Showing 1406 items
matching tartan-skirt
-
Bendigo Historical Society Inc.
Clothing - GRAYDON COLLECTION: BODICE, 1870-1890
Clothing. Women's black embossed silk bodice. Part of two piece set (skirt 11410.2). Stand up lace collar (7 cm) boned on either side and edged with cream coloured lace. Collar fastened at centre back with three metal hooks and eyes. Front opening left of centre fastened with eight metal hooks and cotton loops and three across the left shoulder. Crossover section at front is pin tucked below the neckline and is tapered into the waist with centre pleats. Both sides of the crossover have decorative beading along the edges. The inner layer of the bodice is fastened at centre front with 15 metal hooks and eyes - alternating directions. The bodice is shaped from the waist with 9 boned casings. The back is shaped in at the waist finishing with two U shaped tails (11cm X 8cm) with V shaped tails (4 cm X 6cm) on either side. The waistline and tails are finished with a double row of decorative black beading. At the waistline at centre back are three metal hooks to attach bodice to skirt. Long sleeves are gathered at the shoulder, shaped at the elbow tapering to the wrist. Below the wrist is a two piece cuff (13cm X 7cm) with decorative black beading. The bodice is fully lined with light brown cotton fabric with grey splash pattern. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).costume, female, women's black silk bodice -
Bendigo Historical Society Inc.
Clothing - CREAM COLOURED WEDDING DRESS, 1911
Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress -
Bendigo Historical Society Inc.
Clothing - FULL LENGTH GREEN FLORAL DRESS WITH BLUE FRINGING - ALL HAND STITCHED
Long sleeves, with gathering at the elbow to allow movement. Finished at the wrist with two eleven cm deep frills, edged with two cm wide navy blue, cotton fringing. A four cm deep gathered frill edges the high round neckline, with a narrow piping finishing the neckline seam. Two panels at the front extend from the shoulders,to the peaked waistline. These are gathered at the shoulders, edged in navy blue fringing, and the waistline edge has the gathers alternately stitched together to form a hook and eye fasteners. A fine piping defines the peaked waistline. Bodice fully lined with cream cotton fabric. Armhole/sleeve seam finished with a fine piping.Skirt has been hand stitched into tight tiny pleats. Skirt is fully lined with cream linen, and is edged at the hemline, with one cm soft green braid. Centre front of skirt has a panel extending from the peak of the waistline, where it is 5.5cm wide to the hemline, where it is 20cm wide. This panel is edged in the navy blue fringing, and is attached to the skirt at approx 15-18 cms. Panel is fully lined with cream linen. At approx. 9-10cm spaces a 4cm fabric frill and an angled band of the navy fringing. This gives a ''ladder-like'' effect. Sleeves are bell shaped, and finished at the wrist with a 11.5cm and a 12.5cm frill, both finished with the navy fringing.costume, female, full length dress with blue fringing -
Bendigo Military Museum
Memorabilia - Fortuna Pipes and Drums Request for Donation, PSJ Barker, Secretary Fortuna pipes and Drums, 06.08.1995
This is a document requesting a donation for the Fortuna Pipes and Drums for the update of some of their equipment. The members of the band are shown and named in the accompanying photo. Information about the Fortuna Pipes and Drums is also in Valerie Loyejoy's book " Mapmakers of Fortuna, A History of the Army Survey Regiment" ISBN 0-646-42120-4 and included in the Victorian Collection as item 6000. The Band was originally formed in 1993 from members of the local Masonic Lodge and first played for the Survey Corps Day Parade in 1994 after a request from the then RSM WO1 Phil Meagher. The Army was able to provide the original "Black Watch" tartan kilts. Using an original Survey Corps Badge c. 1915 provided by former WO1 Keith "Aki" Barber, a number of replica metal Survey Corps theodolite badges were struck and used along with the purple Survey Corps lanyard by the band. The Fortuna Pipes and Drums continued to actively support the Army Survey Regiment until its disbandment in 1996.A 4 x Page letter, A4 Pages, Typed document, PhotocopyAddressed to Mr Tony Spurling, Manager Technical Services, Army Svy Regt, Fortunaroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr -
