This photograph depicts a reef mine in Beechworth. Reef mining, or quartz reef mining, was common in 19th Century Victoria. This gold mining technique requires mine shafts to be sunk into underground quartz reefs, with horizontal tunnels dug from the original shaft at differing levels to find the gold-bearing rock. The quartz would then be hoisted to the surface, which would then be pounded to access the gold in its metallic state. Gold was discovered in Beechworth in February 1852, at Spring Creek. Within 11 months of that discovery, over 8000 hopeful prospectors quickly descended on this region, transforming it into a thriving, wealthy township. Reef mining and hydraulic sluicing were gold mining techniques used in this region in the 19th and early 20th centuries. This photograph interestingly contains dogs alongside the miners. While dogs have been recorded as deterrents to thieves in the Victorian goldfields, these dogs appear as companions to these men.The search for gold is ingrained into the history of Victoria and therefore, images like this one can reveal important information for society and technology for the date when the photograph was taken. It also shows a location where reef mining was undertaken which provides insight into the impact on the environment at a time when it was done. Although quartz is one of the most common minerals found in the earth's crust, it does not always contain gold. Those reefs that do are rare and highly sought after by prospectors. The Beechworth Burke Museum has additional images relating to gold mining which can be analysed and studied alongside images like this one.Sepia coloured rectangular photograph printed on gloss photographic paper. Obverse: Reverse: United Shire of Beechworth/ Shire Secretary/ Reef Mining, Beechworth./ 6167.abeechworth, burke museum, gold, gold mining, gold rush, victorian gold rush, reef mining, quartz, companion dog, horse and cart

This reproduced photograph depicts a reef mine in Beechworth. Reef mining, or quartz reef mining, was common in 19th Century Victoria. This gold mining technique requires mine shafts to be sunk into underground quartz reefs, with horizontal tunnels dug from the original shaft at differing levels to find the gold-bearing rock. The quartz would then be hoisted to the surface, which would then be pounded to access the gold in its metallic state. Gold was discovered in Beechworth in February 1852, at Spring Creek. 8000 hopeful prospectors quickly descended on this region within the year, transforming it into a thriving, wealthy township. Reef mining and hydraulic sluicing were gold mining techniques used in this region in the 19th and early 20th centuries. This reproduction photograph interestingly contains dogs alongside the miners. While dogs have been recorded as deterrents to thieves in the Victorian goldfields, these dogs appear as companions to these men.The search for gold is ingrained into the history of Victoria and therefore, images like this one can reveal important information for society and technology for the date when the photograph was taken. It also shows a location where reef mining was undertaken which provides insight into the impact on the environment at a time when it was done. The Beechworth Burke Museum has additional images relating to gold mining which can be analysed and studied alongside images like this one.Black and white rectangular reproduction photograph on gloss photographic paper. Obverse: Reverse: L is miners 26%/ 10 x 8/ 6167.bbeechworth, burke museum, gold, gold mining, gold rush, victorian gold rush, reef mining, quartz, companion dog, horse and cart

Image taken in c.1900 of Albert Road, Beechworth, showing surrounding landscape. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900s, landscape, streetscape, albert road

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place across three different locations - Wooragee Hall, and direct seeded sites at the properties of Marcus and Lisa O'Connor, and Neil and Anne Nankervis - and, therefore, the exact location where this photograph was taken is unknown. Three different direct seeding techniques were demonstrated during the day by several experts in the field. Direct seeding involves the sowing of seeds directly into the soil to achieve germination and establishment. It is an alternative to planting seedlings in a contained nursery plot. This direct method is intended to mimic a more natural process of growth, revegetating larger areas in a more efficient manner. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EOWA2N2 ANN- 1 4240 / neil and anne nankervis, marcus and lisa o'connor, wooragee hall, wooragee landcare, wooragee landcare group, direct seeding expo, direct seeding, seeds, revegetation, alternative planting

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s and 30s often in conjunction with a bob cut. For those women who had long hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hairpin or flower. Accounts vary about the invention of the style, but Marcel Grateau (1852–1936) is widely credited with inventing the hair styling technique in the 1870s. He started with a small salon in Montmartre, Paris where his clients were the poorer classes. As he developed the waving method that would later become the Marcel wave, using heated curling irons, The inventor and stylist emigrated to the United States and changed his name to François Marcel Woelfflé, sometimes reported as François Marcel. He was granted U.S. patents for implements for performing the technique; the first, U.S. patent 806386, entitled "Curling-Iron", was published in 1905, and the second, entitled "Hair-Waving Iron", for an electric version, under the name François Marcel, was published in 1918. His obituary appeared under the name Francois Marcel Grateau in 1936. Originally the irons had to be heated in the fire, but hair easily got burnt until 1924 when electric irons were invented and the temperature could be regulated. A significant item that gives us a snapshot not only into women's hairstyles of the 1920s and 1930s but a look into the social norms of that era. Therefore the item is of social interest in regards to the story it tells and the development of women's fashion in hair styling.Marcel Tongs, metal, used to impart a hair wave by heating and crimping the hairNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, tongs, curling tongs, hairdressing

