Hand written on back: given to Hist Soc St Kilda Est(?) Miss O. Appleton 19/6/83sepia photograph poor condition mountedGiven to His. Soc. St Kilda. Est Mrs O. Appleton 19/6/83. W.Edmends, Photographer. 168 Donald st, Brunswick.

Captain Kenney's baths, St Kilda, beofre 19123black and white photograph, copy, unmounted, fair condition

This flag was used by Rosbercon Girls Grammar School, which operated in Brighton from 1906 until 1941. The school was established in 1906 by the Tisdall family. The Tisdalls were a family of educators: Irish-born Henry Thomas Normanton Tisdall and his wife Lucy taught for many years at the Walhalla State School in Gippsland, along with Lucy's sisters Alice and Clara Weekes. Three of the Tisdall daughters, Ethel, Constance and Theodosia (Theo) followed their mother and aunts into the teaching profession. Constance in particular considered education her true calling and harboured a dream of one day being principal of her own school. After Henry's death in 1905, faced with financial uncertainty and several unmarried daughters to support, Lucy Tisdall decided to take a risk. She sold the family's Toorak home and, together with her sister Alice, leased 'Ashburnham', a large Victorian villa at 106 North Road, Brighton. The plan was to open a private school, with Ethel and Constance as co-principals and Lucy, Alice and Theo teaching and managing the household affairs. This came as a "joyful surprise" to Constance, who was only informed of the plan after it had been finalised. The school was named Rosbercon after Henry's home village in County Wexford, Ireland. The crest, designed by son Bert Tisdall around 1910, featured a crowned letter 'A' above the motto "amor vincit omnia" ("love conquers all"), both inspired by a verse in Geoffrey Chaucer's "The Prioress's Tale": "about her arm she bore/A paire of bedes gauded all in grene,/And theron heng a broche of gold full shene,/On which there was first writ a crowned 'A',/And after, Amor Vincit Omnia." It was a motto Constance held close to her heart, embodying her values as a teacher. Reflecting in 1961, she wrote, "In a school without punishments, a school with love and understanding between teacher and pupil - with a love of teaching on one side, and a desire to learn on the other, love would indeed conquer all." The school's opening day in 1906 proved less than auspicious, with no pupils arriving at all. The women persisted and by the end of the first week, five students had been enrolled. From here, the school grew steadily in size. A new schoolroom designed by architect Harold Desbrowe-Annear was built in the house's orchard to accommodate the increasing numbers, but by 1911 the Tisdalls began looking for larger premises. They leased the nearby property 'Hazeldean' at 124 North Road and, during the 1912 school holidays, the Desbrowe-Annear schoolroom was raised onto a lorry drawn by sixteen horses and moved down the road to what would become Rosbercon's new home. In 1923, Constance instituted a modified version of the Dalton Plan, an education model based on individualised learning. Girls in senior years were encouraged to work more independently, making regular use of the reference library and working to a monthly assignment schedule. The school performed well academically and in competitive sport, but over time was eclipsed by the nearby Firbank Church of England Girls' Grammar School (established 1909), whose institutional backing provided it with access to wider resources and facilities than those of the small family-run Rosbercon. At the end of 1933, Ethel and Theo retired and Constance became principal of St Anne's Church of England Girls' Grammar School (now Gippsland Grammar) in Sale. Rosbercon was sold to Miss Iris Hay, who served as principal from 1934 until the school's closure in 1941. Following her own retirement in 1947, Constance Tisdall settled in Erica Avenue, East Malvern, in a house named 'Rosbercon' after her former school. She continued teaching English literature, mostly to migrants, and enjoyed regular visits from former students. Well into the late 1960s, old Rosbercon girls continued a tradition of coming together for an annual reunion on the first Saturday in November, on which day Constance would fly the school flag at her home.Large navy blue flag with horizontal maroon stripe at top and bottom, and school crest in centre. Stylised maroon "A" topped with yellow crown. Yellow scroll below with motto in navy blue letters: "AMOR.VINCIT.OMNIA".flag, school flag, rosbercon girls grammar school