National Wool Museum
Tool - Lens, c.1960
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used viewing lenses such as this to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. Before compact lenses such as this, specialised glasses were used such as 8039.The viewing lens has a 3 fold design in order to fold up to be compact and easily transportable in a pocket while also working to provide its own stand when unfolded. The lens is black and contains one circular piece of magnifying glass on the top panel.Top panel. Words, scratched. NINOtextile calculations, textile design -
National Wool Museum
Book - Notebook, Collins Textile Diary - 1958, 1958
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This notebook contains information on how to calculate and enlarge a small sample pattern into a larger textile. The equations would provide answers to the required length of thread (often measured in weight as opposed to distance) of a selected textile. The sample and appropriate thread would be needed for mass production at a commercial mill.Blue textured vinyl forms the covers of this notebook. On the front of the inscription is visible in gold text. Internally, small font black writing on yellowing pages forms most of this notebook. Pp.128 published pages with calendar and spare pages for notes forming the second half of this notebook. Front Cover. Words, printed. WITH THE COMPLIMENTS OF / NOEL P. HUNT & CO. PTY. LTD.textile design, textile calculations -
National Wool Museum
Document - Mastercard, 1970-1975
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Once a pattern has been selected for mass production, a master card is produced. A mastercard shows exactly how to replicate the designs and colours depicted on the sample attached. “Ends” is the technical word to describe a vertical band and “picks” describes a horizontal band.Brown card with fabric sample stapled to the top right. Writing is present on the left and bottom of the card detailing the information applicable to the design of attached fabric. 14 individual Masetercards in collectiontextile calculations, textile design -
National Wool Museum
Clothing - Suit Jacket, c.1970
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored -
Flagstaff Hill Maritime Museum and Village
Literary work - Religious Book, C. & J. Revington, Annotations on the Epistles, Volume 1, 1824 (Second Edition)
An epistle from the Greek (epistolē, meaning "letter") is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter. The epistle genre of letter-writing was common in ancient Egypt as part of the scribal schools writing curriculum. The letters in the New Testament from Apostles to Christians are usually referred to as epistles. Those traditionally attributed to Paul are known as Pauline epistles and the others as catholic or "general" epistles. The subject volume is titled "Annotations on the Apocalypse" and was intended as a sequel to those originally written by Mr. Elsley on the Gospels and of Mr. Prebendary Slade on the Epistles, and thus aimed to complete a series of comments on the whole of the New Testament, for the use of students in prophetical scrip this book, "Annotations on the Apocalypse was intended as a sequel to those of Mr. Elsley on the Gospels and of Mr. Prebendary Slade on the Epistles", by John Chappel Woodhouse, is a second edition of the book originally published before 1824. These pair of books were part of Tom Wicking's collection and represent the type of literature published and read in the early 1800s and up to the present day for the religious instruction of priests. Spine has “Slades Annotations on the Epistles, Vol I”. Covers have green and cream diagonal tartan with brown binding decorated with gold. Annotations on the Epistles, being a continuation of Mr. Elsley’s Annotations