Ethel Bersey married James Wishart in 1910. Note: The bride in this photograph was originally identified as Ethel Bersey's sister Florence (Flossie) Bersey, but this seems unlikely as Flossie died in 1906 and did not marry. A second copy of this photograph is Registration no. 1534.Black and white studio portrait which shows a seated gentleman, who is wearing a suit, waistcoat, collar and tie, and has his hands resting on his lap. The young woman standing next to him is wearing a light-coloured full-length dress (or blouse and skirt), and a very large hat which has ribbon and tulle trimming and a brooch or jewel centre-front.On back: "I thought the hat was worth saving. / Mrs Bersey's daughter".ethel bersey, james wishart, weddings

This traditional wagga blanket was made by Mrs Eileen Pattle between 1942 and 1950. The wagga was used as everyday bedding, as Eileen and her husband had very few possessions. They boarded with a man who they called “Old Harry” in Footscray. Old Harry had recently lost his wife and looked after the young couple well. They could stay with him and use his house as their own, and all that Old Harry asked for in return was for Eileen to cook him one good meal a day. The blanket was given to Mrs Beverley (Bev) Maguire, the daughter of Eileen, when she and her husband went camping one winter. Her husband was a “mad” fisherman and on one trip on which Bev joined him, her father offered the couple his old tent, that had a wall missing, and the wagga. The wagga was much appreciated as when the couple woke in the countryside, it was freezing, and they could see snow through the missing tent wall. From then on, the tent and the wagga were theirs. The wagga saw many more camping trips until the arrival of Bev’s “lovely new lightweight and down filled sleeping bag”. The wagga was made with a “make do, waste not, want not” attitude. The wagga started as an army issued blanket. The front layer has clothing and panels of mismatched material which has been added to over time. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. Bev said she would love to unpick the quilt to see what else is hiding inside but has resisted the urge to do so. All these layers have made the blanket incredibly warm, and heavy. The wagga has been within Bev’s family since creation and comes into the National Wool Museum Collection after serving the family well. It was used to keep everyone warm when not camping over many a winter’s night. Beverley is now getting on in years and donated the Wagga to the National Wool Museum in 2021. Her family referred to the wagga as a “collection of rags”, indicating to her that they did not wish to inherit the blanket. The wagga started as an army issue blanket. It has been made by stitching the khaki army blanket onto a hessian rear. The front layer has clothing and panels of mismatched material. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. It is thought that other materials are hiding within the layers of this wagga, however, uncovering these layers would involve unpicking the quilt. The wagga is 1360 x 1880mm, sized to suit a double bed. It is a heavy blanket, originating from all its panels of mismatched reused clothing. The wagga is well worn but has lasted almost 80 years. It has holes that have been lovingly re-stitched.wagga, quilt, upcycle

