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Bendigo Historical Society Inc.
Photograph - PORTRAIT OF A LADY
Small full length portrait of a lady standing next to a fence leaning against it with her arm resting on it. Long sleeves, high neck and buttoned down to the waist. The skirt has a pocket at the side with gloves in it. She is wearing earrings and has a blue ribbon in her hair. The bodice has dark ribbon and a feather trim.Alfred Wren, Mitchell Street, near Railway Station, Sandhurstphotograph, portrait, female, portrait of a lady, alfred wren -
Bendigo Historical Society Inc.
Clothing - FAVALORO COLLECTION: WOMAN'S SATIN PANTIES, 1950's
Clothing. Light blue satin woman's panties with straight legs - no gussett. Legs trimmed with 3cm coffee coloured lace. One cm turn over hem at waist with 15 cm opening with placket on LHS. Shaping darts on either side of centre front. Two darts on either side of centre back. No fastenings.costume, female underwear, woman's light blue satin panties -
Bendigo Historical Society Inc.
Photograph - PHOTOGRAPH OF DANCERS IN DUTCH COSTUME, c. 1920
Sepia Toned Studio photograph of 6 young ladies lined up left to right holding the waist of the lady in front of her, 3 of the ladies wear polka dot pinafores, the other 3 ladies wear a pants suit all are wearing Dutch style hats, mounted on a cream card in a brown wooden frameBartlett Bros Bendigoentertainment, dance, dutch dancers, bartlett bros bendigo, dancing girls -
Whitehorse Historical Society Inc.
Clothing - French knickers, 1948
Wedding held 13 March 1948 at Church of England, Thornbury, Victoria. Charlotte Edith (Tottie) Tooke nee Ryder (Maurice Wyatt's aunt) to Alfred George Tooke b. 1898 d. 1998 EnglandFrench Knickers, 1948, Salmon pink colour. Appliqued bow design on each leg. Band of lace around bottom of each leg. Pearl-like button at button hole each side of waist band for closure. See Negligee set NA4922, Wedding Dress NA4923, Horseshoes NA2924 and Wedding Veil NA4925.costume, female underwear -
Kew Historical Society Inc
Clothing - Cerise Silk & Velvet Ball Gown, c.1901
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This gown is believed to have been owned and worn by a member of the Smart family of 'Turinville', in Barnard Grove, Kew.Two-piece dress comprised of a bodice and floor length skirt made of a soft, lightweight cerise coloured silk fabric. The bodice features a v-shaped rear neck. A wide velvet cummerbund is part of the outfit. Dated to c. 1901. (Measurements: Length 132 x Waist 62-73, Chest 76 cm)australian fashion - 1900s, ball gowns - 1900s, evening dresses, evening wear, women's clothing -
Lara RSL Sub Branch
Belt, Leather Belt
This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties. This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Leather Belt with 31 Badges and Buttons from WW1 attachedSee Mediaww1, world war 1, australian army, badges, button, belt, stable belt -
Lara RSL Sub Branch
Belt, Webbing Belt
This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties.This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Webbing Belt with Badges and Buttons WW1See Mediaarmy, australian army, western front, aif, s.w.ellis, service number 640, 2 m.g.c., buttons, badges, belt, stable belt -
Bendigo Military Museum
Photograph - BENDIGO RSL SHOW STALL, Possibly late 1970's
Bendigo RSL Sub Branch Show Stall fund raiser. .1) Photo, the man on the left is Jack Plant, centre is unknown, man on the right is believed to be Norm Smart. .2) Photo, On the left Norm Smart, unknown, Jack Barnes, unknown. .4) Photo, the man is unknown. Refer Cat No 8129P for Jack Plant. Refer Cat No 8040 for Jack Barnes Refer Cat No 8120.2P for Norm Smart.Four photographs colour square shape re the Bendigo RSL Sub Branch. .1) Shows the RSL sign, numbers and Lucky envelopes being "10 Cents" .2) Shows 3 men behind the counter and one outside with white waist bag on. .3) Shows the prizes in racks. .4) Shows one man behind the counter."Bendigo RSL Sub Branch", "Lucky Envelope 10c"brsl, smirsl, show stall -
Warrnambool and District Historical Society Inc.
