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 crocheted bodice with pearl buttons. A net band has been attached at the waistline to facilitate the garment being tucked in. There are some machine made elements hand tacked on but the garment is mainly hand made. Most of the garment is diamond mesh with picot. The yoke is crotchet mesh with applied daisy motifs. Large daffodils and daisy motifs are applied to the main body of the garmentlace, women's clothing

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. Net jabot with 3 machine made filet inserts. Edged with machine made tape lacelace, women's clothing, jabots

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. Coffee coloured smaller and larger frills to wear at the neck. Chemical lace daisies sith the net cut away with a punch. The machine was set precisely to repeat the design with lock stitch and then satin stitch around the edgeslace, women's clothing, jabots

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. Curved white cotton band with pin tucked rectangular inset front and back. It curves downward to enable the two bobbin lace panels to hang downwards. Has four crotched buttons. The stiches used are plait stitch, cloth stitch, and mesh stitch.lace, women's clothing

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. Cotton voile sleeves edged with broderie anglais. In poor condition, may have been removed from another garment. Probably hand worked, it is an example of cut worklace, women's clothing, sleeve cuffs, engageantes

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. White lace gathered onto tape which can then be sewn onto a garmentlace, 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 net bow edged with lace, gathered at the centrelace, women's clothing

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 lace collarlace, 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. Rectangular silk panel edged with lace at either end.lace, women's clothing

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. A fine cotton chemisette with collar and front opening edged with tape lace and then edging lacelace, women's clothing, bodices, chemisettes

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 collar. Panels of locked stitch lace onto netting are alternated with cut work. The neck edge is bound with fabric to attach the collar to a garment 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. One of a pair of muslin cuffs as worn by maids. Hand sewn.women's clothing, sleeve cuffs

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 Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This child's money box was manufactured by British toy company Chad Valley, owned by the supermarket chain Sanisbury's. It is one of many items in the Wodonga Historical Society's Haeusler Collection that reflects domestic life and childhood in rural Australia in the early to mid twentieth century.This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and the history of childhood. A black, gold and red money tin with a coin slot on a hinged lid. On back of tin on hinge of lid ""CHAD VALLEY"/'ENGLAND/10167"toy, child, children, money, money box

This photograph was taken at Wooragee Hall on the Friday 27th February, 2004 as part of an event called Foxy Night Out. This event was about sharing awareness about the impacts of foxes in rural areas and discussing methods to control their populations. There were two mains speakers at this event, the first; Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, and the second; Leanne Wheaton, a nature conservationist. Pictured in this photograph (left -right): Mary Prowse, Leanne Wheaton, Tony Prowse, Ray Henderson. Leanne Wheaton holds a portable electric fence, that is useful in preventing fox attacks on wildlife, including Bush Stone-Curlew nests Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to raise awareness and educate about environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 6329 / [PRINTED] (No.6A) / 497 wooragee, wooragee hall, wooragee landcare, wooragee landcare group, fox, foxy, foxy night out, leanne wheaton, mary prowse, tony prowse, ray henderson, wheaton, prowse, henderson, electric fence, portable electric fence, landcare workshop, fox control project

Series of interviews with former employees of Kraft (Allansford) and directors of Warrnambool Cheese and Butter Factory discussing their time and experiences as employees and directors of the factories. Warrnambool Cheese and Butter Company Ltd was established in 1888 and in 1935 developed a relationship with Kraft Foods Australia whereby Kraft leased premises from WCB. The two companies shared the milk collected to make their core products of cheese (Kraft) and butter and milk for domestic use (WCB). This arrangement continued until 1997.Gold DVD in plastic case, B&W cover with colour WCB logo.A Look at our History: Ron Campbell, Steve Heazlewood, Jim Mahony, DJ (Barney) Loganallansford, heazlewood, steve, campbell, ron, mahony, jim, logan, dj (barney), wcb, warrnambool cheese and butter factory company ltd, kraft foods ltd, dairy industry, dairy processors, factories, local history, cairns, peter, cheese manufacture