Alonzo Box, of Oakleigh ,a nephew of William and Elizabeth Box who resided in 'Box Cottage' 1865 - 1914, married Mary Closter (Kloster), of Oakleigh, on June 12th 1918. Alozo's elder sister, Rebecca, sent a bolt of Chinese hand-embroidered silk from which this wedding dress was made. Rebecca Viloudakia, nee Box, was a missionary in China, and married to a Greek Silk Merchant. Alonzo Box, the 9th child of John and Martha Sheldrake Box , enlisted in the Army and landed at Gallipoli 25/4/1918. He was evacuated to Egypt and then sent to the battlefields of France and Flanders before returning home to Melbourne in February 1918. Rebecca Box, the eldest child of John and Martha Sheldrake Box, was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890. During the Boxer Uprising 1900-1901 her Mission outpost was attacked but she escaped and was taken to Shanghai. She later married one of the rescue party Nicholas Viloudakia a Greek silk merchant .Australian Dress Register ID 573 12/5/2015 Following Henry Dendy's Special Survey 1841 pioneer settlers bought allotments of land in the area of Moorabbin Parish. Alonzo Box was the nephew of William and Elizabeth Box who bought the cottage on the 30acre allotment from an unknown pioneer settler in 1868 and resided there until Elizabeth's death in 1914. Alonzo Box served in the Army World War 1 1914- 1918 at Gallipoli, France and Flanders. Rebecca Box -Viloudakia was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890 and was rescued during the Boxer Rebellion 1900-1901 and taken to Shanghai by her future husband.A cream two piece wedding dress made from a bolt of hand embroidered Chinese silk for the marriage of Mary Closter and Alonzo Box on June 12th, 1918. The bolt of Chinese silk was sent by Alonzo’s older sister, Mrs Rebecca Viloudakia, a missionary in China, who was married to a Greek silk merchant. The machine sewn dress was made by a dressmaker in Dandenong, Victoria. The jacket is blouson, with a front opening and is gathered at the waist by a band enclosing a drawstring. The collar is a sailor style that forms a slight / high V-shape front neckline. Four vertical roses are separated by three bands of lacework. The back of the jacket is plain silk. The right front of the jacket has a panel of embroidered roses, band of lacework and a facing fold that encloses 4 fastening presses. There are crocheted bobbles on the front representing buttons. The left jacket front also has the panel of embroidered roses, lacework and matching fold for the 4 fastening studs. The full length inset sleeves are gathered to a cuff that fastens with silk covered buttons. The sleeves have floral embroidery down the outside centre line. The left sleeve has an extra detachable cuff with embroidery on the flounce that matches the bottom panel of the skirt. It is held in position around the wrist by 4 white metal press studs. The skirt sits above the ankle. It consists of 5 panels slightly gathered at the back waistline with a left side placket 21cm with hooks and eyes and press studs. The waistband is lined with petersham and has 6 whalebone inserts. The front of the skirt has small pleats to fit the 3 decorated panels to the waistline. The front has 3 bands of lacework around the lower part. 3 panels form the centre front each embroidered with a different floral pattern. The back of the skirt is plain with 3 bands of lacework rising from the hem, which is sewn with spoke work stitch. The long waist sash/belt is plain silk with embroidered ends and 3 silk balls with crocheted caps suspended on 3 crocheted silk chains. It has a rose knot with 2 metal press stud fasteners. There are a variety of floral designs embroidered on the material including ‘corner motifs’ on the 2nd inner front panel of skirt. brighton, moorabbin, silk, box william, box elizabeth, box alonzo, box mary, kloster mary, closter mary, oakleigh, dandenong, chinese silk merchant, boxer rebellion 1900-1901, box rebecca, methodist china inland mission, viloudakia nichols, anzac landings, world war 1, gallipoli

Royal blue rayon knee length dress made of rayon fabric. Bodice is sleeveless with three shoe string straps on each side. Straps have a decorative knot at shoulder joining the three straps. The neckline is an inverted U shape across the front. The bodice is lined with the royal blue rayon fabric. The front of the bodice has two pleated panels running diagonally from the top with the right side overlapping diagonally. The skirt is an A line shape attached to the bodice with two pleats on either side of the front and back. The skirt is lined with brown paper stiffening fabric. A 9cm horizontal band with three pleats is attached above the waist line. On each pleat is a row of decorative buttons (6, 5, 6) made of strings of clear glass beads coiled into a spiral shape. The central back opening has a 36cm zipper.Tag sown inside back of bodice on RHS - Styled by Jeffrey of Melbourne All Rayoncostume, female daywear, dress

White child's dress of heavy cotton lace. Sleeveless bodice with arm holes edged with 3cm ungathered broderie type lace. High round neckline with 5cm lace flat collar. Back opening to waist with 5 x 1cm white buttons. LHS is seamed with buttons attached. RHS edge has button holes pushed through edge of lace. 5mm cotton tape is threaded through seam at neck line to form ties at the back. Skirt is made up of two layers of fabric gathered onto the bodice. Underneath layer is 25 cm deep - 12 cm plain fabric from waist with 13 cm edge of broderie type lace with scalloped edges. Top layer of 13cm of broderie type lace with scalloped edges. Unlined. Machine stitched. Skirt pieces are single pieces of lace fabric with seam at centre back.costume, children's, infant boy's dress

Heavy white cotton lace dress. High round neckline with cotton drawstring ties. 6cm lace collar with scalloped edged. 7cm cap lace sleeves with fine scalloped edges. Casing at the waist with cotton ties to back. Back opening from neck line to 9cm below waist. Cotton tie at neckline at back. Two x 1cm white buttons spaced at 6cm and 12cm below neck. Hemmed edges of lace form the edges of the back opening. Two machine stitched button holes on RHS with 4.5cm layer of lace covering the button holes. LHS of opening is plain. Lace skirt made of single piece of lace fabric gathered at the waist. Seam at centre back. Skirt 31 cm. Scalloped edges dipping to V shapes. 5mm cotton ties at waist and neck go through metal ties. Machine stitched.costume, children's, infant boy's dress