Clothing - Woman's kilt, Fletcher Jones and Staff, Warrnambool, 1980s
This is a woman's kilt (skirt, shawl and pin). Two of the objects were made by the Fletcher Jones clothing company. The Tartan is the Australian tartan which was designed by John Reid, a Melbourne architect, when he entered a competition run by the Scottish Australian Heritage Council. He chose the colours of the Outback as the basis of his tartan. The tartan is design registered in Australia (No. 97439). (Source: District Tartans, P. Smith and G Teall, 1992). This outfit was possibly made around 1990. David Fletcher Jones who served in World War One had a itinerant drapery business in the Western District before opening a tailoring business in Warrnambool in 1924.He began to specialise in men's clothing and in 1946 opened a shop in Melbourne. In 1948 he opened a clothing factory in Warrnambool and formed a new company Fletcher Jones and Staff. The company expanded to all states of Australia and included the manufacture of both men's and women's clothing making it one of the best known clothing companies in Australia. The company dissolved in 2011 This is a fine example of a Fletcher Jones clothing product and comes from a firm which was a dominant industry in Warrnambool and known Australia wide. It has further cultural significance being in The Australian Tartan..1 An orange/tan checked woollen kilt with a pleated skirt and straight panel at the front with a side fringe and a metal buckle It has an adjustable waist with buttons and metal clips. .2 A triangular shaped shawl in the same material as .1 .3 A metal pin or brooch in the shape of a sword and a circular piece with a swan image and a motto ENDURE FORT..1 Fletcher Jones AUSTRALIA'S FINEST CLOTHING PURE NEW WOOL .2 FLETCHER JONES AUTRALIA'S FINEST CLOTHING MADE IN AUSTRALIA .3 ENDURE FORT fletcher jones clothing company, warrnambool industries, australian tartan, tartan, australian tartan kilt, fletcher jones kilt -
Glenelg Shire Council Cultural Collection
Clothing - Baby's Dress, c. 1820
Belonged to Marianna Trangmar, b.1820/182 - later Mrs George Crouch.Baby's dress. Made from 'hail spot' voile - hand embroidered. Front of bodice lace; lace border round bottom of dress. Bodice has back opening with ties. Sleeves gathered into lace edging. Pin tucks round lower quarter of dress, lace edged panel either side of waist. Worn by Marianna Trangmar. -
Kiewa Valley Historical Society
Dress, Hand made, c.1900
This dress is hand made possibly by a mother for her daughters. It is hand and machine stitched. This style of dress would have been worn for special occasions, eg going to church or special outings.This item is very significant for the following reasons. Historic and social - it shows what little girls wore during the early 1900's of the Kiewa Valley. It also shows fashion of the times and how these styles of dresses were made. All of which is valuable for research on these topics. There are only two of these dresses in the collection of the KVSH, and therefore would be very rare. The condition is good enough to display, therefore it has good interpretive capacity.Brown Cotton Dress. Top and sleeves are lined in calico. Home made, with manual machine stitches and some hand sewing. The dress has a high round neck and long sleeves. There is a band around the waist to which a gathered skirt it attached with hand stitching. Two different shades of brown are used on this dress. Back opens with 8 hooks. Water stains on dresschild, homemade, dress, girl, kiewa-valley -
Flagstaff Hill Maritime Museum and Village
Leisure object - Doll's dress, Gladys Angus, wife of Dr. W.R. Angus, 1930s
This doll's dress was skillfully handmade by Gladys Angus, wife of Dr Angus, in a similar design to the silk lingerie she made and wore. Gladys made this dress for her daughter’s doll, which was also donated along with its pram and blanket. It is part of the W.R. Angus collection, donated by the family of Dr W R Angus, surgeon and oculist. The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This silk doll's dress is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys. It is part of the W.R. Angus Collection, which is important for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. Dr Angus and his wife brought their young family to Warrnambool in 1939 and he remained a resident until his death in 1970. Early in his profession in the town of Nhill, Dr Angus assisted Dr Tom Ryan in his pioneering use of X-rays and in ocular surgery, and Dr Angus later inherited these items. The W.R. Angus Collection includes these medical instruments and other related equipment and is culturally and historically significant as an example of the medical practice of the late 19th to the mid-20th century. Additional items in the collection relate to Dr Angus’ service in the Flying Doctor Service and the Army. The doll's dress is also significant as an example of handcrafting in the early 20th century and represents toys made for and used by children in the Warrnambool community.The doll’s dress is handmade using cream silk fabric. It has floral embroidery on the bodice, a gathered waist, crochet trim at the neck, wrists and hem, which also has a scalloped edge. It has a press stud closure at the back. The doll’s dress was made by Gladys Angus for her daughter’s doll. It is part of the W.R. Angus Collection.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, warrnambool oculist, port medical officer, mira hospital nhill, toy, nhill hospital, doll, doll's dress, silk doll's dress, handmade doll's dress, gladys angus, embroidery, w.r. angus collection -
Bendigo Historical Society Inc.