and Principally Designed for the use of Candidates for the Holy Orders, by the Rev. James Slade, M.A., vicar of Bolton, and Prebendary of Chester; late Fellow and Tutor of Emmanuel College, Cambridge; and Examining Chaplain to the Lord Bishop of Chester. In two volumes, Vol. I, second edition. Printed in 1824 for C. & J. Rivington, St Paul’s church-yard, and Waterloo-place, Pall Mall, London . The pair of books is part of the Tom Wicking Collection.Marked inside cover "J. Lewis Glenview to Mrs MacLean S. Broadwater" Marked (illegible) "Maclean "Roger" Poet Diary (misspelt dairy)"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, book, annotations on the epistles vol 2, rev. james slade, c. & j. revington, religious book, mrs maclean, j lewis of glenview, tom wicking collection -
Flagstaff Hill Maritime Museum and Village
Literary work - Religious Book, C. & J. Revington, Annotations on the Epistles, Volume 2, 1824 (Second Edition)
An epistle from the Greek (epistolē, meaning "letter") is a writing directed or sent to a person or group of people, usually an elegant and formal didactic letter. The epistle genre of letter-writing was common in ancient Egypt as part of the scribal schools writing curriculum. The letters in the New Testament from Apostles to Christians are usually referred to as epistles. Those traditionally attributed to Paul are known as Pauline epistles and the others as catholic or "general" epistles. The subject volume is titled "Annotations on the Apocalypse" and was intended as a sequel to those originally written by Mr. Elsley on the Gospels and of Mr. Prebendary Slade on the Epistles, and thus aimed to complete a series of comments on the whole of the New Testament, for the use of students in prophetical scrip this book, "Annotations on the Apocalypse was intended as a sequel to those of Mr. Elsley on the Gospels and of Mr. Prebendary Slade on the Epistles", by John Chappel Woodhouse, is a second edition of the book originally published before 1824. These pair of books were part of Tom Wicking's collection and represent the type of literature published and read in the early 1800s and up to the present day for the religious instruction of priests. Spine has “Slades Annotations on the Epistles, Vol II”. Covers have green and cream diagonal tartan with brown binding decorated with gold. Annotations on the Epistles, being a continuation of Mr. Elsley’s Annotations and Principally Designed for the use of Candidates for the Holy Orders, by the Rev. James Slade, M.A., vicar of Bolton, and Prebendary of Chester; late Fellow and Tutor of Emmanuel College, Cambridge; and Examining Chaplain to the Lord Bishop of Chester. In two volumes, Vol. II, second edition. Printed in 1824 for C. & J. Rivington, St Paul’s church-yard, and Waterloo-place, Pall Mall, London . The pair of books is part of the Tom Wicking Collection.Marked inside cover "J. Lewis Glenview to Mrs MacLean S. Broadwater" Marked (illegible) "Maclean "Roger" Poet Diary (misspelt dairy)"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, annotations on the epistles vol 2, rev. james slade, c. & j. revington, religious book, mrs maclean, j lewis of glenview, tom wicking collection -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), Block of 200 tickets - 6c, 1966
Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.1717 - Block of 200 tickets - turquoise ink on off white paper, denomination 6c, lettered A413600 to A 413799, headed State Electricity Commission of Victoria, Provincial Tramways. On rear in turquoise ink is a diagonal criss cross or tartan pattern. The 200 tickets have been stapled onto a heavy cardboard back with a heavy metal staple and a small cardboard retaining strip at the top of the ticket. The ticket number is in black ink. 1717.1 - ditto - A404000 to A404199 See reference file for further information and See ticket file and printed document - "Fare Charts and Tickets - SEC Ballarat and Bendigo Tramways".trams, tramways, secv, tickets -
Ballarat Tramway Museum
Ephemera - Ticket/s, State Electricity Commission of Victoria (SECV), SEC 5d, 1955 - 1965?