David WILLIAMs David Williams established Toolangi Pottery in Toolangi, Victoria, in 1977. In 1980, he completed a BA in Fine Art from Phillip Institute of Technology (now part of RMIT University). He produces mainly crystalline glazed bowls, platters, vases, lampbases and other domestic ware. His works are marked with an impressed stamp reading 'David Williams' or 'David WIlliams Handcrafted in Australia ' and he also used a cursive 'DP Williams'.Photograph of a hand thrown ceramic vase with crystalline glaze. It is signed on the base with a cursive 'DP Williams'. ceramics, pottery, david williams, crystaline glaze, crystalline glaze, toolangi pottery, studio pottery, australian studio pottery

The fireplace was the main heating source for small houses before 1900, so a bellows to coax a flame from a dying fire was important. They would also be used to keep the fire going in a woodfire oven for cooking. In later cooking ranges, domestic water supply was also heated through the cooking range so bellows helped to maintaing a supply of hot water. These bellows were handcrafted by Mr James Ripper, a great uncle of Mrs. Jean Raper. An item of signifance throughout Australia, bellows were used in homes to coax a domestic fire into flame for heating and cooking purposes. It was probably used in late 19th to early 20th century homes.A set of hand carved wooden bellows. Each side of the bellows was crafted from one piece of timber. The bellows were joined with leather, brass studs and a metal nozzle.bellows, handcragted items, domestic items

Bendigo Advertiser '' The way we were''from 2002. Happy campers: Girl Guides at Somers Hill near One Tree Hill, circa 1937. From left: Beryl Brown, Mary Runnalls, Elaine Emmerson, Audrey Young. The Girl Guides had a stone hut taken from the site on a piece of land donated by the Keck family. It was situated beside the race between Keck's nursery and One Tree Hill. The site was named Somers Hill after Lady Somers, the chief commissioner of the Girl Guides, and the wife of the Governor of Victoria. Vandals completely destroyed the building in the 70s. The clip is in a folder.newspaper, bendigo advertiser, the way we were

1-3, 14-16, 23 slides labelled "Students' Canteen & Recreation Room 1961" under construction. "Ginkgo biloba Aut 1962". Butia capitata "Aut 1962". 9-11 "Ginkgo biloba (& Malus ioensis rubra) 19/5/63". 4-8 slides "Paving - Canteen 28/6/63" Jul 63. "Magnolia alba K. Elliot's Sect. 1968 Rosemary", 2 slides ground prepared for construction? Sep 68. "Japan Ground Cover Soft" Feb 76.17-20 Arboriculture related. 21-22 Pruning Day 1963. BHC Vege Plots/Nursery 1963.students, canteen, recreation room, 1961, ginkgo biloba, paving, orchard, butea palm, malus ioensis rubra, magnolia alba, k elliot, canteen construction, students working outside

1. "Drive (After) from P.R.I" Feb 67. 2-5. Students learning how to use a machine in the Orchard, 6, 7.Former Nursery, 8. Garden view. Mar 67. 9-14. Emily Gibson beds. Jun 67. 15, 19,26, 27. Plant Research Institute. "June.5.1967" 16, 17. Pruning Day 1`967. 18.Unidentified development on Campus Jul 67. 20. "Nangiloc - Fixed Sprinkler Rock Melons" Oct 67. 22. Yarra River.24. Former Rose garden (now Herbaceous Border.) 28-35 Wilson's Promontory.students, machine, garden views, campus, entrance, plant research institute, old rose garden, nursery, nangiloc, fixed sprinkler, rock melons, wilson's promontory, seed testing station, pruning day, emily gibson beds

1947 The SEC created an Arboretum and Nursery on the bank of the West Kiewa River. Householder could collect free plants, trees and topsoil for their gardens. It was not long before there was very keen competition amongst the families to create the best garden. 1948 A Mount Beauty Garden competition started with a first prize of 15 pounds, second 7 pounds and third 3 pounds. As the oldest garden in the competition was only 25 months old and most were younger a handicap system of 4 points per month was devised. Tom Mitchell MLA was the donor and judge. 1965 This sash was possibility worn by Jean McCullough in 1965 when the Mt Beauty & District Progress Association Auxiliary ran the completion.An example of the social life at Mt Beauty during the construction of the Kiewa Hydro Electric Scheme.Royal blue sateen sash with gold fringe. Mt. BEAUTY & DIST. PROGRESS ASSN. AUXILIARY/CHAMPION GARDEN/1965textiles, arboretum, mount beauty, garden competition, kiewa hydro electric scheme