Photograph - MALE PORTRAIT
sepia colour photograph with partly hand coloured. Adult male with moustache wearing suit with bowtie and hand coloured blue lodge collar. Image to waist. Medal on ribbon on collar. Embroidery on collar, fringe around collar. In image embroidery on collar ' No ? 10' ' PDP' TR corner GP 677'. On back handwritten ' A. J. Swift'Bartlett Bros.organization, club/society -
Bendigo Historical Society Inc.
Photograph - FEMALE ADULT, 1910 - 1918 ?
Image shows full length female adult long light coloured gown, with pin tucking, sash at waist. Frill to edge of sleeve. Fine chain necklace. Bar brooch left side of bodice, floral wreath in hair, elbow length gloves. ' Yours truly Daphne' bottom left hand corner. Some damage to signature.unknownperson, individual, female -
Bendigo Historical Society Inc.
Clothing - FAVALORO COLLECTION: PALE BLUE NYLON WOMAN'S PANTIES, 1950'S
Clothing. Pale blue nylon woman's panties with gussett and elasticized legs trimmed with 2cm nylon fabric frill. V shaped panel insert on front surrounded by 6cm scalloped blue and white lace. Garment may be a 'second' as scalloped lace is stitched inside the garment instead of on the outside as a decorative trim. Elasticized waist band.Tag on inside seam, ''GEN TEX ALL NYLON W''costume, female underwear, woman's pale blue nylon panties -
Cobram Historical Society Inc
Mourning Dress
High quality dress in excellent condition. Indicative of period and purpose.Handmade, black silk, fully lined full length full sleeved waisted mourning dress. Circa mid 18c. Hook and eye back closure. Full skirted with gathering and pleats. Back of skirt is designed to accomodate a bustle. Black gimp and jet square and rectangular beading on top of sleeves and back of bodice. Excellent condition.No visible makers markings. -
Stawell Historical Society Inc
Photograph, C Hewitt Manager, Henderson Family Album Photograph c1880-1890 -- Studio Portrait
From the Chapman family photograph albumPhoto on card backing. Studio portrait of couple, in front of photographers drape background. Gentleman has a moustache and is in a three piece suite with large tie, corsage. Woman is in white dress and collar with puff sleeves, waist with white tie. Woman is resting her hand on husband from behind. Her other arm is resting on table with fern. Uncle John and Auntie Clara Henderson. Stawell Photographic Co. Close Railway Station, C Herbert. -
Nhill & District Historical Society Inc.
Clothing - 1951 Wedding dress of Doreen O'Dea
Doreen O'Dea married Alfred Webb 14th February 1951Cream lace wedding dress, lined with crepe, fashioned with a round neckline, with three rows of lace accents; long sleeves with approx. 16 buttons on each sleeve; the bodice comes to a point at the waist, attaching to a beautiful full length flowing skirt containing a small train and to finish the bottom of the skirt has a wide gathers tulle trim wedding dress, fred webb, 1951, doreen o'dea, alfred webb -
Whitehorse Historical Society Inc.
Clothing - Womens Suit, 1980's
Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female -
Whitehorse Historical Society Inc.
Wedding Dress, 1978
Wedding gown worn by Dianne Warren for her wedding in 1978, daughter of Frances Warren1978 White wedding dress in a fibre material with all over pattern embossed full length with train, long sleeves coming to a point, 5 buttons and loops fastening. Curved shape neckline, high waist, curved at front, seams over bust, five panel skirt. 34 covered buttons and loops down back.costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Nightdress
White cotton Nightdress with round neckline and long sleeves. 4 buttoned front concealed in placket. Pink ribbon threaded through eyelets. White lace on front neckline and hem of sleeves. Pink ribbon bows on sleeves. White cotton embroidery of bow and circlet of flowers on front of sleeves. Pink ribbon threaded through eyelets at waist.costume, female nightwear -
Bendigo Historical Society Inc.