Black and white postcard photograph of a butcher in striped apron, holding knife and sharpening tool.On back: "Uncle Jack Ryan"butcher in apron, jack ryan

William James Davey, B 1882, at Chewton, worked in Mine Office at the Great Southern until 1913Black and white photo of 3 men, 2 seated on chairs the other seated on a tableOn back of photo: "Photo on left, William James Davey, b 1882, at Chewton, worked in Mine Office at the Great Southern until 1913"gold, mine, employee, william james davey, great southern

Thought to be taken at the annual rowing Regatta, on Lake Moodemere, Wahgunyah.Black and white photograph, mounted on cardboard, of a group of people posing under trees. rowing, regatta, wahgunyah

The large building left of centre is the Star Hotel. Two sides of Main Street on the eastern side of High Street are occupied by shops of David G HamiltonBlack and white postcard photograph of Rutherglen rooftops, probably taken from the roof of the Soldiers' Memorial Hall at the corner of Murray and High Streets.At bottom left of photo: "Rutherglen. 7." Written at top right of photo, with an arrow pointing to a house: "Our place". On back of card: "Rutherglen. April 4th 1918 [or 1910 - illeg.] | My dear Sister Marion, Mumma, Sadie, Florrie, Ruth & Mavis all join in wishing you Many Happy Returns of Your Birthday. We received Joan's letter today. Hope you are all well & that your arm is alright. Ruth is getting along nicely. Best love to all. Your affectionate Brother George."rutherglen, main street, high street, d g hamilton, star hotel

Photograph of Private Frederick Corkish, service number 46656, who served in the 19th Kings Liverpool Regiment in the British Army during WWI He was from Ramsey, Isle of Man. He was taken Prisoner of War in Germany in 1918.Black and white photograph of a young male soldier in uniform. Oval image. Post card on back with typed and handwritten text. Soldiers Small Book.Back: "Dear May there are some photos / I had takengive one to Annie / they are not up to much / Will write later Fred" (in pencil) "Dad aged about 18" (in blue ink)corkish, isle of man, postcard

Postcards were a common form of souvenirs for soldiers who were travelling either during World War 1, or just after, or while returning to Australia. This postcard with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920.Postcards were a very common form of communication during the first World War. Postcards as souvenirs or as correspondence would have been familiar to the first Legatees as they had served in World War 1.Standard size postcard with image depicting Lac Leman (or Lake Geneva). The image in its current condition shows a pastel coloured sky and a small island within the lake.Front - “Lac Leman/ 6211/CHARNAUX FRERES & CO., GENEVH” Back - “CARTE POSTALE/ Mrs Mercer? / The Nook / Combe Down / Somerset”souvenir, war correspondence

Photograph shows a Bendigo ESCo probably soon after opening as it does not have a destination signs waiting alongside the fountain in Bendigo at Charing cross. In the background is a building with a sign for C Plumbe and others.Yields information about Mitchell St Bendigo and ESCo trams.Black and White photograph from a postcard of Charing Cross Bendigo.tramways, trams, bendigo, esco, charing cross

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Camisole with pearl buttons. Two circular floral motifs on either side of front buttons. Broderie finish to armholes and the back. Joined peplum for gatherhing tape at waist linelace, women's clothing, lingerie, broderie anglaise, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Tenerife lace (calado canario) is one of the traditional industries of the Canary Islands off the coast of West Africa. It uses drawn work embroidery.Canary Island Tenerife lace blouse. The blouse is decorated with bands of drawn thread lace of two widths at the waist line. There are two bands of wide lace featuring two circular motifs and two simple narrow bands. The neckline is decorated with two bands of the wide lace and three bands of the narrow lace. There is a single button opening at both sides of the necklinefashion and textiles collection - kew historical society, lace, women's clothing, blouse, tenerife lace

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Lace collar attached to the neckline of a garment. It is narrow over the back , widens at the shoulders and tapers down in a triangular shape to a point on either side at the front. lace, women's clothing, collars

