RMS Queen Mary a retired ocean liner by 1971 that sailed primarily on the North Atlantic Ocean from 1936 to 1967 for the Cunard Line (known as Cunard-White Star Line when the vessel entered service ( Wikipedia) Maritime ArtLong framed unglazed landscape format painting predominantly depicting in foreground an ocean liner painted black hull and white superstructure with three funnel stacks painted red with black trim, under full sail against a blue sky. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks. Brown paper backingat lower right corner single uc word in white paint : "CV WRIGHT (artist symbol of crossed anchors) / 3 ? '71"marine painting, ocean liners, rms queen mary, royal mail ships, p & o steamships, ww2, artwork-paintings, hobbies, bosun, c.v. wright

Chris Albers served in Cambodia, with the UN Forces late 90's Russian AK-47 bayonet and scabbard cross mounted with metal wires in stained light walnut colour wooden glass fronted display case. Leather strap and buckle attached to mounting end of bayonet. Nylon hanging cord for wooden case stapled to back of wooden case. Black masking tape covering mounting wires on back of wooden case. White label with barcode on rear of case.Russian AK-47 bayonet and Scabbard. 0040 Memory Frame 10" XS with barcode on white label.cambodia, un forces, ak-47, bayonet, scabbard

These educational publications covering a topical monthly theme and providing a slice "of the era" in general knowledge, was used by schools in Victoria as a basic starting point for a particular level of perceived knowledge. The general articles and extracts contained within, were not targeting a specific gender or socio economic sector but designed for all children at a particular stage of their development. This publication did have a format of: 1st page topical, e.g. ANZAC day scouting (U.N.), one page of regional Victoria, one page of poetry, one page of short stories, one page of world history and the last page of a song, complete with appropriate notes. These publications were produced during the second World War and made special references to it. This publication occurred during a period when the Education Department was highly authoritarian in its approach to State levels of learning. Fragmenting "special" schools like later "New Age" teaching methods and doctrines (home schooling) were repressed with considerable force.This binder full of monthly educational studies was particularly important to "hidden away" rural communities such as in the Kiewa Valley, especially at this point in time (World War II). The teaching methods used by local schools provided the necessary break through required by local school children to stop any adverse knowledge deficiencies due to factors of regional isolation. School children with in the Kiewa Valley would be able to integrate with children from all regions, weather in cities or larger towns. This hard cover (card) binder contains 11 monthly publications produced by the Victorian Department of Education for Grades 7 and 8 in the year 1947. Each issue has 16 pages with the cover page covering the major theme for the month. Each issue is placed within the folder by the folded middle page constrained by a thin cord. This is the only method to contain each monthly edition as they have no clasp or are stapled.The folder"SCHOOL PAPER COVER" underneath and to the left is a sketch of the world (revolving desk top stand) on top of a book and next to this "Name ------------ " underneath "Grade-----------" underneath "School---------" all enclosed by a thin border line.school paper, victorian education curriculum, education news letters, loose leaf educational binders

Radio telephones were used to connect people living or working in isolation with other people.This radio phone was used by ambulance officers,working on the Kiewa Hydro Electric Scheme, to communicate with the doctor. The SECV had received an ambulance by April 1940. It had been modified for long and rough trips, departing from usual ambulance designs of the time. Ref. April 1940 SECV magazine. Mrs Beveridge (Skippy) lived and worked with her husband on the High Plains during winter. They had immediate contact with the outside world as they were connected by radio telephone with the Commission's (SECV) Bogong office. Hence, measurements taken of the snowfall and rainfall and observations from the experimental raceline are reported to head office of the Kiewa Hydro electric Scheme at Bogong. Ref. SEC magazine March - April 1948 page 25 and photo of the radio telephone in their home (different to this item) page 26. This radio phone is in a metal case with a separate steel lid attached with two large screws on either side. The front has a cream plastic face with open slits. It has a cover to protect the speaker behind it. There are 3 tuning knobs (volume, muting & channel) and a small red light. The phone cord is coiled and extends from the right hand side with a speaker attached. The speaker is for sending and receiving messages.'Radiophone / MTR 25 161 AG' 'STC' in a rectangle and 'Ser. No. 21480'.radio phone, transmission, 2 way radio, ambulance, communications, doctor, medical equipment

