Black and white photograph on card showing a very ornate Victorian weatherboard house with iron lace, brick chimney, picket fence and a woman a man & a boy standing of verandah.photograph, house, victorian, house-victorian

Believed to have been used at the Sunbury Pop Festival between 1972-1975 and held on George Duncan's property.Leather wallet with floral embossed design on outside mainly burgundy colour. Punched holes with press stud closure pocket, open divide and joined together with leather lacing.sunbury pop festival, duncan, george, george evans collection

Cream Camisole with a Lace Yoke leaving a square neckline. Opening at back with black press studs. Material silk bodice drawn at the waist with tape. McClure Family Collection.stawell clothing material

MRS. WEICKHARDT WAS AN OLD IDENTITY OF CLUNES. AS A MISS PATIENCE THEY LIVED ON TALBOT ROAD CLUNES IN A RED BRICK HOUSE. WHICH IS STILL BEING LIVED IN.SEPIA PHOTOGRAPH OF MRS. MARGARET WEICKHARDT, NEE PATIENCE,WEARING A DARK DRESS - WHITE LACE JABOT AT HER THROAT - SMOCKING ON TOP OF SHOULDERS. SHE DIED IN 1927.MRS MARGARET WEICKHARDT - D. 1927. NEE PATIENCE. WIDOW OF JACOB FRANZ WEICKHARDT.photography, weickhardt., margaret weickhardt

Table centre was donated by Bette Jones from her collection of fine manchester.Tenneriffe Lace, square white cotton to form daisy like patterns measuring 5cm in diameter. Joined to centre of white linen and drawn thread square of smaller circles.domestic items, table setting

Skirt of wedding dress worn by Jesse de Frayne Talbese at her marriage to Herbert Bishop on 14th April 1903 at Box Hill. Jesse was born August 1876 in East Melbourne and died 23/04/1955 in Box Hill.Full length cream silk skirt. Panel of tucks down each side of front with lace and tucks around bottom third of skirt. Waistband has a hook & eye.costume, female ceremonial

These gloves were worn by a Bridesmaid at the wedding of Dorothy James & Frank Merrett. Bridesmaid wore a different coloured outfit.One pair mauve lace fingerless gloves to elbow, worn by a bridesmaid. Mauve bridesmaid's dress NA4231 and mauve Bridesmaid's hat NA4138 and Bride's dress and accessories NA3985.Artificial Silk. Made in England.costume accessories, glove accessories

Ecru coloured crochet doyley with 11 medallions joined with hand crochet lace. 11cm diameter linen centre. One row of feather stitch around edge of linen.handcrafts, crocheting or crochet work, manchester, table linen

White cotton petticoat with shoe string straps. V shaped neckline with small pink rosebuds embroidered around the neck and hemline. Cotton lace around neck and hem.All cotton Jaks Lingerie 40costume, female underwear

White linen supper cloth with deep edging of fine cotton crochet lace. White mount mellick embroidery in flower and leaf pattern with lover's knot pattern in corner.manchester, table linen, handcrafts, needlework

Two piece women's striped blue silk outfit with lace detailing.(.1) long sleeved top section (.2) long skirt. Materials: Silk, Thread, Metaltennis

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Sleeveless three quarter length, short-sleeved turquoise coloured lace evening dress. Above the high waistline a fold crosses the bodice and is held by three crystal buttonswomen's clothing, cocktail dresses, fashion and textiles collection - kew historical society, australian fashion -1950s, evening dresses

Gordon, Harold and Stanley Bennett were the sons of George Garnsworthy (G G) Bennett and his wife Ada (née Bersey). Gordon - 28th November, 1897, Harold 9th September, 1902, Stanley 19th February, 1904.Black and white photograph of three young boys standing beside each other, two wearing long trousers and jackets, the third wearing dress with lace collar and boots."Gordon, Harold and Stanley Bennett"bennett family, gordon bennett, harold bennett, stanley bennett

Clothing. Infant's cream coloured cotton nightdress. High round neckline with 1.5 cm lace edge, and casing with .8 cm cotton tape drawstring. Yoke front and back. Casing below yoke. Front yoke has layers oversewn below neckline - three vertical strips of lace. Long straight skirt sections gathered at yoke. Set in sleeves, pleated at wrist with 1.3 cm lace trim. Centre back opening (27 cm) fastened with cotton tape at neckline and 1 X 0ne cm patterned button at lower edge of yoke. Lower edge of skirt has five horizontal pin tucks above the hem.costume, children's, infant's cream cotton 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