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Cream organdie collar. Machine embroidered with flowers and leaves at the edge of the collar. Trifoils embroidered at the neck edge of the collar. The collar is divided into three panels by two embroidered lines which open into a diamond shape at the outer edgewomen's clothing, lace, collars

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 lingerie dress, donated by Jane McIntyre is part of the wider McIntyre Collection. While lingerie dresses were produced for and worn by women between 1900 and 1920, the main period in which they were worn was between 1900 and 1910. This elaborately detailed example is believed to date from 1912-1918.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.Three-quarter-length, white cotton voile lingerie dress. The dress feature extensive embroidery on the bodice and skirt, probably constructed from pre-embroidered fabric, rather than hand embroidered. In addition to the embroiderd panels, there is extensive use of white lace insertions. The dress has short sleeves to teh elbow and lace cuffs. The dress is date after the Edwardian Period due to the absence of tucks and frills. Its high-waisted design is simple and yet elaborately ornamented with embroidery.women's clothing, white muslin dresses, tea dresses, australian fashion 1910-1920, lingerie dresses, annie mcintyre, mcintyre collection, fashion design, fashion -- 1910s

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.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.Long navy blue crepe fitted dress featuring long narrow sleeves. The round-necked bodice includes buttons at the neck bordered by navy blue silk embroidery. The dress has a deep pocket in the same fabric at the right front beneath the waist.edith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, dresses

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.Three quarter length black silk dress with a pleated bodice above which is inset a panel of contrasting fabric covered with black rosettes. Given the length of the dress it may have been shortened in the years following its creation due to changing tastes.women's clothing, australian fashion - 1910s, mourning wear

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.An English-made “Busvine” black wool herringbone twill riding habit comprising jacket and safety skirt, (jodhpurs missing) from late 1800’s to early 1900’s. The jacket (.1) features a black short pile silk velvet inset notched lapel collar secured with a single button at the apex of the waist and a single button near the collar for use in inclement weather. The sleeves join the bodice high on the shoulder with a full cut head to the sleeve and a tapered curved shape to the hand. The sleeve secures at the wrist with four black buttons. From the waist the jacket flares over the hip through princess line shaping and finishes with a curved front on either side. The seams of the shaping panels intersect single functional flapped besom pockets on either front panel. The back of the jacket features a centre back seam and two princess-line shaping seams that finish in a double vent on either side of the centre back. The jacket length would have finished approximately just below the bottom of the wearer. The apron fronted safety skirt (.2) secures from the waist at the front of the left thigh with five buttons. Over the wearers, right leg the skirt shapes to accommodate the rider’s right knee whilst sitting sidesaddle with her legs on the horses left flank. The base of the skirt has an elastic strap, which hooks around the rider’s leg to reduce the danger of the rider’s skirt become tangled, should the rider become un-seated. When the riders is not mounted the skirt can be secured with a button around the body to provide additional modesty as well as assist walking without the skirt dragging on the ground.Jacket: Manufacturer's label “Busvine, By serial appointment to Her Majesty The Queen, 4 Brook Street W.” Owner label “Doreen Wright” this label appears far more modern than the manufacturers label. Skirt: Manufacture's label: “J. Busvine and Co, 4 Brook Street, London W." In handwriting “Miss Wingfield” Manufacturers label: Busvines Patent Safety Skirt, protected by two separate patents. 4 Brooks St London West.barone, riding habit, j. busvine and co, seaview, brighton

This dressing gown was made from a patchwork quilt begun around the 1880s or 1890s by the daughters of William and Polly Hodgens, owners of the Adelphi Hotel near Montague Station, South Melbourne. The quilt became a communal project, added to over many years by the Hodgens children, relatives, friends and guests. Together, they filled the colourful patchwork with images and figures from their everyday lives, giving us a unique glimpse into the world of early Melbourne.Crazy patchwork dressing gown made from a patchwork bedspread. Made from irregular pieces of silk, satin, velvet and brocades and embellished with embroidered and painted motifs. Fully lined with maroon silk. Neckline trimmed with thick silk cord. Right over left fastening with two large metal press studs. One of the pieces on the back has an inscription dated 11/7/94 (1894).dressing gown, patchwork, embroidery, hand painted

