of the first Bishop to a private residence, and today, as a luxurious accommodation, wedding and events venue. The grounds were subdivided over the years, and the property is now surrounded by four of the original 11 acres of gardens. It opened its doors to the public in 2019.Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron, catholic church

Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron

Black leather ankle high lace up boots with hob nails

Rectangular white cotton tray cloth with applied commercial cotton lace tray cloths, household textiles

It was common for ladies to embroider household textiles in the early 20th century. These could be made from purchased kits or pattern books. They may form part of a trousseau Circular, white cotton doily with applied netted lace and embroidered border. doilys, household textiles

White embroidered cotton rectangular tray cloth with applied lace edge.tray cloths, household linens, household textiles

Rectangular white cotton cut work pillow cover with applied lacepillow cases, bed linen, household linens, household textiles

A pair of shoes worn by a Presentation nun at Star of the Sea Convent, Gardenvale. The history of the shoes is unknown; nuns working in the convent's archive found them stored among convent records, and subsequently donated them to Brighton Historical Society. The Presentation Sisters, a Catholic order originating from Ireland, founded the Star of the Sea Convent in Gardenvale in 1883. Led by Mother Paul Fay and Mother John Byrne, they established a convent and school in a house called Turret Lodge, on the site of the present Star of the Sea College in Martin Street. The order and the school remain active in Brighton today. Foy & Gibson was one of Australia's earliest department store chains. Based in Collingwood, from 1883 until the mid-twentieth century they manufactured and sold a large range of goods, including clothing, manchester, leather goods, soft furnishings, furniture, hardware and food.Pair of black leather women's lace-up shoes with a low heel.Interior label: "COMFORT / FOY & GIBSON PTY LTD / COLLINGWOOD"shoes, nuns, foy & gibson, presentation sisters, star of the sea convent

Kastinger Boots Founded by Hermann Kastinger, the company was based in Austria from 1909 to 1981 . After several bankruptcies and changes of ownership, the company Lemipan , based in Pirmasens , Germany , is the current licensee. In 1932, Max Kastinger took over the business from his father. In addition to double-stitched shoes, glued models were also produced for the first time. The decision to use this design laid the foundation for the inexpensive mass production of winter shoes. In 1953 the first successes were also achieved outside of Austria. Sales of the boots took off internationally and were greatly adapted and improved as ski technology also evolved. In 2009, the Kastinger brand celebrated its 100th anniversary. This image is significant because it documents changes in the design of ski boots over time.A pair of black leather lace-up boots with a white leather trim.Kastinger logo on outside of bootsski boots, kastinger boots, ski equipment 1950s

White lace rectangular tablecloth with floral pattern and wide scalloped edge.tablecloths

White, cotton lace doily with an embroidered flower in the centre and a scalloped edge.table ware., doilies, table linen.

Boxing gloves used for hand protectionManufactured and sold by Holden and Frost C1900Pair of brown leather boxing gloves with fabric lining. Missing laceleather, boxing gloves

replica of leggings as would have been made by Holden and Frostreplica of item made by Holden and FrostReplica black leather leg protectors metal eyelets, leather lacesleather, leggings, puttee's

Used by Alice Gibson. Handmade by May Clarke.Ladies white wedding handkerchief. White cotton with lace crocheted edging.handkerchiefs, wedding accessories

Worn by Barbara Cornell for her 1938 wedding. Made by her family.Cream ribbon horseshoe, with orange blossom decoration. Lace trim on end.wedding accessories, horseshoes

Worn by Gibson children in the 1900's.White cotton short baby's dress, with lace inserts and ribbon trim.baby clothing, baby dresses

Worn by Edna Sebire, and other children of Thomas and Linda Sebire. Circa 1909.Pair of cream leather child's boots with pink pompoms and pink laces.baby shoes, shoes

Trousseau of Mrs. A. Mitchell (1877)White cotton camisole with lace and insertion on collar and sleeves. Gathered waist.camisoles, underwear

Donated by Rob Innes- belonged to his mother Miriam Effie Innes nee Drury b1895. Could have belonged to her mother b1856.Sailor shaped lace collar ecru coloured and handmade with taupe design.costume accessories, collar accessories

1 Square White Linen & Lace Table Centrepiece With Wheel Motifs.handcrafts, country crafts, table centrepiece

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Full length, heavy cream crepe with tie belt and lace overcoat grace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

This nightgown was made by Vasiliki Raftopoulos around 1900 for her daughter Toula's trousseau. Born in Ithaca, Toula's family migrated to Romania when she was only a baby. In 1914, Toula emigrated to Australia with her husband Constantine Mavrokefalos, where their daughter Olga Black was born in 1930. Olga is a longtime Brighton resident. BHS holds a collection of garments and textiles made by the women of Olga's family, spanning four generations. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Women's white cotton nightgown, long with three quarter sleeves. Cotton lace on front and sleeves. Front fastening buttons. Pintucked with eyelets around neck.nightgown, toula black, toula mavrokefalos, vasiliki raftopoulos, olga black, 1900s, trousseau