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 - green ink on off white paper, denomination 5d, numbered W767995 - 99, headed State Electricity Commission of Victoria, Provincial Tramways. Originally a block of 200 tickets been stapled onto a plain 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 green ink while the ticket number itself is in black ink. On rear in green ink is a diagonal criss cross or tartan pattern. See also Reg Item 3994 for a similar ticket. See Alan Bradley's notes "Fares in Ballarat" trams, tramways, secv, tickets -
Ballarat Tramway Museum
Ephemera - Ticket, State Electricity Commission of Victoria (SECV), Set of SEC predecimal tickets - Wal Jack Collection, 1963 - 1966
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.One number - 1 No. - Paper SEC ticket - 5d in value, over stamped in black "Concession", (five pence) - green ink on off white paper, numbered A139973. The ticket price is in green ink while the ticket number itself is in black ink. On rear in green 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 -
Ballarat Tramway Museum
Ephemera - Ticket, State Electricity Commission of Victoria (SECV), Set of SEC predecimal tickets - Wal Jack Collection, 1966
Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the commencement of the SEC fare system. Generally issued c1966 following decimal currency, not formally used.Two number - 2 No. - Paper SEC ticket - 12c in value, (Twelve cents) - orange ink on off white paper, numbered A198304 and 305. 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. Tickets have not been used, torn complete from block. Have not been 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 -
Ballarat Tramway Museum
Ephemera - Ticket, State Electricity Commission of Victoria (SECV), Set of SEC predecimal tickets - Wal Jack Collection, 1966
Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the commencement of the SEC fare system. Generally issued c1966 following decimal currency, not formally used.Three number - 3 No. - Paper SEC ticket - 8c in value, (Eight cents) - green ink on off white paper, numbered B157289, 290 and 291. The ticket price is in green ink while the ticket number itself is in black ink. On rear in green ink is a diagonal criss cross or tartan pattern. Tickets have not been used, torn complete from block. Have not been 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 -
Orbost & District Historical Society
photograph, 1893 - 1900
There is no information with this item. In the Bairnsdale Advertiser and Tamboon and Omeo Chronicle on Thursday August 3 1893, there is mention of a letter from Mr Harry Roberts, Marlo Road, "offering to sell the corduroy road to the council for £10, on condition that the council arranges for the exchange of the old road for one on the nothern boundary of his property.-Application to be made to the Lands department for the necessary exchange of roads to carry this proposal into effect. From the secretary for Lands, asking the council to mark the roads required in the M'Colloch on the plan,-Attended" This is likely to be the man in the photograph. This photograph seems to be associated with a very early settler in the Orbost / Marlo area. It is also a pictorial record of dress in the late 19th century.A sepia portrait photograph of a bearded man wearing a high-buttoned coat seated on a chair with a woman standing beside him on the right. The woman is wearing a long gownwith a full skirt, low at the waist. The fitted bodice is tightly buttoned and has a lace panel. Her hair is in a bun. She appears to be wearing a wedding ring. The photograph has been taken inside a studio. The photograph is mounted on card.on back - hand-written - "Mr & Mrs H. Roberts My Best Friend" front under photograph - :Vandyck Studios 3 Bourke St E Melbourne next door Gen Post Office portrait-roberts -
Federation University Historical Collection
Photograph - Photograph - black and white, Kodak Australia, Sarah Wright and son Alex, circa mid - late 1920's
Alex Wright was the brother ofFrank Wright who was a renown resident of Smeaton. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia..1) Black and white photograph of a man and a woman standing in front of a picket fence, with a large tree in the background. The man is wearing a suit and is Frank Wright. The woman is wearing a long dark skirt and long sleeved blouse with a brooch at the neckline. She is his mother Sarah Wright. The man is wearing a suit and is Sarah's son Alex. The picket fence surrounds "Laura Villa". .2) Glass plate for this photographPrinted on the back - Post Card, Kodak Australiafrank wright, sarah wright, picket fence, laura villa, smeaton, cornet -
Bendigo Historical Society Inc.
Clothing - BLACK SYNTHETIC CREPE DRESS
Black dress of synthetic crepe fabric. Sleeveless bodice with darts at front from waist to bustline. Side panel inserts under arms to waist. Back has opening from neck to below waist with metal zipper(53cm). Peplum(8cm) at waist front and back. Decorative bows of black cord at waistline at each hip. Long tassels.Knee length skirt is knife pleated. Dress is unlined.Markings/Inscriptions Label attached to lower zipper. ''A59110 mf ex st sz'' Handwritten ''Sample'' ;Y127' '12'.costume, female, black synthetic crepe dress -
Bendigo Historical Society Inc.
Clothing - BABY CLOTHES COLLECTION: BABIES COAT, Early 1940's
Cream coloured long sleeves hand knitted woollen baby coat with collar. Stocking stitch with three rows of diamond pattern on yolk, on lower skirt and on sleeves. Front opening and hemline edged with moss stitch. Fastened at neck with one pearl button. Cream satin ribbon tie at waist.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 coat -
Bendigo Historical Society Inc.