Clothing. Infant's pink linen nightdress. Square neckline trimmed with eyelet lace threaded with pink ribbon, and 1 cm lace frill. Square yoke front and back with horizontal pin tucks and 5 cm lace insert. Yoke at front and back has 5 cm lace frill around edges. Long sleeves, have a pleat at the shoulder, pin tucks and lace insert at elbow. Sleeves are gathered into casing at wrist with 4 cm lace frill at hem. Front of skirt has vertical pin tucks and three lace inserts below the yoke. Skirt has border of zig zag lace insert and horizontal pin tucks above two 13 cm flounces with zig zag lace inserts and lace edges. Centre back opening (35 cm) fastened with four metal press-studs.costume, children's, infant's pink nightdress

This outfit belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece silk taffeta chalk-striped afternoon dress worn by Mary Ann Henty, aged 49, in the period when she lived at Merino Downs near Portland. The outfit has bands of black silk and rows of fabric covered buttons on the bodice and skirt. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 889, Waist 736.6, Hip 863.6, Cuff 254, Hem circumference 2032. Vertical - Front neck to hem 419.1, Front waist to hem 152.4, Back neck to hem 558.8, Back waist to hem190.5 , Sleeve length 584.2. Horizontal - Neck to sleeve head 165.1, Chest back 330.2, Underarm to underarm 406.4. SKIRT Girth - Waist 609.6, Hip 1270, Hem circumference 4064. Vertical - Front waist to hem 1117.6, Back waist to hem 1371.6.francis henty, fashion -- 1870s, women's clothing, afternoon dresses, mary ann (lawrence) henty

Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Block with ten remaining tickets - black ink on off white paper, denomination 7d, numbered B494390 -99, headed State Electricity Commission of Victoria, Provincial Tramways. Originally a block of 100 tickets been stapled onto a off white, partially ruled cardboard back with a heavy metal staple and a off white coloured cardboard retaining strip at the top of the ticket. The ticket price is in black ink while the ticket number itself is in black ink. On rear in black ink is a diagonal criss cross or tartan pattern. See Alan Bradley's notes "Fares in Ballarat" trams, tramways, secv, tickets

Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Block with five remaining tickets - brown ink on off white paper, denomination 4d, numbered V572795 - 99, headed State Electricity Commission of Victoria, Provincial Tramways. Originally a block of 100 tickets been stapled onto an off white, partially ruled cardboard back with a heavy metal staple and a off white coloured cardboard retaining strip at the top of the ticket. The ticket price is in brown ink while the ticket number itself is in black ink. On rear in brown ink is a diagonal criss cross or tartan pattern. See Alan Bradley's notes "Fares in Ballarat" trams, tramways, secv, tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Four number - 4No. - Paper SEC ticket - 1/- in value, (one schilling) - purple ink on off white paper, numbered A143847, 147681, 158684 and 158687. The ticket price is in purple ink while the ticket number itself is in black ink. On rear in purple ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009 See Alan Bradley's notes "Fares in Ballarat" Some have date "1/3/63" on rear.trams, tramways, secv, ticket, transfer tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Five number - 5 No. - Paper SEC ticket - 10d in value, (10 pence) - black ink on off white paper, numbered A151322,57263, 187958, 190442 and 193253. The ticket price is in black ink while the ticket number itself is in black ink. On rear in black ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Three number - 3 No. - Paper SEC ticket - 3d in value, (three pence) - orange ink on off white paper, numbered A241960, 307283 and 361417. The ticket price is in orange ink while the ticket number itself is in black ink. On rear in orange ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

Series of Black & White Photos Total 8 Hill Family & Friends during the final years of World War I and into the touring boom of the 1920s. Lady dressed in all white, with dark coloured scarf over her shoulder, parasol in her right hand, in conversation with The Dean January 28th 1918.Oval photo of young girl dressed in dark skirt and white blouse in bush setting with trees in background, photo not very clear, 'Durvol' Kyneton 1918. Mollie & Babe Railway Reserve Kyneton, girl in light coloured dress reclining on the ground, other girl in kneeling position wears dark skirt and white blouse, palm tree to the left background, further back is paling fence, shrubbery to the right background, 1918. Horse & 4 wheeled Gig, man seated wears a dark suit with white shirt and dark tie, horse appears to be a grey colour, background shows bull nose veranda roof and part of a house gable, tree in framework on nature strip. Nell wearing a dark skirt and white top, right hand touching a shrub, white structure in the background, 'The Ranch' Eppalock November 1918. Botanical Gardens group photo, six young ladies, one wearing a vertical striped dress, three wear dark dresses with white blouses, two wear white blouses and dark skirts, one black hat and three light coloured, light hat in right foreground, January 1919. Jack & Mick in dark suits, white shirts, striped ties, shrubbery in the background, long trousers 'The Ranch' Eppalock January 14th 1917. two young ladies in all white, one holding a hat, young boy in dark clothing white shirt and dark tie, holding long stick, large shrub in the background, 'The Pines' Kyneton January 1919.Hilda Hill Personal Collectionaustralia, history, post war life