Photograph - PETER ELLIS COLLECTION: BAND ON STAGE
Colour photograph. Band on stage. Emu Creek Bush Band. Young man in suit shaking hands with older man in tartan waist coat. Band members clapping. Back of photo reads: Bradley Barker receiving musical instrument from Peter Ellis at Dinki Di Ball Eaglehawk. A program to encourage young people.entertainment, music, emu creek bush band -
Kew Historical Society Inc
Clothing - Evening coat, Norma Tullo, 1967-8
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. 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. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant dress by Norma Tullo.Long blue evening coat designed by Norma Tullo. The floor length coat has a wing collar, long sleeves and silver buttons at the front. The coat was worn over a long blue evening dress by the same designer and could be worn buttoned or unbuttoned. Dimensions: Shoulder width 38cm Bust: 96cm Waist: 87cm Hips: 116cmLabel: TULLOaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses -
Kew Historical Society Inc
Clothing - Two Piece Purple Silk Dress, c. 1920-25
An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.Edith Mary Weir (nee Betteridge), Illapa -- 84 Princess Street -- Kew (Vic.), Women's clothing, Weir Collection Dresses, This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Two piece lightweight purple silk outfit consisting of a bodice and very full skirt. The loose fitting bodice is joined at the front by three fabric covered large buttons beneath which are two flat ties of the same fabric that are also buttoned. The bodice has wide pleats at the waist. The long full sleeves have wide cuffs.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses -
Brighton Historical Society
Skirt, late-nineteenth century & 1950s
This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. 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.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black -
Brighton Historical Society
Dress, Professional & Civil Service Supply Association, circa 1900
Unknown provenance.Coffee-coloured cotton and chiffon evening gown. Net yoke with vertical pintucks and high neck. Pintucked bodice. Trim of meadering cream cord bordered on either side, around yoke, waist, shoulders, cuffs and down centre of skirt. Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".1900s -
Beechworth RSL Sub-Branch
Jacket battle dress, 1977
standard style of a jacket battle dress from the late 1940s to 1982; it was used for parade dress; this jacket was worn by a warrant officer class 2 of the Royal Australian Electrical and Mechanical Engineers.This jacket has historical significance because it representative of a standard style service battle dress worn by soldiers of the Australian Army Post WW2 until the introduction of the modern polyester cotton uniforms. It is also in excellent condition, which is special considering it's age. Waist length jacket, with two breast pockets either side, collar, olive green, two shoulder patches on both side ones says “Royal Australian Electrical & Mechanical engineers” in Bright yellow/gold writing on a in navy blue shoulder patch; a ranking insignia of Warrant Officer class 2 above the cuff of both sleeves Label located inside the jacket on the right hand side it says “A.G.C.F. VIC 1977 8405.66.025.6423 Size of chest: Size. 109/112PR. Yarra Falls. Batch 21657. Dry clean only Crease upper half of labels only.jacket, jacket battle dress, jacket khaki -
Montmorency/Eltham RSL Sub Branch
Uniform - Sam Browne Belt, Sam Browne Belt (brown leather)
The Samuel Browne belt is named after Sir Samuel James Browne VC. In 1858, Browne lost his left arm in battle (as a result of a sword cut) and as the dress regulations of his regiment required officers to wear their waist belts under their tunics, Browne found this ungainly and devised an external belt supported on the left-hand (sword) side by a shoulder strap. The belt had two shoulder straps when a holster was worn. In the Australian Army, a brown leather version is worn on ceremonial occasions by officers and Warrant Officers Class One of all corps, except those who wear silver dress embellishments (Armoured, Aviation and Nursing Corps). These members wear a black Sam Browne belt. Wide brown pattern stitched brown leather belt with adustable shoulder strap, brass buckle and brass loop fittings (4 at the top and 2 at the bottom) attached to the belt by stitched leather straps.Nonesam browne, belt, clothing -
Bendigo Historical Society Inc.
Photograph - PORTRAIT OF SOLN S ALLSOP
Small, oval waist length portrait of Soln Small, oval waist length portrait of Soln S. Allsop. He is wearing a jacket over a waistcoat. The jacket is buttoned at the neck. He also has a watch chain. He is seated in a chair with his left arm resting on the chair's armrest. Photographer's name and address printed on the front and back. Printed on the back is 'Prize Medal, Wisbech Industrial & Fine Art Exhibition May 1886. S. Allsop. He is wearing a jacket over a waistcoat. The jacket is buttoned at the neck. He also has a watch chain. He is seated in a chair with his left arm resting on the chair's armrest. Photographer's name and address printed on the front and back. Printed on the back is 'Prize Medal, Wisbech Industrial & Fine Art Exhibition May 1886.Edward Johnson, Lower Hill House, Wisbechphotograph, portrait, male, portrait of soln s allsop, edward johnson -
Bendigo Historical Society Inc.
Photograph - FOSTER AND WILSON COLLECTION: PHOTOGRAPHS
Shaped, brown wooden picture frame with rectangular picture in the centre and an oval one on each side of it. At each end are carved wooden gumnuts which have been glued on. Some pieces are missing. The left photo is a sepia, waist high portrait of two young women. Both are wearing lacy type dresses with high necklines. One is wearing a locket? and the other a brooch. The centre photo is a young woman sitting at a window. She is wearing a lacy type dress and a bracelet on her right arm and also a ring. There are some flowers in a vase and on her lap. The photo on the right is of an older woman wearing a dark embroidered high neck dress with a white frill collar. She has a brooch at the neckline. Also a waist high portrait.person, family, family, foster & wilson collection, photograph