Photograph - GOLDEN SQUARE LAUREL STREET P.S. COLLECTION: PHOTOGRAPH 1987 NETBALL - GRADE 4
Coloured photograph of the 1987 Netball - Grade 4. The girls are wearing yellow Golden Square t shirts and dark blue skirts. The girl in the centre of the front row is holding a netball. The names of the girls are:- Back Row (L - R) Katrina Caldwell, Joanna White, Clare Baxter, Angie Phelan, Rebekah Boschert. Front Row (L - R) Maree Long, Tonya McNamara, Rachael McEwan.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph 1987 netball - grade 4, katrina caldwell, joanna white, clare baxter, angie phelan, rebekah boschert, maree long, tonya mcnamara, rachael mcewan -
Bendigo Historical Society Inc.
Slide - PETER ELLIS COLLECTION: SLIDE, May 1970 - Jan 1972
Coloured slide transparency. Image is of a male dressed in costume. He is wearing a long white tiered skirt, with a grey and white coat over a red and white top. A white cummerbund is fastened around his waist and a white headdress is on his head. He is posed standing against a wall. On the lower white border of the slide the words Fancy Dress Party Brian Taylor have been handwritten.Kodachrome Transparencyslide, bendigo, bendigo institute of technology -
Bendigo Historical Society Inc.
Photograph - LA TROBE UNIVERSITY BENDIGO COLLECTION: BENDIGO TEACHERS' COLLEGE PHOTOGRAPH
A black and white photograph of staff and students at Bendigo Teachers' College located at Long Gully Primary School. Names unknown. 1926. The formal clothing of the day is evident here. The men all wear suits with white collar and tie. Many wear a waistcoat. The women all wear frocks or skirts with stockings. One lady wears a hat. Long Gully Primary School is in the background. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, long gully primary school, state schools, primary schools, bendigo teachers' college, students, tertiary education, teacher training, photo, photograph, photographs, photography, clothing, attire, fashion, costume, miss j.c. burnett, mr. geoff. pryor -
Bendigo Historical Society Inc.
Photograph - HARRY BIGGS COLLECTION: GROUP OF PEOPLE
Photograph of a group of eight men and three women on the bank of a river. The women are all in dark skirts and white blouses and what appears to be bow ties or normal ties. All are wearing boater type hats. The gentlemen are in suits and one is wearing a bowler hat. The younger man on the right of the photo is holding a long spouted Tea pot?. The young lady at the rear left of the group is holding a kitchen knifeperson, group, picnic group, picnic -
Whitehorse Historical Society Inc.
Leisure object - Doll
Doll's Clothes made by donor. Shoes purchased by Society.Blue and white check seersucker dress with peter pan collar, puff sleeves, two ticks down front bodice. Gathered skirt with two buttons down back. Blue panties. Broderie white anglaise half petticoat with ties at waist. White sandal type shoes with cut out daisies on front of shoes, T bar with small pearl button. Shoes are white vinyl with leather soles.toys, doll's clothes -
Bendigo Historical Society Inc.
Document - IAN DYETT COLLECTION: AUCTION CATALOGUE - FORTUNA
Bluish catalogue with gold print on the front cover for a Demolition Auction Sale of Fortuna Under Instructions from Bendigo Mines No Liability on the 29th and 30th June, 1938. J. H. Curnow & Son were the Auctioneers.For sale were out buildings, household items, garden plants, skirting boards and floors. Catalogue has a black and white photo of Fortuna taken from the other side of the lake.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - fortuna, j h curnow & son, cambridge press, bendigo mines no liability -
Bendigo Historical Society Inc.
Photograph - GOLDEN SQUARE LAUREL STREET P.S. COLLECTION: PAPER CUTTING AND NETBALL TEAM PHOTO
Newspaper cutting and Netball team photo laminated upon orange cardboard. From top [a] Newspaper cutting captioned 'Ex- Pupil Darren Scobie, [Australian Country Water Polo Rep, 1998'. Two water polo players illustrated. [b] Photograph of Ten female net-ball players with coach captioned Net-ball 5 ?? . Girls wearing Golden Square sports guernseys and skirts.bendigo, institutions, golden square primary school -
Bendigo Historical Society Inc.