Clothing. Camisole. Short camisole, square neck, crochet lace top with yoke, cap sleeves front and back of crocheted lace. Gathered cotton section attached to crocheted yoke. Tie at back. Casing at hem with 1 cm cotton tape tie. Crocheted lace yoke made up of eight pieces stitched together. .costume, female, underwear

Clothing. Deep cream silk centre piece, with scalloped edges - 18 cm x 16 cm. (Scallops 6.5 cm wide). Cream linen bobbin lace - (probably Brussells Lace) surrounds the silk-9cms deep at each corner, 3.5 cms deep at the sides. Fan shapes woven in the lace, emphasize the scalloped centrepiece. Flowers as in 11414.26 and 11414.30a and b, would suggest that this lace has been made by the same maker. Silk centrepiece is damaged, with some splitting of fabric.costume accessories, female, dark cream silk and lace handkerchief

In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck and may be permanently attached to the main body of the garment (e.g. by stitching) or detachable. Today's shirt collars descend from the ruffle created by the drawstring at the neck of the medieval chemise, through the Elizabethan ruff and its successors, the whisk collar and falling band. Separate collars exist alongside attached collars since the mid-16th century, usually to allow starching and other fine finishing. Jabots made of lace and hanging loose from the neck were an essential component of upper class, male fashion in the baroque period. During the Edwardian period, and sporadically thereafter, ornamental collars were worn as a form of jewellery. Names for specific styles of collars vary with the vagaries of fashion. Jabots survive in the present days as components of various official costumes, as are those worn by judges and counsel throughout Australian courts and town mayors. 2018 Kingston City Council Mayor Steve Staikos asked CMHS to loan the Former Moorabbin Mayoral Robes and Jabot for display at KCC Office Cheltenham. These Moorabbin Mayoral Robe with Jabot are now displayed along with those of the former City of Chelsea Robe and the former City of Mordialloc Robe at Cheltenham . KCC possesses the original Mayoral Chains of each former Council and they are displayed on each Robe for the annual Opening Meeting of KCC in February. This set of a 'Jabot' style collar and cuffs was part of the ceremonial Mayoral Robes c1960- 94 for the City of Moorabbin 1934-94. This is the last City of Moorabbin Mayoral Robe and was worn by Mayor Ron Brownlees, (prior to amalgamation with the City of Glen Eira and City of Kingston in 1994), and donated to the City of Moorabbin Historical Society in February 2007 by the City of Kingston. The City of Moorabbin developed from the Moorabbin Roads Board of 1862, becoming The Shire of Moorabbin in 1871 and the City of Moorabbin in 1934. November 2018 At the request of the Mayor Cr Steve Staikos this Jabot Collar and Cuffs is now on display with the Mayoral Robes at Kingston City Council Offices Nepean Highway Cheltenham . A detachable , white, nylon, 'Jabot' style, standing collar with a pleated, ruffled, and lace-trimmed frill down the front and 2 matching cuffs that was part of the City of Moorabbin Mayoral Robes c1960 - 94 It has a tear in corner. clothing, collars, ornamental collars, civic robes, mayoral robes, moorabbin, cheltenham, bentleigh, lacework, dressmaking, fashion, formal wear, city of moorabbin. moorabbin shire, moorabbin roads board, brownlees ron, city of glen eira, city of ikngston

Clothing. Women's cream coloured short sleeved linen nightgown. High round neckline with 4.5 cm broderie lace frill. Front has lace bib below neckline.(45cm wide X 30 cm deep) dipping to a V shape across the bustline. Bib section made up of 4.5 cm broderie lace around the edge. Centre front opening (15 cm) from neckline, fastened with two press-studs with lace frill covering the opening. Short set in sleeves edged with pin tucks, ribbon and 4.5 cm broderie lace. "A" shaped nightgown widening to the hem.costume, female, women's cream coloured linen nightgown

Cream coloured long sleeved infant's silk nightgown. Yoked front and back made up of overlay of vertical strips of lace. Ruffle of gathered lace around high neckline. Set in sleeves with 1.6cm lace trim and three pintucks at wrist. Skirt gathered onto yoke and front. Lower section of nightgown has three X four horizontal sections of four pintucks with lace inserts (2.5cm) between the sections. Gathered ruffle at hem,(15cms) with four pintucks and three cm lace trim with scalloped edge. Back opening (26cm) fastened with two X .8cm plastic buttons at either end of the yoke.costume, children's, cream coloured infant's silk nightgown