This iron was used to press clothes prior to the spirit and electrical irons becoming available circa 1930s - 1950s. The main body of the iron was placed on a flat heated surface of a stove (wood, coal or gas fired). It was mainly used by women in their domestic role, ironing the family's clothes and linen. In the Kiewa Valley the supply of coal or gas was not available or too expensive than the locally cut hard wood trees. Ironing was time consuming as the iron had to be heated, used and then reheated to the required level of application. Kiewa Valley farmers' wives used these irons having heated their stoves with local timber from their farms. This iron is made of cast iron. The handle is a hollow cylinder and is 70 mm above the solid 30 mm base. Presumably the handle was wrapped and/or threaded with cloth to protect the hand from the heat of the iron. The iron would have been heated on the top of a stove.6 Metters KFB Victoriairon, laundry, domestic, antique, pressing clothes, household

Used domestically, though any extra butter would have been sold to neighbours. Many families kept a cow or two for milk etc. Cream needed to be at least 2 days old - the thicker the better. The handle was turned until the cream turned to butter,the whey was poured off and the butter washed in cold water until the water ran clear. Generally salt and bicarbonate of soda were added. Two pats were used to form butter into 1lb lots.This was used by Mrs (1890-1980) Carl Wehner who was the son of the blacksmith Herman Wehner. Wehner's Blacksmith's was founded at Orbost in 1889.Wooden "Cherry" butter churn with wood and metal turning handle. It has a detachable wooden lid.Front - E. Cherry - improve maker patent, Gisborne stencilled 0 Bottom - stencilled 0 On top of lid handle - 49260butter-churn domestic-items food-preparation wehner-hermann

The ice chest kept food cold prior to kerosene and later domestic electric refrigeration. A large block of ice was delivered twice weekly wrapped in hessian and carried on the shoulder of the ice man. The block was placed in the top of the chest and food on the shelves below. Melting ice was drained into a tray at the bottom. The chest was lined with galvanised iron or more expensive porcelain. The ice chest might be insulated with cork or other materials. An effective method of keeping food for a household situated near iceworks.wooden two door. Ice chest compartment door opens; bottom section nailed shut, unopenable. On Casters. Water tray missing. Ice compartment contains drain tray. Hole in base under ice tray. Pipe to drip tray (not visible). Cast hinges crystallisingFoys Melbice chest, early refrigeration, churchill island heritage farm

Mary-Lou began exhibiting in the mid 1980s and over the years has been involved in producing unique pieces as well as developing a large range of domestic ware. In 1984, six months after graduating from a Bachelor of Fine Arts at Phillip Institute of Technology, Mary-Lou was invited to present a solo exhibition at Devise Gallery in South Melbourne. This objective, she says, compelled her to find a studio and was an incentive to focus on developing her ceramic practice independently.Mary-Lou Pittard holds close ties to the Shire of Nillumbik - living and working within Eltham. Her Eltham North Mudbrick Studio employed 5 assistants until recently when Mary-Lou and partner Chris Pittard have scaled down operations. They now produce everything themselves and find that this enables them to focus on producing unique, sculptural ceramic works. Mary-Lou is currently exploring the fine qualities of porcelain and combining these with her ongoing passion for decorative colour and form. 'Decorative Bowl' is a wheel-thrown/moulded bowl, oblong in shape and has been manipulated by hand. Narrow sections have been incised from the main body, perhaps a practical design feature for air circulation, and the rim has been altered to form a jagged edge. Bold colourful shapes decorate the interior of the bowl. They have been applied directly to the bisque surface and subsequently covered with a transparent glaze which protects them and enhances their permanency.mary-lou pittard, ceramic, chris pittard, eltham, nillumbik

Henry James Tainton was the son of Joseph Tainton and Mary Jane Course. He married Rose Selina Fankhauser, daughter of Frederick William Fankhauser and Florence French at the East Burwood Methodist Church on the 14th November 1906. James was a gardener aged 26, and Rose 22 (domestic duties) The witnesses were Herbert Simeon Tainton and Mary Ann French. The Tainton and Fankhauser families were both early pioneering families of the East Burwood area. Marriage certificate is at ND6243.Sepia photograph of the 1906 wedding of James Henry Tainton and Rose Selina Fankhauser. James seated, Rose standing with a hand on James' shoulder. Elaborate wedding dress with frilled hem.fankhauser, rose selina, tainton, james henry