Clothing - HELEN MUSK COLLECTION: WEDDING BODICE AND SKIRT
Ivory coloured waist length silk wedding bodice with front opening. Silk fabric has alternating striped pattern of chequerboard pattern, running stitch pattern and diagonal woven pattern. The bodice is made of two layers of the silk fabric with cotton fabric lining. The front inner layer has two darts from the waistline. The back inner layer has a centre seam and three darts from the waist on either side. The outer layer on both front and back has three knife pleats falling from the shoulders creating a gathered effect. These side panels of pleated fabric create a deep V neckline by crossing over 5cm above the waist. The V shape neckline is filled with an insert of cream and dark green lace with a floral pattern. The lace insert extends to the throat to form a high round neckline. The neckline is edged with cream coloured woven cotton braid. The side edges of the outer layers are trimmed with cream lace with a floral pattern and 5cm zig zag peaked edges that extends from centre waist at the front, over the shoulders and to the crossover section at centre back where there is a decorative silk fabric flower stitched at the crossover point just above the waist. The front opening is fastened with fourteen hooks and eyes plus another hook and eye offset 5 cm above the waist at the crossover point. Set in long sleeves are in two sections. An inner layer of silk fabric widens to the elbow where two five cm frills of gathered tulle are attached. Each frill is edged with a row of silk stitching. Attached below the frills are two 7 cm strips of lace stitched together to form the lower part of the sleeve. The edge of the lace forms the hem at the wrist. Each sleeve has a 5 cm hemmed V shaped split from the hem at the wrist. The outer layer of the sleeve is bell shaped falling from the shoulder to the elbow. This section of the sleeve is edged with cream lace with a floral pattern and 5cm zig zag peaked edges that are stitched to the fabric of the sleeve. Ivory coloured full-length wedding skirt with train. The skirt is made in two layers. The under layer is made from cotton from the waist with a wide border of silk fabric - 18 cm wide at centre front, widening to 37 cm at the side seams. The back of this skirt extends to a train and the border widens to 48 cm. The border section is lined with cotton fabric. At the centre back, the border has two godet inserts to create fullness in the train. The outer layer of the skirt is of ivory silk fabric with alternating vertical stripes of a chequerboard pattern, a running stitch pattern and a diagonal woven pattern. The lower edge of the skirt is edged with an 18 cm border of lace patterned with embroidered circles. The edge of the lace forms a zig zag pattern of elongated V shaped peaks (7 cm). The front of the skirt dips to a V shape at centre front with the point of the V reaching the hemline. The back of the skirt dips below the front hemline in a U shape over the train. The waist band is made of cotton tape. The centre front of the waistband has an embroidered pattern in silk thread. The centre back opening is fastened with seven metal hooks with six cotton loops plus one metal eye on the waistband. There are two cotton tape hanging loops on either side of the inner waistband. Hand and machine stitched.costume, female ceremonial, wedding bodice -
RMIT Design Archives
Cards, David Lancashire, designer, Hallelujah Christmas Promotion for KW Doggett Fine Paper
David Lancashire's Christmas promotion 'Hallelujah', designed for KW Doggett Fine Paper in 2009, is an example of one of the many innovations that Lancashire has contributed to the Australian paper industry. Considering the celestial aspects of Christmas and a favourite song - Leonard Cohen's 'Hallelujah' - Lancashire recalled a Wayang Kulit shadow puppet collected in Bali because of the way it interacted with light. Made from hide, the puppet was peppered with hand-punched holes to add intricate decorations to projected shadows. He adapted this concept to laser-etched paper and translated the fringed skirt of the puppet to die cut angel feathers. Jenny Grigg, 2017Greeting card and envelopechristmas, paper industry, design, graphic design, bali, puppets -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 25.07.1972
