Clothing. Women's black silk calf length skirt. Skirt has silk lining with a layer of silk fabric stitched to cover lower section of lining (52 cm). An outer layer of silk fabric falls from the waist to overlap the underlayer. The top layer has an irregular curved hem line.The inside waistband of ribbed cotton fabric (7cm) has six boned casings. The centre back opening (28 cm) overlaps at the waistband and is fastened with metal hooks and eyes and press-studs. The silk lining opening is fastened with four metal press-studs. The outer layer of silk fabric is fastened with five metal hooks and cotton loops.costume, female, women's black silk calf length skirt

Late 1800'sClothing. Squared neckline, long beaded sleeves, finished with a 6 cm ribbon edged frill. Sleeves are beaded in bow motifs, which are repeated on the back and front panels of the bodice. Lower edge has a peak at centre front, and is finished with a 3 cm black velvet band. Bodice is lined with black polished cotton. Front opening is fastened with ten metal hooks and eyes - opening alternately from left to right. A 3 cm wide strong cotton tape is stitched to the centre back of the bodice, passing around the waist, and fastening at centre front with one metal hook and eye. This band is 59 cms long.costume, female, black beaded bodice with long sleeves

Clothing. Child's white linen waisted nightdress. Scooped round neckline with casing and lace trim. V shaped broiderie lace insert below neckline with 2 cm fabric trim on each side. open at waist. Skirt tightly gathered into casing at waist. Skirt has inverted V shaped insert at centre front from waist to hem. Overlay on each side with decorative stitching. Item is trimmed with two rows of 1.5cm lace. Double layer cap sleeves of broiderie lace with scalloped edges.Centre back opening (33cm) fastened with cotton tape ties at neckline and waist. Fold over collars at back neckline (12cmX 4cm).costume, children's, child's nightdress

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

BHS CollectionPure wool black and dark green check pattern suit jacket. Single-breasted fastened with three buttons (2.4cm diameter) and two press studs. Buttonholes on a placket, of fabric cut diagonally. Classic collar. Top button at throat. Back of jacket made from four pieces. Front of jacket made of three pieces on each side to form shaping. Pockets inserted to seams at waist level on both sides of the jacket. Long sleeves tapering to wrist. Pure wool. Black and green, woven in a check design A-line skirt, with a long stitched down ''plackett'' effect of fabric cut diagonally, opening to a pleat, just left of centre front.Label inside back neck, ''Hanro tailored by franchise from Handschin and Ronus Ltd Switzerland. 100% wool. 18.costume, female, hanro pure wool jacket

This butter box belonged to Jack Gore of Warrnambool who used it in his garage to store car parts. It is connected to Warrnambool Cheese and Butter Factory Company Limited through the box manufacturer, Peter John McGennan, who was one of the instigators of the factory. Cobden and Warrnambool factories were the first two co-operative factories to produce butter in Victoria, both commencing in 1888. Warrnambool Cheese and Butter Factory Company Ltd is the only remaining independent butter factory still using its original name. It is an example of the manner in which butter was packed for export from the late 19th century until well into the 20th century. Its innovative design is light but strong, using plywood for the box body and struts 'stitched' to the body with wire. The ply was originally pine imported from New Zealand which did not taint the butter. Following the exclusion of the timber from NZ, plantations of local pine were planted and used. McGennan's box factory supplied butter boxes to the majority of butter factories in Victoria, producing up to half a million boxes per year by 1917.This Cobden butter box is historically significant relating to the butter industry and a rare item. Not many of these exist. Wooden butter box with broken ends and a hole in the bottom.Constructed using thin ply ends, sides and base with square wooden struts tied with wire to strengthen the box. The trade mark on the end of the box is an oval with text around a map of Australia with the word AUSTRALIA printing across the map.COBDEN/PURE CREAMERY BUTTER/56lb Net/VICTORIA/REGD No.528butter, dairying, dairy manufacturing industry, butter boxes, cobden