Maps were used to teach children geography, the explorers, the minerals, the world etc. The school bought and stored the maps so that they were available for use. This predated electronic devices. The KHE Works map was hand drawn showing lots of detail.These maps were used by the Bogong Primary School. The Kiewa Hydro Electric Works was built by the SECV and produced hydro power. This map may have been used by pupils as well as workers on the Works. Large coloured maps on canvas, with a wooden beam along the top and bottom. Each one has a cord attached to the top so that the map may be hung up on a wall. Some are made by Chas. H. Scally & Co., Baronia Ave., Wollstonecraft, N.S.W. The Kiewa Hydro Electric Works map is pinkish and shows Rocky Valley Dam, Lake Guy and Mt Beauty pondage in dark blue.maps, educational maps, geography, primary school, kiewa hydro electric works

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

Cream card with narrow raised border on three sides. Near the top is a gold edged purple/green document with 'For Auld Lang Syne' printed in gold and black. In the top left corner is a bunch of purple flowers and in the bottom right corner is a shield with a gold lion on a green and black quartered back-ground. Some more flowers around the shield and document. Card & insert held together with a mauve cord.Printed in Englandperson, greeting cards, malone collection, malone collection, greeting cards

Document. Malone Collection. Small white card with embossinf top and bottom. It has a spray of pink rose buds and green leaves. Above the flowers is printed in gold: Kind Thoughts. The K has red lines and the T is printed in red with gold edges. Above and below the T and poartly under the last word is green scrollwork with gold dots. The card and insert are held together with green cord.Printed in Germanyperson, greeting cards, malone collection, malone collection, greeting cards

Black and white photo of Cindy Reaby. She is in a swim suit with a towel over her shoulder and a medal on a cord around her neck. She is holding another medal. Written on the front of the photo: 1985 Cindy Reaby 1985 10 yrs Back 1st Melb All Jnr 1986 Melb All Jnr 50m Fly 2nd. Written of the back of the photo: Melb All Junior.recreations, sports, swimming

A cream programme with gold print and blue decorative ink with a cord attachment. On the front cover are the words, ' Golden & Corinthian Lodge, No. 7 Social Evening, Tuesday, Sept. 24th 1912. T.C. Watts, W.M. G.S. Bissett, Secty, P.G.S.D.' On the inside is an outline of the programme including the Reception by the Worshipful Master Wor. Bro. T.C. Watts, 8 p.m. This is followed by Euchre 8.30 -10 p.m., refreshments and harmony.societies, freemasons, programme, lydia chancellor, collection, programme, freemasonry, freemasons, golden & corinthian lodge no. 7, clubs and associations, organisation, societies, program

Used in the homePortable round plastic hinged case with motor fitted within the base. Plastic wire coiled hose attached to motor. Plastic hood edged with perished elastic and lace adjustment fitted to end of hose, gold embossed flowers on hood. Motor has settings off, cool, med, hot, Electric cord and plug attached to motor. The lid closes with a sprung knob and has a plastic carry handle.Lady Sunbeam Hair Dryer deluxe on lid, Lady Sunbeam on motor. Makers details on base Model AHD *220-250 V 50 CYC 300V AC only Patent pending

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

Illustration, wall hanging, printed on a red / pink cloth background with sewn edges of a scene looking east along Collins St from about Queen St. Has a number of cable trams in the view. Has two pieces of wood stapled at top and bottom with a hanging cord. Has the words "Collins St Melbourne Victoria 1880" and "hand printed in Australia by Rodriquiz" along the bottom edge.trams, tramways, collins st, cable trams, illustrations

Set of 7 signs - printed on paper with an adhesive backing. Items 1 to 5 have a silver finish. .1 - No Smoking .2 - To stop car pull left hand cord once. etc. .3 - Passengers are requested to tender the Exact Fare. .4 - Spitting in the car is strictly prohibited .5 - Driver's Exit Door .6 - Normal loading 55 passengers .7 - Patrolled by Transit Patroltrams, tramways, operations, buses, moomba