Set of 14 mixed SEC and BTPS tickets donated to the BTM as a set 1/7/2001. Tickets except for the BTPS ones have note been used. The image file shows the group of tickets. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. Most of the SEC tickets have the SEC logo "Electricity makes life easier! and small boy wrapped in a towel on the back, unless otherwise noted. All on off white (tending to a very light brown) paper unless otherwise noted with ticket numbers in black except for parcels ticket. 4c - C 355628 - red 5c - B 639028 - yellow 7c - C848828 - turquoise 8c - A939628 - green 10c - C818228 - black 13c - B279228 - black 15c - A388828 - off reddish brown 16c - A565428 - yellow 18c - A417828 - brown 5c - A372838 - City Section, orange, with tartan back 7c - A077828 - City Section, purple, with tartan back SEC Provincial Tramways 13c - Parcel Ticket - A 007101 (2 part ticket - see Reg. Item No. 1727 for further details) BTPS - 30c - A24310 - purple with BTPS information on back BTPS - 5c - over stamped with black 50c - A030052, plain back.trams, tramways, tickets, btps, secv, ballarat

The girls in this photograph have not been identified, though the sender of the card, ‘Emmie’, may be one and the other may be the recipient, ‘Jessie’. The identity of Jessie is known – she is Jessie Browne who later married John Bennett, the first Manager of the Warrnambool Woollen Mill and there is a Jessie L. Brown listed as a pupil of Warrnambool High School which commenced in 1907. This is an important and interesting photograph with more research needed on its subjects. This is a post card with a black and white photograph of four school girls from the late 19th or early 20th centuries on one side. Three are seated and one is standing and all are wearing skirts and fitted tops with white blouses and straw boater hats. The clothes are not identical. The hats are identical with a badge attached to each. One girl has longer curled hair. All are wearing gloves. On back of photo: ‘To dear Jessie, With all best wishes for a joyous New Year, Loving friend, Emmie’ In different writing: ‘W’bool High School’ jessie brown(e), warrnambool high school

made locally circa 1910. Due to relative long distance to haberdashery stores majority of children's garments were hand made by a local talented seamstress or mother/relativeHistorical significant to the period circa 1900 to circa 1950 when fashion was dictated by long lasting durability, local manufacture, earthy colours and ease of mobility. Photos in the KVHS collection show girls from Tawonga Primary School in a dress that could be this dress which is dated 1910. Dress brown cotton with long sleeves. Dress top and sleeves lined. Back of dress is open with metal hooks for fastening. Hand stitched eyelets and decorative strip down centre front bodice and around hips. Gathered skirt is joined at hip. One pocket on left side 6cm from waist band.Decorative strip at bottom of dress with a pleated hand and machine stitched frill.no inscriptions or markings suggesting locally made.dress, clothing, girl's dress, home made

Cream wool hand knitted square necked dress. Small balloon sleeves, short cream satin ribbon tie at waist. Yolk has an open pattern, while skirt is stocking stitch, with a band of diamond shaped patterning 13 cms wide, and a bottom band of garter stitch. This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby dress

Small family portrait. The lady is seated on a chair and holding a baby in her arms. The man is standing beside her. The lady is wearing a dress with a voluminous skirt. The baby's dress is similar and the man is wearing a three piece suit and watch chain. The man's jacket has only one button at the neck. The photographer's name and a border is printed in gold on the front. On the back is the photographer's printed in black.Bent late Batchelder, Centre of Pall Mall, Sandhurstphotograph, portrait, family, family portrait, bent late batchelder

Small, full length portrait of a lady standing beside a chair with her right hand resting on the back of the chair. She is wearing a dress with a voluminous skirt, frills at the top of the sleeves and a large buckle at her waist. Photographer's name and address printed on the back with a Coat of Arms, floral decorative work and two birds. Some dates on the back are 1862 and 1867 for medallions won in London and Melbourne.C. Nettleton, 1 Madeline Street, North Melbournephotograph, portrait, female, portrait of a lady, c nettleton