Miss Evans is the Director of Nursing of Royal District Nursing Service (RDNS). She and the group of RDNS Sisters are standing on the staircase inside RDNS Headquarters, 452 St. Kilda Road, Melbourne.The photograph on the right rear is of a full view of 452. They are wearing the new winter uniform of a blue/grey skivvie worn under a V neck tunic style herringbone winter material dress with the RDNS insignia on the upper left. Their beret style hats are made of the same herringbone material. Miss Evans is wearing her uniform of a grey blouse, and a skirt and long jacket made of the blue/grey herringbone winter material.From its earliest years when Melbourne District Nursing Society (MDNS) began to wear uniforms the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. Their Trained nurses (Nurses) firstly wore long grey frocks, and later a white collar, cuffs and white belt was added, and on their heads they wore a white cap with a long white tail hanging from the centre back. When bicycles were introduced in 1903 the headgear changed to a white pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. Twelve years later the Trained nurses (Sisters) complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. In 1966 MDNS were granted Royal patronage. Now as Royal District Nursing Service (RDNS), Sisters Liz Thomson and Bev Armstrong, in 1971, designed a new uniform and the colour was changed. By 1972 the Sisters were wearing the new winter uniform of a blue/grey skivvie under a V neck tunic style frock made of blue/grey herringbone winter material with the RDNS insignia on the upper left, and a beret style hat of the same material. In summer the uniform became a royal blue V neck tunic style frock, with the RDNS insignia on the upper left, worn over a short sleeve white blouse. A royal blue peaked hat with the RDNS insignia in the centre front was worn at first and then only worn on official occasions. This uniform was worn until changed to a corporate style in the mid 1980s,Black and white photograph showing Royal District Nursing Service (RDNS) Miss Mary Evans amid a group of RDNS Sisters standing down the steps of an internal staircase. They are wearing their new winter RDNS uniforms of a light grey skivvy under a V neck tunic style grey frock with the RDNS insignia on the upper left, and a beret style hat of the same material. Sisters from top to bottom:- P. Rowley, who is wearing glasses and has short dark hair, next down is F. Hoey, who has short dark hair and then in pairs L-R A. Tyler, wearing glasses and with dark curled hair and B. Watson, who has shoulder length blonde curled hair. Next down is B. McDonald with short dark hair and J. Peter, with curly dark hair. Next down is Miss Evans, who has short curled hair, On the next step down is V. Sheehan, who has short wavy blonde hair, down further is M. Gawith, who has short dark hair and is wearing below the knee black boots. and in front is M. Lambert who has short dark hair and has her hospital badge attached under the centre neck of her skivvy. The staircase has dark wooden turned balustrades topped with a matching curved handrail and below this is white woodwork. In the rear of the photograph part of a stained glass window can be seen and on the right is part of a large photograph. Photographer stamp. Quote No. LA 4melbourne district nursing society, mdns, royal district nursing service, rdns, rdns uniform, miss mary evans, sister pat (paddy) rowley, sister fonce hoey, sister a. tyler, sister barbara watson, sister betty mcdonald, sister judy peter, sister mary gawith, sister v. sheehan, sister m. lambert -
Bendigo Historical Society Inc.
Clothing - HOSKING AND HUNKIN COLLECTION: TODDLERS NIGHTGOWN, 1880
Clothing. Fine white cotton lawn nightgown. Round neck, with back opening. 12 cm deep yoke, and tiny cap sleeves of embroidered cotton. A V shaped panel of embroidered cotton at the centre front of the yoke. A drawstring in a casing fastens at the back neckline. A tiny .75 cm button, fastens the back yoke. Nightgown is machine stitched, with some hand stitched decorative stitching. The long skirt has two bands of narrow tucks-one tuck of 1.04 cm and six bands of .04 cm. This is edged with a band of hand stitched embroidery. This band of tucking is repeated, and edged with a 6 cm wide band of eyelet embroidery. This panel is repeated with the lower edge of embroidered cotton finished with a scalloped shaped edge. A scalloped braid edges the neckline. Skirt is two-tiered-top tier very finely gathered to yoke is 15 cm deep. Lower tier is 71 cm deep.costume, children's, toddlers nightgown.