This example of a sailing ship’s ‘dead-eye’ is from the wreck of the LOCH ARD, which sank near Port Campbell in 1878. The vessel was an iron hulled clipper ship constructed for the Loch Line in 1873. It was part of a fleet of similar merchant ships owned by that company, which specialised in bringing passengers and goods from London via the Great Circle route to Melbourne, and returning to Britain via Cape Horn with the colony’s wool clip. Deadeyes were a common feature of sailing ship technology in the nineteenth century. They were a simple, cheap, and hard-wearing device that, in conjunction with another deadeye, provided an effective means of levering, or tightening, attached ropes and stays. Lower deadeyes were fixed to the sides of the ship by an encircling metal collar (inset in a flattish groove chiselled around the outer circumference of the disc), which was bolted to iron bars attached to the hull (called chain-plates). Upper deadeyes were looped by a strong hemp or wire rope (inset in a rounded groove carved around the outer circumference of the disc), which was joined to the bottom ends of the rigging which reached up to secure the masts into position (called shrouds or stays). Connecting a Lower deadeye to its corresponding Upper deadeye was a rope (called a lanyard) which looped up and down through the three “eyes” of each disc, to form a pulley system. The hitching of the two deadeyes with a looped lanyard provided the means of tightening, or loosening, the tension on the mast rigging ― essentially by pulling against the chain-plates bolted to the outside of the hull. It was a procedure that could be performed by sailors at sea and in emergencies. For example, after a gale the stays may have stretched and the masts worked loose, requiring retightening. Or, in the extreme circumstance of shipwreck, the lanyards might need to be released on the weather side, so that the masts fall away from the stricken vessel. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A reasonably well-preserved ship’s deadeye with rust-stained wire loop-rope still attached. It retains portions of its original hemp cord and hessian wrapping. The flat sides of this thick wooden disc have three holes drilled through in a triangular configuration. The artefact is from the shipwreck of the LOCH ARD (1878). The survival of the loop-rope (wire cable) indicates it was an Upper Deadeye, connected to the shrouds (mast rigging).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, deadeye, rigging

DCPU (Disruptive Pattern Camouflage Uniform) Work dress trousers. Colours - light to dark green through to mid to dark brown. Gore-Tex (Polyester/laminate) type fabric for wet weather. Worn as overpants. Drawstring cotton cord at waistband, with plastic look clip. Two side pockets, at ankles loop and hoop adjustable strap. White colour polyester fabric manufacturers label, inside back waist band.Manufacturers information on label - black ink print. " REFLECTIVE/ IMAGES/ O/N G5.202857/ N/S/N 8405/66/145/7099/ AUG 2003/ BATCH: 912726/0004/ SIZE: XL- 82 CM/ NAME:/ SERVICE/ CARE INSTRUCTIONS/ DRY CLEANABLE/ MACHINE WASHABLE 40dc/ DO NOT BLEACH/ DO NOT SPIN DRY/ DO NOT WRING/ HANG TO DRY/ LIGHT/ COOL IRON".uniform, army, work dress, dpcu, trousers

Original owner Graham John HAINES R94437, PORS - Petty Officer Radio Supervisor, RAN Comms, Vietnam & FESR..1) Framed painting by disabled artist in Hong Kong. Coloured painting of HMAS Yarra on black background. Tan wooden frame, cream border, glass front. Cardboard backing with wire hanging strap. .2) Framed painting by disabled artist in Hong Kong. Coloured painting of HMAS Parramatta a on black background. Tan wooden frame, cream border, glass front. Cardboard backing with white cord hanging strap..1) Printed at top: “HMAS YARRA” Emblem RHS: “RAN FAR EAST FLEET HUNT AND STRIKE” Printed bottom RHS: “HONG KONG 1966” .2) Printed at top: “HMAS PARRAMATTA” Emblem RHS: “RAN FAR EAST FLEET STRIKE DEEP” Printed bottom RHS: “HONG KONG 1968” painting, hmas, hong kong