Photograph shows a Bendigo ESCo tram climbing the hill in Mitchell St to where the double track converged into single track before crossing over the railway line. Photo is looking west. Has a two storey hotel on the right. See item 9080 for a coloured version.Yields information about Mitchell St Bendigo and ESCo trams.Black and White photograph from a postcard of Bendigo - Mitchell Sttramways, trams, bendigo, esco, mitchell street

The photograph shows a Bendigo ESCo tram climbing the hill in Mitchell St to where the double track converged into a single track before crossing over the railway line. The photo is looking west. Has a two-storey hotel on the right. See item 8452 for a black-and-white version.Yields information about Mitchell St Bendigo and ESCo trams.Postcard - colour divided back, unused.tramways, trams, bendigo, mitchell st

Postcards, all featuring the cable tram era, left to right, top to bottom: 1 - Town Hall Melbourne - damaged paper 2 - General view of Collins Street Melbourne - from Spring St looking west 3 - Central Railway Station, Melbourne - the principal building is complete though the roof along Swanston St over the other platforms is yet to be completed. 4 - Bourke St Melbourne - looking west from Swanston St - has the Wertheim and Roberts Stores in the view along with the post office. 5 - Bourke St Melbourne - looking east from Swanston St with Morells Orient Hotel and the Royal Mail Hotel on the two corners 6 - Melbourne from St Kilda Road.Demonstrates a set of 6 postcards featuring Melbourne cable trams.Set of 6 cable tram postcards mounted on to light weight boardtramways, flinders st station, swanston st, bourke st, collins st, st kilda road

Postcards with one photograph, all featuring the cable tram era, left to right, top to bottom: 1 - Parliament House and Treasury Melbourne 2 - Bourke St Melbourne from near Queen St looking east - has glitter added to the card surface. 3 - Spring St Melbourne 4 - Flinders Stand the Custom House Melbourne - part of the paper missing where a stamp has been removed. 5 - Cable tram set in a Parade, on a float, at the corner of Spring and Bourke Sts - early 1950s 6 - Elizabeth St Melbourne - looking south from Bourke St.Demonstrates a set of 6 postcards featuring Melbourne cable trams.Set of 5 mounted cable tram postcards and one photograph onto light weight boardtramways, spring st, bourke st, flinders st, cable trams, parades, elizabeth st

Used by a cable tram conductor to record the number of 2d fares collected from passengers. The Bell punch recorded the number of times a hole was punched in the slip. They were used by the cable trams until the mid-1920s when they were phased out and replaced by "flimsy" paper tickets. The item has been punched a number of times. Printed for the Tramway Board (1916 to 1919). Has space for 32 journeys. On one side, has space for the name Line, Date, Badge, car, time of starting, and signature, if a student conductor. Printed for use in the up direction. For an example for the Down direction and larger, see item 3335.Demonstrates a Cable Tram tram Conductors record of the trips sold/fare collected.Ticket - Trip Slip - cable tram Bell Punch type - manila coloured card, 2d fare.tramways, tickets, cable trams, bell punch, tramway board, tb

Set of two Hawthorn Tramways Trust forms for motormen or conductors to notify management of an exchange shifts with one another. Has space for crew names, dates, run and signatures of the parties. Form 55, two different versions - approved by either the Traffic Superintendent or the Chief Inspector.Demonstrates an exchange of shift forms.Set of two printed forms on off white paper.tramways, htt, forms, exchange of shift, tram crews

Button has the raised letters "P & M Tramway Trust" on the front of the badge and the imprint of Stokes & Sons Melbourne on the rear. Used by the Prahran and Malvern Tramways Trust for their Uniforms. See item 517 for another example.Demonstrates buttons worn by the PMTT staff.Button, brass fitted with a hook and a clip - small sleeve or cap.trams, tramways, buttons, uniforms, pmtt