Patrick Ryan married 'Ellie' Forrester of Towaninnie in 1918 at Inglewood Vic. 'Ellie' daughter of Richard & Ellen Forrester (nee Dauber) of Towaninnie Vic. This photo depicts the more sombre dress worn for weddings during the war years.Studio portrait of Elizabeth Helena Forrester 'Ellie', bride is wearing a two piece ankle length suit, court shoes and carrying a large bouquet of flowers with trailing ribbons. Organdie lace trimmed blouse fastened with a brooch, a smart brimmed hat and necklace completed the elegant ensemble. Patrick Ryan groom, single breasted suit with waistcoat, white bow tie and gloves, button hole and lace up boots.Right hand corner - on embossed card mount "Richards & Co Ballarat". Reverse - "For Auntie Ellen with love Ellie & Pat" hat, studio portrait, forrester, wedding, 1918, bouquet, bride, groom, two piece tailored suit, single breasted suit waistcoat, towaninnie

White fine gored, short nylon petticoat. Centre gore shapes up to the neckline at centre front, defining the shaping at the bustline. Bust shaping has one dart at top and bottom and has two bands of 3.5cms wide lace, decorating the bust line. Nylon ribbon shoulder straps 1 cm wide. A 6 cms wide band of lace, with a floral and spider web design trims the hemline.On ribbon label at upper right side seam: Hanro Bust 40. 100% Nylon.

Black and white photograph on fawn board. Studio photograph on cardboard mount. White haired lady in black boned dress with wide lace collar and white cap. Black lace on cuff. Inscriptions: printed on mount at back - 'Bartlett Bros', 'Bendigo'. On back, hand written in pencil 'P676'., '1901'., 'Mrs Henry Jackson', 'Died 2/6/03'. Round stamp 'Royal Historical Society of Victoria, Bendigo Branch'.Bartlett Broscottage, miners

Black & white photograph of a bride. She is wearing a long, white dress with a lace panel starting at about knee length. The bodice is lace and the dress has elbow length sleeves. She has elbow length gloves with a bracelet on her right arm. She has a long veil with embroidery at the lower edge. Her bouquet with it's large white bow is on a pedestal in front of her. Photo is mounted on white cardboard.The Muntz Studio, Puckle St., Moonee Pondsphoto, individual, wedding, foster & wilson collection, photograph

An item such as this would have been used by a woman to put on her boots and lace them up. Button up boots were used extensively in the 19th and early 20th centuries and this item would have been common in households at that time.This item has no known local provenance but is retained as an interesting memento of the past.This is a metal shoe horn at one end of the item with a curved button hook at the other end. The item is much worn and stained.women's accessories, shoe horn, button hook, warrnambool history

One of a pair of U.S gaiters issued during WWII.Khaki canvas gaiter with cord lacing through metal eyes & metal hooks. Canvas strap with metal tip sewn to bottom. Metal buckle on opposite side to secure strap.uniforms - army, military history, passchendaele barracks trust, gaiters

The construction of these boots suggests that it was not purchased locally or from any large town. It may have been introduced by a wandering caravan trader in clothes and shoes. In this era of rural development shoes, especially children footwear, were regarded as a longer term requirement that only required the soles and heels to be replaced. Multiple shoe types were not common only basics that could be handed down. The policy of one main work/play shoe and one church shoe (special occasion) was the norm at this point in history.Worn by Everil Fisher (girl) at Dederang in 1880. They have 'copper toes' and are 'Hob Nail' These items although very basic were what the region required and was applicable to all levels of society at this time. Durability and no fashion infiltration from larger cities resulted in a spartan attitude to basic living requirements. The rural regions of this area were more in focus to the character of the person rather than what was worn. The personal interactions of everyone in the region were more "true blue" than that of the cities. The concept of "mate-ship' far outweighed the type of fashion being wornBrown/Black ankle high boot for child age 4 (approx). Tongue and six eyelets with broken leather laces. Hob Nail visible on soles and heel. Copper Toes. costume, children's footwear, boots, anklets

Brown hard covered book was an account of the different styles of lace, their history, characteristics and Manufacture. Library cards from the Ballarat Technical Art School are still in place in the back of the book.ballarat technical art school library, library catalogue cards and date stamps, lace, cutwork, punto in aria, italian bobbin lace, venetian needlepoint, burano lace, milanese lace, cretan lace, flanders lace, belgian lace, mechlin lace, antwerp lace, valenciennes lace, dutch lace, alencon lace, argentan lace, lille lace, arras lace, chantilly lace, english needlepoint, english bobbin lace, irish laces, blondes, library cards, library date stamp, bookplate

The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. This white, cotton Lady's blouse with pin-tucked front and back is and example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners in the Moorabbin Shire. Ladies long-sleeved white cotton blouse with high collar. Pin-tucking to front and back, guipure lace inserts on front of bodice. Significant tear at lower edge of the garment.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, home dressmaker, craft work

Camisole. Cream coloured cotton with crocheted lace insert yoke and straps. Cream silk ribbon threaded through square neckline. Cotton tape threaded through casing at waistline.costume, female, underwear