Green long sleeved ladies top. Leaf green fabric with abstract patterns in grey, black, blue, yellow and orange.4 cm stand up collar. Front slit opening from throat with narrow hand stitched hem. Three 1 cm decorative metallic look shank buttons at lower end of slit. Top made from two pieces-falling straight to hipline. No shaping. On either side of side seams at hip level are three decorative metallic look shank buttons on the front and three corresponding loops on the back. If fastened together the top is pulled in and tightened at the hip level. Long sleeves are straight without shaping. Press studs at centre of openings at wrist.costume, female, ladies long sleeved top

Textiles.Calico flour bag with the following printed on one side; ''Mammy'' oven puff, creamed self raising flour large bags, 25 lb net weight. When packed. Contains Vita-phos. The only creamed flour. Prepared with phosphate aerator. Manufactured by WATSON Milling Co. Pty. Ltd. 1097 Dandenong Road, East Malvern, Se5 Phone UL3131''. Centre front is a picture of an African-American lady holding a cake. Picture has a border of wheat sheaves. The boy has remnants of stitching used to close the top of the bag. Collection holds two other uncatalogued samples. 7lb bag has picture of three scones on one side.textiles, domestic, watson milling flour bag

John Mitchell was born c. 1830 in Cornwall and travelled to Victoria with his father in 1853. Arriving in Bendigo they both worked as blacksmiths before his father returned to Cornwall. John plied his trade in Mundy Street, Bendigo before selling the business in 1865 after 11 years. Upon the discovery of gold in Western Australia, John travelled there and back three times before dying in Bendigo in 1902. He lived in Violet st., and left a wife, Elizabeth Hannah, and daughter, Mrs E Morris. Early business in Sandhurst in 1850s.An account book used by the John Mitchell to record the purchases and services made with his business. Records date from 1859 - 1868. The book has lost its front cover, but the back cover is still attached. The book is made up of several sections stitched together and bound with three pieces of cotton cloth. The pages are light blue with ruled columns. There are alphabetical tabs at the front of the book with lists of names. Individual customers are allocated a double page entry. Pages numbers are written at the top of pages. The book is in very poor condition having obvious signs of water and insect damage with visible patches of mold. The writing in the first quarter of the book is barely legible, remaining pages can be read.bendigo businesses, blacksmith, horse shoer, wheelwright

Emma Thomas Collection: Items were owned by Emma Courtis, nee Thomas. Family lived in Hamelin St, White Hills. Clothing items possibly made by Emma or a local person in White Hills area and used around 1890s. Emma's family include Elizabeth Penrose (mother), Solomon Thomas (father), and Richard Courtis, a blacksmith (her husband).Black jacket is handmade with a heavy cotton lining. Collar and hem of the garment are lined with black velvet. Sleeve hems also lined with a band of black velvet. Hock and eye fasteners provide centre closing. Twelve small, black buttons (decorative) have been sewn vertically along the centre panel from collar to hem. Boning has been inserted into both of the side seams to shape the jacket. Darts, with decorative stitching, have also been used to tailor the front of the jacket around the centre closure panels (Three darts on either side of the centre closure panels). A central seam runs through the jacket back which ends in a "scalloped" shape.emma thomas, emma courtis, clothing, jacket

In about 1888 William George Ashman (1871-11/2/1944) began a tailoring business in High Street, Eaglehawk. In 1890 he admitted his brother Arthur Thomas Ashman to the business and they traded as Ashman Brothers. In 1936 the company of Ashman and sons was registered at 265 Hargreaves Street. They specialised in made to measure, hand tailored suits. William married Clara Hunkin (1871-25/11/1944) in 1894. Their sons, John, Eric, Basil and Charles followed into the family business.Woolen fabric trousers, part of Dress Suit. A decorative strip runs down each leg. The waistband can be adjusted on either side by belt/buckle attachments. Trousers fasten with two buttons and there are four buttons at the fly opening at front. There are two deep lined pockets either side and one top pocket at rear on LHS. There is a maker's label stitched to the lining of the Rear pocket which reads "Ashmans, Hargreaves Street, Bendigo 'The Home of Better Suits'". A name written in ink below the maker's label is 'Mr M. Suurpaa, 28-3-1961 7252." Leather strips have been sewn inside edge of each leg cuff for garment protection.men's clothing, formal wear, trousers

Full length sleeveless dress of dark blue fabric with light blue all over embossed floral pattern. Front of bodice made from one piece with two darts from the waist. Back same as above. Square neckline formed by pleated section of fabric (upward facing knife pleats) across the front. The pleating continues on the shoulder panels at the front. 13cm wide at shoulders. The shoulder pieces continue to attach at the back bodice but widen to form a rounded collar effect on either side. At centre back where collar joins, a folded piece of fabric is attached to form two tails of a bow falling past the waist (39cm). A decorative metal clasp with three rows of diamantes is attached at the top of the bow, 7cm below the neckline. On the front bodice there are two decorative rows of diamantes below the shoulders where the shoulder piece joins the pleated section across the front. Front and back bodice dip slightly at centre. Side opening on LHS with 36cm metal zipper from armhole. Hook and eye at top. Fabric piping around waistline front and back. Skirt made of four pieces. Centre and side seams. Gathered into waist (bodice) with series of small pleats random (uneven) knife and box flat seams. Large stitches visible on front of bodice where pleated section is visible. 2cm wide strips of elastic hand stitched inside each shoulder section, attaching front and backs of bodice. Check collar attached.costume, female evening, dress

Maker unknown. This blanket was part of the standard army issue kit and belonged to Lois Denshams father, who served at Gallipoli during the first world war. Before donating the blanket to the Running stitch collection, it was kept by Lois' Aunty Nita. Lois remembers that it was kept in her fathers original kit bag and kept at her aunts place because of sad memories about the war which her mother found difficult. The humble army blanket had many uses during war times. Issued with two blankets, it was all a soldier had as a bed to keep warm or without a tent, all they had to provide shelter from the sun, rain or wind. (They were supplemented with a woollen army 'great coat', but soldiers still had to huddle together as keeping warm and dry was a desperate game.) The Lighthorsemen used them under their standard leather saddles for extra padding and in the hospitals they were sometimes the only bedding for the wounded. This blanket belonged to Lois Denshams' father who served in the Australian Army in the First World War, landing at Gallipoli. Since the war, army blankets have come to be regarded as the basic type of blanket -no frills. This blanket was used in the Densham family since that time for camping trips.Grey woollen army blanket with stripes near either ends.world war i, running stitch group, running stitch collection

These boots were manufactured by Oliver Stevens in Ballarat to the Forests Commission's own specification. Safety boots were a bit "hit and miss" back in 1981. As well as the steel toe caps these boots had a screwed, glued and stitched Sherpa-pattern rubber nitrile sole. The sole was oil resistant and didn't melt on hot coals. The yellow heels signified safety boots. There were two styles with different leather and staff were all personally fitted and given their choice of style. The only thing that has fundamentally changed over 40 years is there is much more choice and comfort in boots today. These boots proved to be the catalyst for boot manufacturers realising there was a market outside of the armed forces not being served. Ankle injuries along with elastic sided boots were virtually eliminated by these boots. The iconic Tasmanian company, Blundstone, had a work boot called "Forester" at the time. It had won an Australian Design Award and had a bonded Sherpa sole. Unfortunately, the soles tended to separate from the boot under field test conditions. Eventually they perfected the process Oliver Stevens' main issue was not being able to recruit enough workers to meet the increased demand. Info: Trevor Brown.First safety boots issued to Victorian forest firefightersYellow Back safety boots with leather laces. FCV marked on the heel fire fighting, bushfire, forests commission victoria (fcv), protective clothing

This typewriter case allowed the Olivetti typewriter to be securely and free from contaminants to be totally mobile. The Olivetti typewriter company was founded in Italy in 1908 and became a leader in portable dependable typewriters.This particular typewriter contained is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. During the 1950s and 1960s was a time when British and European manufactured goods were still purchased by many Australian consumers. After the 1970s however, there was a shift, mainly in the cities, to Japanese made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasting and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item(carrying case) facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it therefore the inside compartment did not require additional storage pockets . Outback Australia, where at this point in time, good available electrical power reticulation and battery power, was a scarce and therefore could not be totally measured as a highly efficient office environment. The protective carrying bag provided the only mobile way to operate in some business and home locations.Although this typewriter cover and its typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter cover protected the expensive typewriter it contained which was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. Protection of such a typewriter was of an utmost necessity. The need for mobile expensive typewriters waned as less expensive typewriters became available. This was the major principle of the Japanese manufacturing juggernauts of the post World War II. Efficiency and low cost material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi.This is a semi hard cover (cloth over cardboard on inside, plastic over cardboard on outside), camel coloured outside and tartan cloth covered pattern inside the typewriter case. the case can be opened up by "unzipping" the top from the bottom halves of the case. For carrying purposes the case has two plastic covering metal handles with brass fittings. There are two stitched on brown reinforcement straps encompassing both sides of the case. The two reinforcing straps are brown in colour and a securing strap with a press button at one end to allow an extra securing tongue to keep the cover secure. The top inside of the case has a three quarters long paper compartment (flap style). See KVHS 0455 for Olivetti Lettera typewriter.commercial, protective carry bags/cases for mobile office equipment, mechanical typewriter

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

Clothing. Child's dress - pink silk trimmed with black lace, Pink silk, lined with muslin. Waisted - skirt gathered at back, 3 small pleats at either side of front. Small band at 3 '' pin tuck '' liked rows of fabric at waist. Smalloocket inserted in one at front seams. Five 1cm pleats at each side of centre bodice front. Square neckline banded with 3 rowa of narrow black velvet ribbon, and one row of 4 cm deep black lace. These rows of ribbon and lace repeated on the short sleeves, and at the lower hemline.Back bodice has boning on either side at centre back and eyelets for lacing (No lacing present). Bodice lined with cream calico. Hand and machine stitched.costume, children's, party dress

Black and white photograph of Bendigo Arcade or Abbott's Arcade (as it was known). Northern end of Arcade. Inscriptions: in image - 'E J Brown's Bookshop and Circulating Library', 'Glory Box, Chinese Handwork, Sunray Pleating, Spoke stitching, Phone', 'Prices, the Watch People'. On back - 'TLC No. 55', Bottom LHC in ink 'Bendigo Arcade, A Doney'. History of object: Historic arcade opened c.1892. Demolished c.1960. James Lerk 2000 'EJ Brown's Bookshop and Circulation Library (CL) further down on left 'The Glory Box'. Opposite Brown's 'Prices jewellers and watch repairs' Interesting photo. Uncluttered as compared to other photo (531). Was arcade modelled on Royal Arcade Melbourne? (Charles Murray 16.2.2001).Alan Doney - Bendigoplace, arcade, bendigo arcade, see also 2001.021.01

This bookmark was found in a book called 'The English Lakes' owned by Elizabeth Chatham-Holmes. The bookmark is a Stevenograph. In 1854 Thomas Stevens began with weaving plain and fancy ribbons, but was soon experimenting with a development of jacquard weaving to produce pictures. For this, the picture was plotted on squared paper, in the fashion of a cross-stitch embroidery design, and a large card then perforated to represent each colour appearing in every "line" of the picture. The cards, arranged in an endless chain and attached to the loom, controlled the manipulation of the warp threads. Each time the shuttle crossed the loom a different card came into use, changing the arrangement of the warp threads and, consequently, the pattern woven..When the industry collapsed in 1860, Stevens determined to make use of his experiments by producing pictures in such variety as to appeal to all tastes. The earliest productions seem to have been bookmarkers... The pictures included portraits of celebrities and local scenes, scriptural texts, hymns and psalms, and verses from the poets. Stevens also introduced to the Admiralty a hat ribbon with the name of the ship woven in gold wire. This he patented; it was adopted and for many years the firm was the sole supplier to the Admiralty Contracts Department. https://stevengraphs.com/thomstevandh.html Also found in the book was a small card with dried flowers glued with the words 'Flowers from the Holy Land' and a WW2 photograph of the bust of a man in uniform with a cap..1) Red hard covered book called 'The English Lakes' by W.T. Palmer. .2) Woven silk bookmark with white (now cream) and yellow background and red, purple, green and yellow detail and the start of Psalm 23 woven into the bookmark. Possibly made in the late nineteenth century. .3) Small card with dried flowers glued with the words Flowers from the Holy Land .4) WW2 photograph of the bust of a man in uniform with a cap. .1) Inside front cover "E.S. Holmes Ascot" .2) Woven into the bookmark - The Lord is my Shepard I shall not want, & T. Stevens, Coventry .3) Printed on the front - Flowers from the Holy Land, Placed on the Holy Sepulchreholmes, ec holmes, ascot, religious, religion, bookmark, english lakes, w.t. palmer, chatham-holmes collection, flowers from the the holy land, stevengraph

Part of the Kevin John Herdman, No. 397661, Collection. See Catalogue No. 5942P for details of his service record..1) Brown leather Sam Browne belt fitted with a double clawed brass buckle. A brass stud and leather loop secure the free end of the belt tongue. A pair of brass rings are attached to the top edge of the belt for the attachment of the shoulder strap. A pair of squared “D”rings and a brass flat hook are located on the lower edge of the belt on the left side for the attachment of a sword frog. .2) Brown leather shoulder strap is attached at the front and rear of the belt by a brass stud and eyelet. Adjustment via a brass buckle. .3) Brown leather sword frog stitched on both sides with a brass “D” ring attached to the top. A brass post is placed at the centre where the supporting straps meet in a V. Two straps for attaching to the belt have two brass buckles for adjustment.sam browne, uniform, sword frog, kevin john herdman

This dress belonged to Dorothy May Mortlock (VF518245), who served as a Sapper with the Australian Women’s Army Service from 27 July 1945 to 1 August 1946.Light brown coloured woven cotton dress with button-up front secured by 6 metal buttons. Dress constructed of a skirt element attached to a short sleeve shirt-style torso section, a hook and eye sits on interior of two sections to fasten left and right sides together. One square topstitched pocket on the left chest and two angled hip pockets on front. Fabric belt with metal buckle held in place by fabric loops on both left and right side. Fabric epaulette passes through loop on both left and right side and secured with metal button. Two loops on interior left and right shoulders, left loop with inscription; woven label stitched to interior left side underneath which is a stamped motif.Ink inscription on interior loop difficult to read, “VF518245” and 5-6 indiscernible characters. Button reads “AUSTRALIAN MILITARY FORCES” below an embossed image of Australia with the King George V crown on top. Stamped motif reads “[broad arrow]/S.D.”women, wwii, world war two, second world war, australian womens army service, awas

Clothing. High round neckline at back, with peaked turn-back revers at front. Long sleeves, gathered into 3 cm cuff, which fastens with two metal press-studs. Bodice has front opening with three x 2 cm diameter white plastic buttons - peaked in the centre and with an impressed ridged texture. Bodice has two bands of shirring at the front shoulder line giving a ruched effect 6.75 cm wide. Six gored skirt. A band 6.5 cm wide at centre front reducing to 3 cm wide at side seams, forms a midriff panel, before becoming a belt at the back fastening with two metal press-studs. Back bodice is lightly gathered on either side at waistline. A home stitched dress.costume, female, woman's navy dress

Clothing. Very fine, cream linen bodice, with two vertical lace inserts either side of front opening, and three angled inserts from each side seam to the vertical insert. All inserts 2 cms wide. Short cap type sleeves are edged with the same lace, and band of this lace also outlines the wide square neckline. An insert between these bands has a fine, ribbon threaded through, which would act as a draw string. There is a 2.5 cm x 3 cm tab of linen at the centre back, but, no markings are evident. Three .9 cm pearl buttons, with three corresponding machine stitched button holes fasten the front. A cotton tape drawstring, and elastic are encased at the waistline giving the lower edge a peplum effect.costume, female, cream linen bodice

Clothing. Twelve shaped panels form the body of the jacket, which is dramatically ''shaped in'' at the waistline, and flared out toward the hipline. Four black fabric covered buttons form the closure, with hand-stitched button holes, all ''hidden away'' under an overlay of the beaded velvet, of which the jacket is made. The long sleeves, narrow at the elbow, flair out to an embroidered and beaded cuff, 35 cm in circumference. Sleeves are gathered at the shoulderline, giving fullness, and featuring an elaborate ribbon, cord, and beaded embroidery. The embroidery is repeated around the revere collar, and on the right-hand side of the bodice, and the full length of the back of the garment, and around the hemline, and also trims the opening edge of the left-front bodice. Lined with black silk. It feels as if there is extra to support beaded areas.GEORGE STIRLING & SONS, THE RICHMONDcostume, female, black velvet long sleeved jacket

Wedding Dress. A very delicate, beautiful dress, in a very fragile state, worn over a satin petticoat(11400.1154). Lace bodice, and full length tapered, lace sleeves. Boat shaped neckline, outlined with a tulle insert, that brings the neckline to a high round neckline at the throat. This fastens with two metal press-studs on the left shoulder. This high yoke is edged at the bodice edge with an 8 cm deep frill of tulle, edged at both sides with a narrow frill of tulle, and sewn to the yoke to give a scalloped effect. Skirt is sheer and made from two layers of tulle. A band of lace, 9 cm deep borders the hemline, at knee level and at hip level. Three metal hooks and stitched loops fasten a placket on the left hand side.costume, female, cream tulle and lace wedding dress

Blazer World Swimming Championships California 1975. Dark green single breasted wool blazer. Fastened with one 2cm metal button. Three external front pockets. LHS breast pocket (13 cm X 13 cm) embroidered with Australian Coat of Arms ''Amateur Swimming Championships Manager 2nd World Championships CALI-1975''.Two pockets below waist level (18 cm X 21 cm) have decorative turned down hem across top of pocket. Two internal pockets in lining - LHS with zipper opening, RHS with slit opening. Back centre vent (30cm) with stitched down half belt across back above vent (5cm X 37 cm). Padded shoulders. Fully lined with leaf green satin.''By A.W.S.Huntington Sydney.costume, male, dark green blazer.

Clothing. Pure wool, dark navy blue blazer, as part of the Official uniform of Officials at the 1956 Melbourne Olympic Games. Revere collar with pointed lapels-one button hole on left lapel. Two large (20.5 cm X 20.0cm) pockets, with rounded lower corners - one on either side front. 14 cm X 13 cm breast pocket with rounded corners of the lower edge, and embroidered Olympic Rings and wording ''Olympic Games 1956 Official''. Fully lined - body in black satin, sleeves in cream satin. Double breasted, with four 2cm diameter flat silver metal buttons. Stitched button holes. 1.5 cm diameter flat silver metal buttons - one at each wrist. Padded shoulders.On inside right hand breast pocket, Wardrop ''My Tailor'' of melbourne and provincial Centres. For all Men's Wear All pure wool. On outside left breast pocket: Olympic Games 1956 Official.and five OlympicRings-in official colours, - Blue, Black, Red, Yellow, Green. Outside pocket markings are all embroidered. Logo of tailor also embroidered on inside pocket.costume, male, navy blue melbourne olympic blazer

Used by John Burke at the State Rivers Tatura in the 1960 - 1970's.Compass: black and silver rimmed round container with removable lid. Bottom section has a clear glass with black rim covering the compass pointer and directions. Has 8 gold screws in black rim. Attached to rim is a hinged section with middle section see through. Opposite hinged section is another hinged section with sight on it. On outside rim of container under second hinged piece, is a black metal ring for holding. Bottom of the container has a flanged circle which attaches to a stand. Case: is tan leather with stitching around all edges. Two pieces, one large which holds the compass and the other is joined to bottom piece to form a lid. A leather strap is joined to the large section to hold the lid down and to make a carrying strap. Inside is red felt.compass, john burke, state rivers tatura