Black and white photograph : mounted on green board with embossed frame around image. PHYSICAL CULTURE GROUP BENDIGO 1910 & Group of 12 girls and 2 adult females. Girls in uniform of pleated skirts, blouses with tie and sand shoes. Girls holding clubs for exercise. 'Richards & Co., Ballarat' on bottom left hand corner. Written on back : 'Dorothy H. Armstrong Rochester'.Richards & Co. Ballaratperson, group, physical culture group 1910

Formally Miss Sharlene Barry now Mrs Ron Drager, the great grand daughter of the girl for whom the dress was originally made in England. The wedding was in Ceylon, and later the dress travelled with the happy couple to Australia. In total the dress has been worn four times. It missed one generation and then was sent to Adelaide for the wartime wedding of Sharlene's aunt, Mrs Hubbard. It returned to Melbourne for the wedding of Sharlene's mother Mrs Barry. The elaborately rouched dress with tight bodice and slight bustle effect was altered for the 1941 wedding.Used in 1950's for fourth wedding. Dress altered from the original dress made in 1886. Lace taken from draped overskirt and remade to square neck and long sleeve. Bodice pointed front and 22 satin covered buttons on back. Satin skirt and train edged with lace. Lace and cotton overskirt stiffened and draped and caught to the left side. Brussels lace mounted on satin.costume, female ceremonial

A wedding bodice made for Mary Jane Schroder for her marriage to Ralph Pardy Rudd on 24th Nov 1886 in Ceylon1886 satin bodice, boned and paneled to fit 24 ins waist. Closed at front with 18 pearl buttons. Long sleeves, beaded and embroidered cuffs also lace trimmed. Pocket on left side for watch. Peplum at back to sit on bustle of skirt. Beaded collar to fit over bodice neckline. See also Fan NA3582, shoes NA3578 and bridal headdress NA3489.costume accessories, clothes accessories

Evening or opera coat with princess line seams and shawl collar. Leg o' mutton sleeves, full length flared skirt of six panels and secured with one self covered button and bound buttonhole at the waist. Fully lined in cream coloured silk taffeta. Fabric is printed in gold with flowers, vines and butterflies with hand silk screened roses and forget-me-not flowers over the topNone

Sepia postcard, sent by Miss M. Trengove, 'Aachmys' High School, Queen St Bendigo' ( on back of card) Written alongside ' a group of 'Aachmys' High School Girls 1907' On front, group of 9 girls appear to be in early teens, standing in front of a corrugated iron building. Girls dressed in calf length skirts, blouses, hair long, held back by ribbons in some instances.bendigo, education, aachmys girls' high school

Paired with image 03731.1 for display in 150 years Lakes Entrance 1858 to 2008 held in October 2008Sepia toned postcard west side of Red Bluff showing a group of eight men and five women and a child. Sand washed away exposing vast rocky beach, short vegetation on rocky bluff. Women wearing full length skirts and wide brim hats with veils, men in three piece suits dark in colour on ninety mile beach Lake Tyers VictoriaThe Bluff Lakes Entrancetopography, fashion

Wallpaper fragment from an early workman's cottage in Weller St, Geelong West built in 1854. This property was refurbished following its sale in the early 1990s. Over time many layers of wallpaper had been pasted to the original paper. The wallpaper was damp and hanging off the walls. It was removed to reveal packing case 'slats' on the stud wall. When the skirting board was removed the original wallpaper was revealed. Although not a Warrnambool artefact, the Weller St property was owned by a local resident. It shows the wallpaper design of the period and the manner in which wallpaper was attached in the mid 19th century.Wallpaper fragment with maroon flowers and olive green leaves on a bone-coloured background mounted on hessian backinggeelong west, weller st, workman's cottage, interior decoration, wallpapers

Folkart was operated by Pamnela Hipwell and was permanently closed Januray 2020. "Folkart has been central to the Warrandyte streetscape since 1975 when it took over from Les Gilholm’s milk bar (see photo below). John and Betty Hipwell were amongst the first to start importing Asian clothing, jewellery and homewares. It derived from the era of hippies, meditation, flower power and freedom and introduced a whole new look, floaty dresses and skirts with embroidery and sequin decoration, exotic fabrics and colours and exciting possibilities." - Warrandyte Historical Society (Facebook Jan 8, 2020).35mm colour positive transparency (1 of 25) Mount - Kodak EktachromeProcess Date MAY 88Mfolkart, warrandyte