James Nicol ran a bakery at Linton from about 1856. James married Margaret (or Margret) Mather at Carngham in 1862. Photograph is part of Old Lintonian collection ; No. 7.Portrait of an older bearded gentleman wearing coat and tie.james nicol snr., old lintonian collection

Sepia photograph of a young man wearing suit and tie.Frank O'Beirnefrancis john (frank) o'beirne

Handknitted by donor.Cream handknitted baby bonnet with embroidered ribbon ties.Nilbaby clothing, handmade

Part of Old Lintonian collection ; No. 73Portrait of a bearded gentleman wearing suitcoat vest and tie.old lintonian collection, john madden?

Bunde Hansen Steenholdt, a miner, lived at Linton from about 1865. He and his wife Johanne Louise Steenholdt had twelve children. Part of Old Lintonian collection ; No. 48.Portrait of and elderly man with whiskers, wearing suit and tie.On back - "WD Steenholdt born 1837, arrived at Linton in 1864". old lintonian collection, bunde steenholdt, b. h. steenholdt

Clothing. Red polyester fabric, lined with white silky polyester lining, and hand-stitched, open weave fabric, possibly cotton to help hold shape and body. Symetrical shaping to a point on broad and narrow ends of tie. Cut on the cross to give stretch when tying the tie.RODNEY by John Webster, MADE IN AUSTRALIA.costume accessories, male, marong municipal band uniform tie

Bendigo High School tie with shell fabric with diagonal stripes of yellow and light blue. Self tipped. Diagonal seam across neck of tie where a piece has been removed. Tie has been shortened by half its original length. Worn by Merryn Ellison.Label on back of tip. 90% wool,10% Rayon, ''AUSTICO'' Name.costume accessories, female, bendigo high school tie

Used for pinning onto clothing or other accessories.Depicts a bus that served Melbourne in the mid-20th century.Metallic badge showing the #560 AEC Regal Mk3 bus (license plate AT560).public transport, mmtb, mmtb buses, buses

Tin used for storing ladies hair pins Blue tin hairpin box with decorative embossed hinged lid. Contains 3 compartments.

pin given to air men who had survived jumping out of aeroplanes during the war on a parachute. The parachutes were produced by the Caterpillar company and symbolically acknowledged the survivors. This particular pin was given to sergeant Jan Artymiukwar time memorabilia and remanents of war veterans experiencessmall gold coloured caterpillarmil'itaria, caterpillar club, jan artymiuk, air force

Water Wave Set comprising: 1 dish, 6 curved combs, 1 packet pins, 1 box containing hair net and 13 large hair pins. A total of 22 items.'Nocean' Water Wave Setpersonal effects-toilet requisites, hairdressing

2 Bendigo Easter Fair stick pins, dark blue enamelled banner with gold lettering Bendigo Easter Fair, attached to back is a 5cm stick pin plus a bar for attaching ribbon.event, easter fair, bendigo easter fair

Lapel badge with pin and clip on back and a safety chain and fine gold pin. Blue and red enamel around edges, with white and blue RSL badge replica in centre. Badge in shape of shield.CENTRAL RSL VICTORIA, blue background. WOMENS AUXILIARY red background. Back: Stokes.

Badge or lapel pin for tram crews at the 1999 Qantas Grand Prix featuring a chequered flag and the front of a B class tram. Metal with a gloss painted finish and a pin with the retaining clip on the rear.trams, tramways, grand prix, badges, crews

A cotton bonnet belonging to the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. The bonnet edge is finished with a double-layered delicate gathered lace ruffle around all the edges. The bonnet secures under the chin with a delicate tie made of a similar but plain fabric.george ward cole, st ninians, late 1800s, bonnet, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole, brighton

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Part of the Reverend Chaplain Major Thomas Bruce Williams, No 556101, CollectionArmy issue khaki pre knotted necktie. Tie has a Windsor knot secured with a plastic clip which attaches to a shirt collar. The ends of the tie are cut and frayed.uniform, battle dress, major thomas b. williams

Worn C 1960's with wing collared shirt.- Black bow tie, pre-tied - adjustable with hook fastening See NA5570 (white formal shirt) NA5571 (Trousers and Jacket) NA5576 (Cummerbund) and NA5576 (cuff links)Nilneckwear, formal wear

Shell dressings were carried by individual soldiers, intended to be used as a first dressing in event of wounding or injury. Each cloth pack contains dressings comprised of a gauze pad stitched to a bandage and a safety pin. The field dressing was often the first line of treatment and was intended to be applied by the wounded man himself or other soldiersThis dressing is significant as a representative object carried by every soldier in WWII.Bandage covered in light brown cotton casing. Front side has inscription and instructions for use.Printed on cotton package containing the Shell Dressing. Inside a lined box. Commonwealth of Australia/ SHELL DRESSING / To Open /Outer Cover. Tear cover open at top between stitches. / Inner Waterproof Cover. Tear apart at the corner indicated by arrow. / DIRECTION FOR USE -Take the folded ends of/bandage in each hand, and keeping bandage taut, apply the/gauze pad to wound and fix bandages with safety pin./ In the case of head wounds, when respirators have to be worn, care should be taken to adjust the pad so that it / does not interfere with the fit of the face-piece. / DO NOT HANDLE WOUND OR PAD. / under a black line / Johnson & Johnson Pty, Ltd, Sydney/ MARCH 1944 On the reverse an adhesive sticker with the words "Lent by Lance Flynn" dressing, shell dressing, commonwealth of australia, johnson & johnson

This is a badge which was worn by the official guides who led tours of the Kiewa Hydro Electric Scheme.This badge was issued by the State Electricity Commission of Victoria for use within the Kiewa Hydro Electric Scheme.Circular Metal disc with a large safety pin attached at the top of the back.In black print: State Electricity Commission/ SECV logo (in red) / Official Guide/ of Victoriastate electricity commission of victoria; guides; tours; kiewa hydro electric scheme

The badge belonged to Edwin James Jones No 3511, 46th Batt AIF. Refer 1367.5 for his service history.Brass badge, number 46. Clips and pins on rear for attaching to clothing.military history, numismatics-badges, metalcraft-brassware, 46 bn, jones

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a shiny black ball head, probably plasticcostume female head ware accessories, hat pin

A hatpin is a decorative pin for holding a hat to the head, usually by the hair. In Western culture, a hatpin is almost solely a female item and is often worn in a pair. The hatpin was invented to hold wimples and veils in place, and was hand-made.Long steel hat pin with black glass round ball head.hat-pin costume-accessories hat-accessories headwear-female

This item was hand-carved by Mark Richardson in 1899 at Tabbara. He operated the Richardson saw mill on the Brodribb at Tabbara and was a farmer at Bete Bolong.A hand-carved wooden rolling pin made from local blackwood."by Mark Richardson 1899"rolling-pin domestic food-preparation richardson-mark