Items belonged to Alfred Edward Boland, V59811, VX120170. Refer 2473 for service history.Cardboard with purple felt covering with the following mounted on for display re A.E Boland. 1. Set of Identity Discs, one round, one eight sided with cord attached. 2. Returned from Active Service Badge. 3. Rising Sun lapel badge, blackened brass. 4. Two x "Australia" shoulder badges, blackened brass. 5. Three x Officer shoulder rank Insignia, blackened brass."VX120107 CE BOLAND AE" (On the ID discs)badges, identity, military

Small white card with blue border on the left. The border has embossed white scrollwork.The edges have scrollwork and a flower with gold shading. Also gold along the ede of the blue border. There are two red & three pink carnations on the white oand over the blue border. Underneath, printed in gold is: To Greet You. Card & insert held together with a pink cord with the ends frayed to a tassel. Gold printing inside.Davidson Bros. Londonperson, greeting cards, malone collection, malone collection. greeting cards

Small creamy card with celluloid front sewn onto card back. At top are two small scenes as seen through a window with purple curtains on each side. Window frames are gold. Below is a gold horseshoe. Below on the left is a blue & gold vase with 3 dark pink roses in it. In the bottom right corner printed in gold and embossed is: To Greet You. Card & insert held together with pale blue cord.Raphael Tuck & Sonsperson, greeting cards, malone collection, malone collection, greeting cards, raphael tuck & sons

Document. Greeting Cards. Small whitish card, bookmark size with 2 holes at the top and a piece of pink cord tied in them. At the top and printed in red with gold edge is: Mizpah. Below this is a pale pink rose, a darker pink rose, some yellow flowers and some violet buds. At the bottom, printed in brown is: The Lord watch between Me and Thee. Gen. 31.49. Embossed in the bottom left corner is: Made in Germany.person, greeting cards, malone collection, malone collection, greeting cards

Document. Malone Collection. Small white card with a black & silver drawn border top and sides. In the centre is a coloured picture of the waves hitting the rocks and birds flying overhead. Around the picture is a black border and an irregular silver border with black spots. Underneath is written: With all Good Wishes (The W, G & W are in silver capital letters, the rest are black.) The card and insert are held together with a pale blue piece of cord.B. B. London and New Yorkperson, greeting cards, malone collection, malone collection, greeting cards

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of the interior Bendigo ESCo 9 after the body had been sold, in Thistle St, Bendigo, 15-9-1962, photo by Keith Kings. Shows the structure of the tram, very similar to the Duncan and Fraser horse tram structure. Has the D&F bell cord straps.on rear in ink "Bendigo Interior of original electric tram No. 9, rear of house in Thistle St. Flash 1/25. f22, 9 ft 15/9/62" and in the top right hand corner, the Keith Kings copyright stamp with the number "N(v)(13)" written in.trams, tramways, bendigo, esco, duncan fraser, tramcar bodies, tram 9

c. First World War.A cream, rectangular handkerchief bag with a white and pale pink embroidered floral design and two butterflies on its front panel. In the middle of the front panel are two crossed flags; one a Union Jack and the other unidentified, fastened by a mauve tassel cord. A white, scalloped, embroidered border encases the front panel and the outer edges of the bag are finished with white braid and four white tassels. The bag has a cream muslin lining.bags, personal effects, handkerchief bags

The firm of Bolex Paillard Ltd is world-famous for its accomplishments in the field of amateur cinematography. Paillard Bolex cine cameras and projectors are designed and manufactured in Sainte-Croix, Switzerland, which was also the centre of the Swiss watchmaking industry. Originally Bol, the company was founded by Charles Haccius and Jacques Bogopolsky in 1925. The M8 line of projectors were first manufactured in 1949. Its relatively light weight, affordability and portability made this model popular with home movie and amateur film makers.This projector is representative of several types of home projectors popular in the second half of the 20th Century.A small projector and carrying case. It is made of cast aluminum and steel, painted with a Grey Silver finish. The upper reel arm folds downward and locks for storage and also serves as a carrying handle. The lens assembly pivots outward for easy film loading and unloading. The front legs can be adjusted individually for height. An AC outlet is position at the rear of the projector. The carrying case includes slots to hold film reels and the power cord.On one side: " Bolex Paillard/ Fabrication Suisse/ Made in Switzerland" M 8bolex paillard, cimematography, home entertainment

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns