A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

BHS CollectionPhoto of Hanro Staff: Black and white photo with three ladies adjusting a dress on the centre lady. The dress has an open collar with two buttons at the front and three darts at the waist either side of the buttons. The long sleeves are gathered at the cuff, the dress is slightly gathered at the waist and supporting a belt. The lady to the left is wearing a two toned blouse with three quarter puff sleeves and turned up cuffs and is buttoned up the front. She is wearing a flared skirt the same material as the trim on the blouse, a dark coloured belt drawn together with cord at the front. At the right the lady is wearing a long sleeved cardigan with three buttons at the bottom. Underneath is a horizontal striped pullover She is wearing a pleated flared skirt with a belt at the waist. The ladies are standing against a wall of wood panelling.. On the back of the photo hand written in pencil is the work *Shirley* and *Copyright 'Bendigo Advertiser' Bendigo Advertiser Photographic Service. For re-order quote CK245* Box 116ABendigo Advertiser Photography Servicephotograph, person, hanro, bendigo advertiser photography service. hanro

Sarah Bird 4th from left (seated) and Edward Pepper on her left (standing). George Bird, 2nd from right (seated). George Bird her great-grandfather and Sarah Bird and Edward Pepper, her grandparents. [from Evelyn Observer and Bourke East Record, morning edition, 18 November 1904, p. 3:] ORANGE BLOSSOM. The marriage of Miss Sarah A. Bird, eldest daughter of Mr George Bird, of "View Hill," Eltham, to Mr Ernest Edward Pepper, of Diamond Creek, was celebrated at the residence of the bride's parents on Wednesday, 9th November, 1904. The ceremony took place at 4 p.m. and was performed by the Rev Percey Knight, B.A., of Alphington. The bride entered the drawing room with her father who gave her away, and the Wedding March, was nicely played by Miss Wild. The bride was prettily dressed in creme voile nicely tucked and gathered, trimmed with guipure lace and silk ruching, sprays of orange blossom, wreath and veil, and she carried a shower bouquet. Her travelling dress was a very pretty blue. The brides-maids were Miss Ethel Barker dressed in pale green voile trimmed with creme guipure lace and silk ruching; and Miss Button in creme voile, guipure lace, silk ruching; both carried pretty bouquets. The groomsmen were Mr Lorimer, of Diamond Creek, and Mr George Bird, brother of the bride. Between forty and fifty relatives and friends partook of a bountifully provided and nicely laid out breakfast. The usual toasts were honored, and congratulations were freely tendered "to the happy couple". The decorations were very tastefully executed by Miss Beatrice Nelson, and Mr Sayers. The evening was very pleasantly spent in singing, recitations, games, and other suitable pastimes, while others "tipped the light fantastic toe". About 10 p.m., "while all was merry as a marriage bell", the bride and bridegroom departed secretly "to cheat surprise and prying eyes". The presents were numerous and handsome:– Parents of the bride, sewing machine; Miss A. Bird, silver breakfast cruet; Miss N. Bird, bread board and knife; Master A. Bird, pair glass dishes; Master R. Bird, pair photo frames; Mr Sayers, tea set; Miss Kidd, silver jam dish and spoon; Miss Wilkinson, carpet; Mr J. Kilpatrick, cheque; Mr W. Kilpatrick, clock; Miss Kilpatrick, silver butter knife; Mr J. H. Kilpatrick, hand painted mirror; Mrs Kerwin, pictures; Mrs Gilsenan, the handsome wedding cake; Mrs Nelson, Japanese occasional table; Misses Nelson, jugs and candlestick; Mrs Bunker, silver cruet stand; Miss Bunker, hand-painted vases; Miss E. Bunker, epergne; Mr E. Bunker, crumb tray and brush; Miss Jessie Gilsenan, cake stand; Mr Harold Gilsenan, auger basin and ornaments; Mr Lorimer, silver breakfast cruet; Mr A. Collins and Miss Jones, epergne; Miss Cassie Sweeney, jardiniere; Miss Ida and Ollie Cooper, silver butter dish; Miss Mills, large vases; Misses M. and F. Shillinglaw, handsome oak clock; Misses C. and E. Shillinglaw, pair large pictures; Mr Lucas and Miss Sutton, silver butter dish and knife, and silver jam dish and spoon; Miss M. and A. Short, teapot, cheese dish, and tumblers; Mr and Mrs J. Anderson, butter dish; Miss Williams, pen tray; Miss Griffiths, vases; Mr I. Hill, cheque; Miss Wild, biscuit barrel; Mr, Mrs and Miss Brown, trifle bowl and crystal jug; Mrs Weller, water jug and glasses; Mrs Hadfield, pair glass dishes and butter dish; Mr and Mrs Blackney, photo frames; Mr Wilson, beaded basket pin cushion; Mr Linsy, cheque; Mrs Linsy, fruit dish; Mrs Stebbing, pair candle sticks; Mrs Blanchard, pictures.Digital copy of framed sepia photographanderson, bird, blanchard, blackney, bunker, collins, cooper, edward ernest pepper, george bird, george bird jnr, gilsenan, griffiths, hadfield, hill, jones, kerwin, kidd, kilpatrick, linsy, mills, nelson, sarah ann bird, sayers, shillinglaw, short, stebbing, sutton, sweeney, view hill, wedding, weller, wild, wilkinson, williams, wilson, brown, lesley mitchell (nee pepper) collection

The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. One of the most common types of spring scales was the kitchen scale also known as a family or dial scale. Designed for horizontal surfaces, these vintage kitchen scales used the weight of goods in a pan at the top of the scale to force the spring down rather than the balance system. Such scales were common in early 20th century households and were sold by many companies. Many had flat weighing surfaces but some were topped by shallow pans. Companies such as Salters, Chatillon, and Fairbanks were the most popular brands used. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is as scoop at one end for the material to be weighted and a flat circular disc at the other end that holds the weights. Around the cast iron base is an embossed leaf pattern. All the weights have their weight embossed within the casting.There are 5 weights, marked 2 oz, 4 oz,8 oz,1 lb,2 lb, This scale does not have any visual markings on the arms to identify a maker or true balance. It is therefore assumed that these scales were made for domestic use only.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spring scale, scale

This bolster sham 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 and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen

This hat and hat box was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. McDade is the surname of Dr Angus’ daughter Berry (Berenice) McDade nee Angus. This had belonged to her father Dr William Roy Angus, Surgeon and Oculist (1901 –1970), who wore it on the ship T.S.S. LARGS BAY when travelling from Australia to Scotland for extended studies to be a “Fellow” of the Royal College of Surgeons in Edinburgh in the 1929. This bicorn cocked hat was worn with the narrow points towards front and back. It is decorated with flat gold braid or ‘lace’ with a geometrical design. Regimental lace was worn on the uniform and headdress of regimental officers in the 19th century. Gold lace chevrons were worn on coats to signify rank. Drummers and Foot Guards also wore regimental lace on their garments to distinguish them from other military personnel. In the late 19th century the English and Welsh infantry officers’ uniforms displayed a rose-pattern lace. The gold bullion and underlying crimson ‘eyes’ have been used to signify the rank of the owner. The crimson eyes were used for military, blue eyes for naval personnel. Different numbers and colours of the bullion and eyes may have been used to represent different military ranks. The Regulations specify nine tassels and eleven underlying eyes but there could have been variations. We have not yet been able to identify the rank for this particular hat. The gold button’s emblem has a cross with five stars, a crown, and the motto “AUT PACE AUT BELLO”, translated “either in peace or in war”. Museum Victoria has a similar button and writes that buttons with this design were used in the nineteenth century by the Victorian Volunteers. The Australian War Memorial Curator of Military Heraldry advised Museum Victoria that these buttons dated from 1880-1892 and were worn by regular, unranked soldiers. The Australian War Memorial has a hat that is very similar in design, described as an “Artillery Staff Officer’s cocked had with plume, worn by Volunteer Artillery Staff in the Victorian Colonial Military Forces”. That hat is different in that it has a plume and the braid and button are silver. Berry MdDade, the donor, has used the hat many times as a dress-up hat but doesn’t know the origin of it. The hat seems to fit the design of the Staff Officers in Victorian Volunteers in Colonial times, but the button on this hat was used for unranked volunteers. Also, military uniforms usually have very clear manufacturer’s labels, as they are made by reputable companies under contract to the Defence Department. The manufacturer’s mark is not discernible on this hat. The origin, original wearer and use of this particular hat is unclear. The military bicorn cockade hat belonged to Dr William Roy Angus and is part of the W.R. Angus Collection. It is significant for still being located at the site where it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Black bicorn cocked hat and case. It appears to be part of a 19th century Colonial full dress military uniform. The long, narrow crescent-shaped hat is made of beaver fabric and the crown is lined with crimson silk and finished with a hand stitched leather sweatband. On one flat side there is a pleated black silk, lace cockade woven in the pattern of oak leaves and acorns. The cockade is overlaid with a double row of gold lace braiding secure with a Victorian Volunteer’s gold button. Wide diagonal bands of black lace braid trim are on each side of the gold braiding. The other side of the hat is plain. The front and back points of the hat each have seven gold bullion tassels with nine underlying twists of crimson ‘eyes’. The fitted metal carry case has a catch and a metal plaque on one side. The button bears a crown and cross with five stars and a motto. Inside the hat is a white name tag with clear adhesive over it, with black printed text with the name “Mc Dade”. The hat is part of the W.R. Angus Collection. The hat has no maker’s marks although there is a darker colour in the centre where there could have been a label. Inside the hat is taped a printed label; “Mc DADE 801 1032” Button’s emblem- a cross with five stars, under a crown, all within a buckled belt with the motto “AUT PACE AUT BELLO”. The plaque on the case has no legible marks. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, t.s.s. largs bay, berry mcdade, 19th century colonial military uniform, artillery staff officer’s cocked had, victorian volunteers, victorian colonial military forces, colonial militia, aut pace aut bello, cocked hat, cockade hat, bicorn hat, military bullion, oak leaves and acorns pattern, gold bullion tassels, military heraldry, w.r. angus collection.

This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m.

Clothing. High lace-edged round neckline - lace 1.3 cm deep. Long sleeves-gathered at the shoulder, and edged at the wrist with a 4.5 cm deep, gathered broderie anglais, featuring a shamrock, and flower design. The bodice has a centre front panel of lace. 9 cm wide at the neckline, tapering to 4 cm wide at the high waistline. This panel is edged with a 4 cm wide scalloped edge at the broiderie anglais trim. Three rows of pintucks, give a finish to the filigree braid, and the gathered broiderie frill. The long skirt is gathered at the lower bodice, and is 70 cms long. The lower 20.5 cms at the hemline has alternate bands of three pintucks, a 4 cm panel of flowers and cutwork broiderie, three pintucks, 4 cm panel panel of broiderie, three pintucks and a 4 cms deep machine stitched hem. Bodice has a back opening, with only one 1 cm diameter covered button evident, a cotton tape passes through a casing, and ties at the back waistline.costume, female, infants nightdress.

This afternoon dress was owned and first worn in 1875 by Alice (Henty) Hindson, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn in the same year as Alice's marriage to John Hindson at Trinity Church, East Melbourne, and may have formed part of her trousseau. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's afternoon dress is a two-piece, two-toned pink ensemble made of silk taffeta. The detailing is done with fine knife-pleated trims piped in ivory satin and decorated with ivory silk moiré bows on the bodice and skirt. The panelled peplum jacket is boned and the front button closure has hand-embroidered buttonholes with handmade covered buttons. The gathered full buttoned skirt falls into a train. The skirt is decorated with rows of ivory tulle corded lace and the hemline is edged with crisp fluted organza and tatted lace. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 863.6, Waist 685.8, Hip 787.4, Cuff 304.8, Hem circumference 1422.4. Vertical - From neck to hem 546.1, Front waist to hem 241.3, Back neck to hem 609.6, Back waist to hem 355.6, Sleeve length 330.2. Horizontal - Neck to sleeve head 60, Underarm to underarm 419.1. SKIRT Girth - Waist 558.8, Hip 1473.2, Hem circumference 3911.6. Vertical - Front waist to hem 1092.2, Back waist to hem 1524. fashion -- 1870s, afternoon dresses, alice (henty) hindson, women's clothing

This wedding photograph is an illustration of the intermarriage of notable Victorian (and Kew) families. The parents of the groom were the Hon. James Balfour MP., and his wife, Frances Charlotte (Henty) [the eldest daughter of James Henty] who married at Hawthorn in 1859. The Balfour lived at 'Windella' in Studley Park Road. Henry Rairey (Harry) Balfour was the youngest son of Mr & Mrs Balfour who married Katie Harrison of 'Horley' in Molesworth Street, Kew. Miss Harrison's father was the T.S. Harrison (merchant and importer, b. Banbury, Oxon, 1829, d. Melb 1901). Portrait of the wedding party in the garden of Horley in Molesworth Street, following the marriage of Elizabeth Kate (Katie) Harrison to Henry Rairey (Harry) Balfour at the Kew Presbyterian Church in 1905. The outfits worn by the women were reported in Punch, on 9 February 1905]. The bride wore a frock of ivory white satin, with bertha of duchesse lace and a yoke of ruched chiffon. The bridesmaids … wore white muslin dresses, inserted with Valenciennes, made in early Victorian style. The white straw hats were trimmed with lace and blue hydrangea, and their flowers were blue hydrangea, delphiniums and cornflowers. … The bride’s mother [right] wore a well-cut dress of black silk. The bridegroom’s mother [left] wore a gown of black silk voile, and smart black bonnet grouped with roses. L. to R. Christian Balfour, Jean Mackintosh, Mrs James Balfour (nee Henty), Bridegroom, Bride, Dr. Lewis Balfour, Genevieve Harrison, Hon. James Balfour, Henry Harvey, Marion Harrison (nee Borodin) [Married by Mr Alec Scholes at Kew Presbyterian Church] .Individuals identified in ink on reverse plus donor name and date.balfour, henty, harrison, horley, molesworth street, kew

The photograph is taken outside the new Royal District Nursing Service (RDNS) Caulfield Centre. RDNS Sisters left in RDNS Torana vehicles from this Centre each morning to give nursing care to patients in surrounding suburbs and returned to the Centre after their visits. Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS) from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area and outer suburbs. In 1972 The Melbourne Centre which was conducted from RDNS Headquarters, 452 St. Kilda Road, was relocated to Caulfield and it became the Caulfield Centre. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area (district), taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for re-sterilization, and contact other medical and community personal as necessary. Most of the RDNS cars were housed at each Centre, only a few being driven home by a Sister. This is a black and white photograph of two RDNS two door grey Torana cars parked on the road outside a flat roof, one storey, light coloured brick building. The building is in three sections with the centre section set back. Part of the back of a white car can be seen in the driveway to the left of the set back section. Three large white framed windows can be seen along the end view of the left hand section and even larger windows are seen in the centre section. A small water tank and piping sit on a platform on the roof of both the left and right hand sections of the building. White fascia with dark trim above it edges the roof on each sections of the building. Some pencil shape type shrubs and a bare tree is seen in front of the building and a low light coloured brick fence runs across the property and down either side of the drive, with the footpath and nature strip in front of this. The back of a white car is seen on the road in the far right of the photograph and part of a wooden fence and parts of two large trees with leaves can be seen.Barry Sutton Photographer's Stamp. Quote KY 5rdns, royal district nursing service, rdns transport, rdns centre

BHS CollectionHanro Autumn-Winter Catalogue 1963: The cover is orange card with black and white print. White Autumn leaves scattered across the page with black four point diamond banner to the left with white Hanro in the centre. A lady sketched in black pencil is modelling a twin set trimmed with a band, down the centre and collar. To the right top side hand written in biro is *R Cooper*. Right side in black print is 1963 Autumn-Winter Catalogue, under that is *Swiss Inspired Knitwear. Inside the cover is advertising the current line Jackets, Twinsets, Pullovers and cardigans. Each item has a number, description, size and colour. On each page a price has been hand written in biro on all items. Back of cover is orange card background with white autumn leaves scattered over the page with a white four point banner with a black *Hanro* printed in the centre next to that is (Aust) Knitting Mills ltd. Also printed are the addresses and phone numbers of the Sales Offices in each State. At the bottom is *The Quality Is A Proud Tradition* Box 116ACambridge Press, Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press bendigo.

Set of two newspaper cuttings regarding the first cable tram set in Melbourne. .1 - Original cutting and copy with a photo of the cable tram set 1 still operating in Melbourne - undated, notes it has been in daily use for 40 years - c1925. Has a photo of the tram showing its different support structure on the grip car. The cutting has been glued to a piece of scrap of paper which has handwriting on both sides in ink . A copy of the cutting has been trimmed in the corners. .2 - Cutting from a unknown Melbourne Newspaper - titled "First Cable Tram for Museum", reporting that cable car set 1 has been donated to the Melbourne Museum by the MMTB. Quotes the Chairman Mr. Bell. Noted that the car set was running on the Bourke St line. Cutting costs. 1940. Photo in cutting not of the cable car set itself. A short report appears in The Argus 29/11/1940, page 3, accessed 16-11-2016, that the cable car set was taken to the Museum of Victoria the previous day.trams, tramways, cable trams, museum, closure, donations, tram 1

Book - brown card cover, stapled with a set of 9 Acts of the Victorian Parliament that involved the MMTB and other tramways. Contains the following Acts: 1 - Act 3367 - Act to amend the MMTB Act - 15/12/1924 2 - Act 3308 - Act to amend the MMTB Act - 18/12/1923 3 - Act 3247 - relating to the works and undertakings of The North Melbourne Electric Tramways and Lighting Company Limited in the Municipal District of the City of Melbourne and the City of Essendon - 21/12/1922 4 - Act 3023 - to amend the MMTB Act - 16/12/1919 5 - Act 2995 - Melbourne and Metropolitan Tramways Act 1918 - set up the MMTB - 7/1/1919 - document has been trimmed on the right hand side to enable the various parts to be opened up - has many hand written notes on changes to the Act, underlining. With in the covers are many hand written notes on the various Acts and questions and comments - pencil on plain paper. See Also Reg Item 2108 for these and other Acts bound into a book.The various Acts have "H. S. McComb" written on the top right hand corner in ink or pencil.trams, tramways, tramways, acts of parliament, mmtb, nmetl

Set of twenty MMTB paper tickets. All have black numbers with City Section over printed in black ink where relevant. See image i1 for tickets and i2 for the rear advertisements. .1 - 4d -printed in green ink on white paper - Aa 374101 .2 - 6d - red ink on off white paper - Hg829068 .3 - 6d - City Section - red ink on pink paper - Ef779926 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting. .4 - 6d - City Section - blue ink on off white paper - Bg964676 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting, different layout to .3. .5 - 7d - black ink on a light red paper Vd906440. .6 - 7d - City Section - blue ink on off white paper - Am776471 - has an advert - "Build in Thomastown" by the promote Thomastown Committee. .7 - 10d - black ink on red paper - Bv288105. .8 - 1/- black ink on brown paper - Ae857753 .9 - 1/2 - black ink on organe paper - Qb929953 .10 - 1/5 - black ink on yellow paper - Aa610607 .11 - 1/6 - black ink on yellow paper - Yo642195 - with an Royal Victoria Institute for the blind - remember the blind children. .12 - 1/9 - black ink on blue paper - Az134009 .13 - 1/10 - black ink on green paper - Ag867676 .14 - 2/- black ink on pink paper - Ab025997 .15 - 2/2 - black in on grey paper - Aa198789 .16 - 2/6 - red ink on orange paper - Aa359687 .17 - Multiple or dual currency ticket - 7d/6c - black ink on orange paper - An576277 .18 - Multiple or dual currency ticket - 7d/6c - blue ink on white paper - An686025 .19 - Multiple or dual currency ticket - 1/- /10c - black ink on brown paper - Bb472537 .20 - Multiple or dual currency ticket - 2/- /20c - green ink on pink paper - A020313.13 - has in blue ink written on the back of the ticket "Mr G Franzke, Cosmo Rd, Trentham.trams, tramways, tickets, mmtb, decimal conversion

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

Photo - see pdf file for further information. Number Brief Description CC271 Y1 610 and another at Camberwell depot CC272 Ditto CC273 Y1 613 at Batman Ave CC274 Y1 611 Peel St North Melbourne CC275 Y 469 Camberwell depot CC276 Ditto CC277 Postcard – L104 – MMTB CC278 L103, Hawthorn Road CC279 L103, Hawthorn Road CC280 L103 Dandenong Road CC281 L103 and w5 847 Dandenong Road CC282 L104 on Preston Workshops traverser CC283 Flinders St station with Ws CC284 Flinders St looking south along St Kilda Road to Shrine CC285 Postcard – Nu Color vue – Flinders St CC286 Postcard – Valentines – Flinders St No. 13 CC287 Postcard – Rose Series – 13595 – has been trimmed CC288 Postcard – Rose Series – 10660 – Princes Bridge and Flinders St yard CC289 Postcard – Rose but has been trimmed of Flinders St CC290 Postcard – same as CC285 CC291 SW6 914 and another car in Swanston St by Flinders St CC292 SW6 903 and bus 436 with Flinders St Station in background CC293 W5 776 at Flinders St Station CC294 W2 596 at Flinders St Station CC295 L101 and W2 Swanston St by Ian Brady CC296 Postcard - Biscay BG 250 – A 281 - CC297 W5 779 Maribyrnong River CC298 SW5 787 Queensbridge St CC299A Duplicate copy CC299 Ditto CC300 W5 812 St Kilda Junction CC301 W5 721 Carnegie? - CC302 W5 817 Elliot Ave – see also CC150 CC303 CW5 682 CC304 CW5 682 Dandenong Road CC305 SW6 855 Power St Hawthorn CC306 Argus photo same as CC8A CC307 Freight car 19 leaving South Melbourne depot CC308 Freight car 19 at South Melbourne depot CC309 Cleaner 7 CC310 W2 295 and 8 at South Melbourne Depot CC311 Cleaners 5, 8 and 7 and S or T at South Melbourne depot CC312 Freight car 17 with crew member CC313 Cleaners 5, 8 and 7 along with a tower truck and another road motor CC314 Wheel Transport car 16 at Preston CC315 Cleaner 7 CC316 Cleaner 6 Brunswick Depot R Hudson and Bob Prentice CC317 SW6 867 in Swanston at Flinders CC318 SW6 850 at Chapel and Brighton Road CC319 SW6 914 at Batman Ave CC320 SW6 963 and W5 826 in Collins St near Spencer St CC321 Sw6 923 RAAF tram CC322 Same image at 318, but better has initials T McC (Tom McCaw) CC323 Sw6 963 In Collins at Spencer St CC324 SW6 947 in Collins at Spencer St CC325 Ditto with crew CC326 SW6 850 at Preston Workshop – Argus photo CC327 SW5 843 at Swan and church, severely derailed – Herald photo CC328 SW6 886 in Victoria Parade near La Trobe CC329 SW6 948 turning from Union St into Maribyrnong Road – single curve CC330 W5 731 CC331 SW5 on a 4D – Herald WT photo CC332 Sw6 867 Swanston St with driver carrying handles etc CC333 SW6 954 – Truganini Cres CC334 SW6 915 illuminated for Christmas, the CDA father Xmas special CC335 SW6 850 on route 77 side on view CC336 Sydney R class 1845 on trailer in a busy road CC337 Sydney R class 1845 on trailer CC338 Ditto CC339 Ditto – on trailer turning from a local street CC340 MMTB Emergency van CC341 Ditto CC342 Welding truck – Hopkins and Leeds CC343 Welding truck – Hopkins and Leeds CC344 Welding truck in Hopkins St Footscray CC345 Negative – Hobart tram 103 CC346 Launceston tram CC347 Trackwork – East Kew CC348 Trackwork and a W2 East Kews CC349 SW6 892 and trackwork – East Kew CC350 W4 670 – FRONT ON CC351 W3 654 – Brunswick Depot CC352 W3 666 – St Kilda Road and High St Demonstrates the work of Charles Craig in photography and collection of prints.Assembled album in a black presentation folder of 80 photographs from the Charles Craig Collection - 31 sleeves - part 2 of 2. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details where possible has been compiled. Victorian Provincial, Launceston, Hobart and Sydney tram photos have been transferred to other Museums, image files retained.melbourne, tramways, tramcars, trams, charles craig

This unique aircraft was conceived in 1943 as a two seat trainer. A very large part of the design work can be attributed to Jock Barratt and Harold Bradley. The general layout adopted is similar to the Kite I and Kite II single seat sailplanes of Martin Warner and Allan Campbell. Having regard to this heritage, the glider was originally named Kite III but renamed Pelican 2, perhaps because it was the second two seat training glider built by the Waikerie Gliding Club – the first being the Pelican, a reconfigured Pratt Utility glider. Pelican 2 was first flown in 1952 and regularly since then, at least until about 1992. The Pelican 2’s performance was found to be very good for sailplanes of its era and was often used for more advanced flying in addition to training new pilots. Very few changes have been made to the Pelican 2 over the years. The undercarriage was modified after its initial testing to improve the placement of the wheels. The trailing edge of the rudder (originally straight) was rounded adding to the surface area. The twin shoulder tow line bridles were replaced with a belly hook when aviation design rules declared shoulder bridles dangerous and a nose hook has since been added to allow for aero-towing. A unique home grown sailplane design associated with Australian gliding pioneers Wooden 2 seat glider sailplane with fabric covering. Distinctive features include the pod and boom fuselage with side by side seating for pilot and a second person. The canopy of perspex supported by aluminum framing opens with port and starboard segments separately folding upwards and forward. The instrument panel includes altimeter, airspeed indicator, slip indicator and variometers. In addition to the usual controls, there is a trim operated by a small wheel mounted centrally, at head height, on the bulkhead at the rear of the cockpit. Incorporated in the skid under the fuselage pod are two wheels (one approximately midships and the other at the rear end). It has a three piece cantilever wing of approximately nearly 17 metres. The ailerons run almost full length of the outer wing segments. A Gottingen 426 section has been used changing to M6 at the tips. Outer wing segments are joined to the centre section to give about 300 mm of dihedral at the tips. The glider is equipped with airbrakes. The colour scheme consists of orange fuselage with black nose and skid. The tailplane / elevator and rudder are painted white. The wing is predominantly white with an orange leading edge. Registration VH-GFY On each side of rudder – “Pelican II” in black lettering on a rectangle of silver On each side of fuselage pod the letters ‘FY’ On each side of the fuselage, below the edge of the cockpit opening – “WAIKERIE” in black paint. australian gliding, glider, sailplane, kite, pelican, waikerie gliding club, jock barratt, harold bradley, martin warner, allan campbell

Maroon cover, gold print and trim, 1138 pages. On front of book 'Centennial International Exhibition Melbourne, 1888-9 Official Record' Patrick Payes, Mayor of the City of Sandhurst (Bendigo) was a member of the Commission and listed with other members of the Commission. The International Exhibition of Works of Industry and Art at Melbourne was held to commemorate the centenary ' of the founding of the first Colony of Australia' Some Bendigo exhibits include: Page 631: exhibit 1797, Harry J., Knape Street, American Gully, Sandhurst, Victoria - working model of a gold mine. Exhibit 1810, Percy and Hunter, Wattle street Sandhurst, Victoria - safety fuses for blasting operations. Exhibit 1811, Plainbeck, Hermann, Sandhurst, Model of a mine. The wine exhibits: page 304 - 317 A. Bruhn, EmuCreek page 305 - 306 F.Grosse, Strathfieldsaye page 307 W. Jones, Mandurang, page 309 H. Meyer, Mandurang, page 309 E. Schroeder, Castlemaine, page 310 F.K. Shaw, Goornong, page 310 A. Trinkaus, Muckleford, page 311 Albert Bruhn listed in competitors for Burgoyne Prize Bendigo Pottery Co, page 606.australia, history, centennial international exhibition

BHS CollectionIvory delustered satin wedding dress, long lily pointed sleeves - five covered buttons and loops at wrist.Boat shaped neckline at front, dipping to a ''V'' at the back. A pleated panel from the back neckline extends into a long cathedral trim rounded at the end hemline - 2.40 meters long. Empire line with two small pleats on each side of bodice. A flat satin bow sits across the train, on the bodice empire-line. Zip, with hook and eye fasteners on left side of bodice. Worn with veil 11400.328. Wedding dress owned by Barbara Gallagher (nee Filcock) of Bendigo. The dress was made by Mrs Clarke of Havlin Street, Bendigo, and is an example of home made fashion of the 1960's. The dress and veil were worn by Barbara Filcock at her marriage to Kevin Gallagher on 20/08/1960, at the Sacred Heart Cathedral Bendigo. Wedding dress 11400.327; Wedding Veil 11400.328; Fur Stole 11400.329. Donated by Regina Marr, items owned by Barbara Gallagher (nee Filcock), Husband Frank Gallagher of McKean's Real Estate note says other items have been donated by Barbara Gallagher (McKean's).costume, female, ivory satin wedding dress

BHS CollectionHanro Advertising Brochure for Night ware Summer 1979. 8 page brochure on a white back ground with a coloured photo of two models wearing nightwear, pyjamas and dressing gowns. The front page is of two models, on the left the model is wearing a long sleeveless night dress with thin straps and gathered across the chest, the night dress has a thin belt at the waist. The long nightie on the right has three quarter sleeves with a peter pan collar, yoke gathered top and a tie front, she is also wearing slippers with matching material. Both night gowns have a white background with red and yellow flowers with green leaves. The gown is trimmed with green, red and white stripes on the collar and bottom of the garments. Both ladies are leaning against a white cement wall. At bottom left is the number 3676/68468 Fr. 129.-. Bottom right the number is 3676/68488 Fr. 169.-. Bottom right in black print is 'Hanro of Switzerland. At the top of each page is writing in Swedish. Each page shows different styles and colours of the garments together with their item number and Hanro of Switzerland at the bottom of each page. Box 116AHanro AG, CH-4410 Liestal, Schweiz - Printed in Switzerland 79/1hanro, clothing, women's apparel

The Hiawatha was a Norwegian windjammer sailing from Fredrikstadt. End of September 1910 the ship arrive nearly two weeks before its anticipated arrival date, making the trip in 81 days instead of a 100. Her arrival made the news in the Argus : SHIP HIAWATHA : A SMART VOYAGE. Seeing that she was not expected to arrive here for another couple of weeks or so the appear ance of the Norwegian ship Hiawatha at Port Phillip Heads yesterday morning caused some surprise. It was anticipated by shipping folk that her voyage from Fredrikstadt would occupy about 100 days which is a fair average passage but clipping a big slice off this allowance, the Hiawatha completed her long run from the Nor wegian port in the excellent time of 811/2 days, or within about 36 hours of the best effort previously made by a "windjammer" between these ports. An appropriate finish was given by the Hiawatha to this creditable voyage by a run of a little under three hours from the Heads up to Hobson's Bay, where she dropped anchor at about noon amid squalls of rain, which at times almost blinded her out from view. Few more 'racy' looking sailors than the Hiawatha have visited this port, and as she has proved on the present and many previous occasions sions, her looks do not belie her. Being laden with Baltic timber and in splendid sailing trim, the ship only required favourable winds to make a good voyage. These fell to her lot, and taking full advantage of every opportunity the vessel bowled across the ocean at steamboat speed. Reckoned from the time she cleared the English Channel, her passage occupied only 76 days. Her best work was performed after passing Tristan d'Acunha in the South Atlantic Ocean. From that stage to the meridian of the Cape of Good Hope she was only a week, whilst from the latter point to Hobson's Bay the ship made an equally capital run of 27 days, her best daily record being 29 knots, representing an hourly average speed of 12 knots. Several periods of exceptionally rough weather were passed through, but the ship suffered no ill effects. She will discharge at a berth up the river.One of the ships photograph that crew would leave at the Mission as a souvenir of their visit.Sepia photograph in cardboard frame of a three-masted full-rigged barque.On the photographic in white : Hiawatha On the frame in black: Ship Hiawatha - Oct. 1910hiawatha, windjammer, norway, full rigged barque, ships, crews and ships

An article in the Melbourne Age (2 March 1978, p. 25) recorded the retirement of Clare Ralph of Goullet of Melbourne (active 1953-78). "One of Australia's most talented milliners, Clare Ralph, of Goullet, is selling her business because she wants to spend more time in her garden. "I have been in the business for 25 years and last week I turned 60 and so I thought now is the time," Mrs. Ralph said at her Richmond shop yesterday. ... Mrs. Ralph is selling cheaply $10,000 for the label, which also covers sportswear, and tenancy and lease of the premises which have a showroom and workroom. ... Mrs. Ralph is as unpretentious as the relaxed Goullet styling which brought the new concept of millinery to Australia non-hatty hats with none of the "Melbourne Mum" quality so rife at the time. She said she started off making hats rather than dressmaking because she couldn't afford to buy the three yards of material necessary for a dress. "I wanted to get out of the house and so I did millinery night classes at Caulfield Tech." Her first efforts were sun-hats of natural straw which Mrs. Ralph trimmed extravagantly … "gold fishnet and braiding and sparkly jewels all over the crown. "They were ridiculous but a lot of fun," she said. She carted them by train to the city and nervously showed them to a store buyer. After the meeting, she couldn't face taking the samples home again on the train and left them. Before she could collect them, to everyone's amazement particularly Clare Ralph's, they had been sold. "The next thing was people were asking me what I was going to do for winter. I hadn't thought I was in the industry. I just thought I had sold a couple of sun hats and that was marvellous because I needed the money," she said. If the new buyer is interested, Clare Ralph will continue designing hats on a consultancy basis for them, which would be great for all the fans she has collected since those crazy sun-hat days.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Wide brimmed woman’s hat designed by Clare Ralph of Goullet of Melbourne, constructed of white stiffened fabric with a white fabric cord surrounding the crown of the hat.Label: Designed by Goullet of Melbournegoullet of melbourne, clare ralph -- milliner, women's clothing -- hats, headwear

An article in the Melbourne Age (2 March 1978, p. 25) recorded the retirement of Clare Ralph of Goullet of Melbourne (active 1953-78). "One of Australia's most talented milliners, Clare Ralph, of Goullet, is selling her business because she wants to spend more time in her garden. "I have been in the business for 25 years and last week I turned 60 and so I thought now is the time," Mrs. Ralph said at her Richmond shop yesterday. ... Mrs. Ralph is selling cheaply $10,000 for the label, which also covers sportswear, and tenancy and lease of the premises which have a showroom and workroom. ... Mrs. Ralph is as unpretentious as the relaxed Goullet styling which brought the new concept of millinery to Australia non-hatty hats with none of the "Melbourne Mum" quality so rife at the time. She said she started off making hats rather than dressmaking because she couldn't afford to buy the three yards of material necessary for a dress. "I wanted to get out of the house and so I did millinery night classes at Caulfield Tech." Her first efforts were sun-hats of natural straw which Mrs. Ralph trimmed extravagantly … "gold fishnet and braiding and sparkly jewels all over the crown. "They were ridiculous but a lot of fun," she said. She carted them by train to the city and nervously showed them to a store buyer. After the meeting, she couldn't face taking the samples home again on the train and left them. Before she could collect them, to everyone's amazement particularly Clare Ralph's, they had been sold. "The next thing was people were asking me what I was going to do for winter. I hadn't thought I was in the industry. I just thought I had sold a couple of sun hats and that was marvellous because I needed the money," she said. If the new buyer is interested, Clare Ralph will continue designing hats on a consultancy basis for them, which would be great for all the fans she has collected since those crazy sun-hat days.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Finely woven straw woman’s hat designed by Clare Ralph for her millinery label Goullet [Melbourne]. The hat features a cream ribbon around the base of the crown. Label: Goulletclare ralph -- goullet -- melbourne (vic.), milliners -- clare ralph, headwear, women's clothing -- hats

Booklets are the - "OFFICIAL JOURNAL/ B.C.O.F. (JAPAN)/ ASSOCIATION OF/ AUSTRALIA (INC)/ Since 1972/ (Navy, Army, Air Force, Women's & Auxilliary Forces)" Please note - name change from "SHIBUM to SHIMBUN' on these booklets. Shinbun and Shimbun - is the correct spelling for the word for newspaper in Japanese. Booklets - items in the collection of Richard William McGILVERY, RAAF. Refer Cat No. 7287P for his service details, photos, awards.SOFT COVER BOOKLET. ALL BOOKLETS - PAPER WITH BLACK PRINT ON FRONT AND BACK. CHRISTMAS ISSUES HAVE DECORATIVE TRIM IN GREEN AND/OR RED PRINT. ILLUSTRATED WITH " BRITISH COMMONWEALTH FORCES" WITH CROWN ON FRONT COVER. All booklets 20 to 36 pages, cut, plain, white paper. Illustrated with black and white photographs, maps and cartoons. 1. No. 140 March 2011. 2. No. 141 June 2011. 3. No. 142 September 2011. 4. No. 143 December 2011. 5. No. 144 March 2012. 6. No. 145 June 2012. 7. No. 146 September 2012. 8. No. 147 December 2012. 9. No. 148 March 2013. 10. No. 149 June 2013. 11 No. 150 September 2013. 12. No. 151 December 2013. 13. No. March 2014. 14. No. 153 June 2014. 15. No. 154. September 2014. 16. No. 155 December 2014. 17. No. 156 March 2015. 18. No. 157 June 2015. 19. No. 158 September 2015. 20. No. 159 March 2016. 21. No. 160 September 2016. 22. No. 161 March 2017. 23. No. 161 March 2017. 24. No. 162 September 2017. 25. No. 163 March 2018. 26. No. 164 September 2018. Front cover, handwritten notes, blue or black ink. 1. 2. 3. 4. 8. 13. 1. "All of this book". 2. "Pages 3,5,7,8,9,13,16,17,19 to 24." 3. "Pages 3,4,12,13, to 23." 4. On paper "Pages 3-8, 10, 16, 19 to 24" 8. "26 mags altogether/ the 2 you have already read" 13. "Jane/Danny/ 9915/ 48/ 04". 19. " Lorraine 0353920942=/Willa McGilvery, PO Box 132/Donald/ 3480/ 03 5497 1724". 20. "My letter to sacked MP Stuart Robert". 21. "Please return Willa". 22. "Buloke Times write up". history, booklets, bcof

Red photograph album with gold trims. Gold lettering on front - 'presented to G Minto Esq. C.E. (certified engineer), by the Officers of the Bendigo City Council as a token of their sincere regard for one who has proved himself a valuable Municipal Officer; more particularly in respect to the position of City Surveyor which he has honourably and worthily filled for thirteen years, and in acknowledgement of the courteous and gentlemanly assistance he has universally extended to the Officers and with their best wishes for the future health and happiness of himself and Mrs Minto'. In blue ink below 'Town Hall Bendigo, June 20th, 1899', '?Honeybone, Town Clerk', 'C.G. Darvall. List of men photographed (from front of album: G Minto Esq, W Honeybone, O Hopper, J R Richardson, A M Lloyd, B Hyett, F Richards, Dr J Mc I Eadie, T H Teage, G S Read, J J Smith, S G Gadd, J A Roper, W Griffiths, J Reed, Sergt. Kilfedder, G Baxter, T R J Brown, B W Button, S Montgomery, A Moog, A J Tregear, W Speechley. On last page is a photo of the Bendigo Conservatory.person, individual, g minto

Long sleeved bodice of ''resilda'' fabric. Long sleeves gather into a 9cm deep cuff. Cuff has a 4cm wide band, which is embroidered with a silk braid and floral embroidery in dark olive and a deep cream. A 5cmdeep band of floral cotton lace, in deep cream, trimmed at the edge with the braiding, completes the cuff. The same lace forms a 6cm deep stand-up collar, which is edged in a narrow velvet band of brown velvet. The back and front yoke is edged on the sides, with the same embroidered net as the sleeves. Braiding in a loop design underlines the bib shape, and also decorates the shoulders and upper sleeves. Sleeves are joined at the elbows, and decorated with braid. Bodice is pleated at the lower centre front to from a V shaped fitted waist. Back has a double plackett opening-the inner having ten hook and eye fasteners, the outer having three hooks and three hand made loops (as well as nine hooks and hand made loops on the back lace yoke). This two piece outfit-bodice and skirt, was made by Laura's Mother iv 1908, and mostly by hand. She wore it to Mass in 1913. It was made of material called ''resilda''.costume, female, brown striped bodice with lace trim

BHS CollectionHanro Journal: The front has a solid front and back cover and is of a green material with a marble type pattern trimmed at the top and bottom right hand corners with light brown suede triangles. The curved spine of the book is also light brown suede and the binding extends to 4cm on to the cover. 5.5cm down from the top of the spine is a 4.9 x 3.3cm red sticker with gold trim top and bottom of three strips and flowers under and on top of the third strips. The sticker has a tear and dog ears at the bottom. In gold in the centre is the word JOURNAL. The back of the journal is the same as the front but has more wear noticeable at top left and a tear at the bottom. Inside the cover is a paper lining of blue and cream mottled background with red uneven swirl a cream cloth spine with cotton thread for attaching. When the Journal is closed the pages form a colourful pattern of red, yellow, blue and green. Inside the book is light blue paper, on the left top hand written in pencil is 11/-, underneath that is 20/-. Numbers 24100, 27236, 25951, 25844 and some dacomb shorthand further down the page. On the right hand side centre of the page is the heading, hand written in black ink which has been underlined in red is *Hanro (Aust) Bendigo Knitting Mills Pty Ltd May 13th 1926* Page 1 of the Journal :- The Journal is all hand written in black ink and ruled up in red pen. At the top headed *Journal*, underlined in red. The page is ruled up into ten columns of various sizes. First column is the date May 1926. The page lists the distribution of Ordinary and Deferred Shared and their amounts. Next is Expenditure, for the land and buildings and setting up of the business, plant and equipment and various assets acquired from Bendigo Knitting Mills Pty Ltd. At the back of the book is a Debit Note From *Hands chin & Ornis S.A. Liestal (Suisse) to *Hanro* (Aust.) Bendigo Knitting Mills Pty. Ltd. Dated 10th September 1932. Debit Note No. 319. *Our payment to Messrs. Jacky, Maeder & C0, Basle as per your letter of August 10th 1932. SFr. 37.70 pounds * Then hand written in pencil is *Charged ? 168*` Also at the back is a group of letters with a hand written note in pencil, on the front dated 20/01/33 attached with a metal clip and pin reads *Bad Debts to be written off* under that it lists the names, where they are from and the amount owning and the total. Box 116Bbendigo, industry, hanro journal., hanro. journal