Before the invention of woven baskets, people used tree bark to make simple containers. These containers could be used to transport gathered food and other items but crumbled after only a few uses. Weaving strips of bark or other plant material to support the bark containers would be the next step, followed by entirely woven baskets. The last innovation appears to be baskets so tightly woven that they could hold water. Depending on soil conditions, baskets may or may not be preserved in the archaeological record. Sites in the Middle East show that weaving techniques were used to make mats and possibly also baskets, circa 8000 BCE. Twined baskets date back to 7000 in Oasisamerica. Baskets made with interwoven techniques were common at 3000 BCE. Baskets were originally designed as multi-purpose vessels to carry and store materials and to keep stray items about the home. The plant life available in a region affects the choice of material, which in turn influences the weaving technique. Rattan and other members of the Arecaceae or palm tree family, the thin grasses of temperate regions, and broad-leaved tropical bromeliads each require a different method of twisting and braiding to be made into a basket. The practice of basket making has evolved into an art. Artistic freedom allows basket makers with a wide choice of colours, materials, sizes, patterns, and details.Before the advent of plastics (1907), the is now used for many different types and styles of storage container rattan, wicker or cane was used to make containers with a lid for the storage of linens etc. The subject item was probability used at the end of the Victorian era and into the Edwardian period around the 1900s as a household storage facility. These types of wicker or cane containers started to go out of fashion due to their fragility around the 1920s into the 1940s due as well to the introduction of synthetic materials. Wicker cane rectangular shaped domestic storage container with reinforced leather pads on 4 corner sides. lid fits inside the other. Black cane piece around top edge.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

A report at the end of one year's study at Perkins School for the Blind in Boston, Massachusetts. It covers the expectations raised by the story of Helen Keller, classification of students, the need for representation and work on communication techniques, and observations made on tours of various educational institutions in the USA and Holland. Collected by C.H. Nipper during his writing of 'The Past and the Present 1866-1971' (a history of the RVIB). 19 pages of foolscap printed pagesroyal victorian institute for the blind, education, deaf-blind, a.r. reynolds

140 Loose pages titled The Bendigo Saleyards Economic Viability Study. Report written by Kate Millard on behalf of the Bendigo Development Committee Inc. Contents include: Chapter 1 - Background Information, Chapter 1 - Present Operations at the Saleyards, Chapter 3 - Economic Factors, Chapter 4 - Environmental Factors, Chapter 5 - Selling Techniques, Chapter 6 - Employment Study, Management and Sundry Issues, Chapter 7 - Survey of Farmers and Saleyard Users in the 'Catchment Area', and Chapter 8 - Recommendations of the Report. Includes diagrams and maps. Recommendations printed on dark yellow paper.bendigo, council, cattle markets, bendigo saleyards collection - the bendigo saleyards economic viability study, bendigo development committee inc., kate millard, loddon campaspe planning authority, street, ryan and associates, bendigo city council, strathfieldsaye shire council, department of industry technology & resources, national library of australia, meldrum burows & partners, core wilson sayer, town planning appeals panel, ces, victorian farmers and graziers association, stock agents association, department of agriculture, department of industry technology & resources, department of conservation forests and land, cr jock comini, rca depot, wellsford rifle range, bendigo airport, bendigo field naturalists club, mr david kennedy, mr john brumby, mr john radford, neil o'keefe, bendigo east progress association, bendigo east traders, trades hall council, mr tom uren, mr frank wilkes, mr bruce reid, mr k i m wright, mr e t ebery, bendigo pastoral council of the vfga, victorian meatworks association, bendigo stock & station agents association, rutlands transport, mr don pickles, country abattoirs & wholesalers association association of victoria, meat and allied trade federation of australia, bendigo saleyards advisory committee, bendigo residents & ratepayers association, a h & n graham, mrs p unmack australian bureau of statistics, mr lloyd houlden, cr c rodda, mr jolly, mr tony milanese, dr robert carter, university of melbourne, bendigo college of tafe, t matthews, a s & r d rutland, john kerr, j talbot, g l o'sullivan, penney & lang pty ltd, graeme pickering, pickhall j w & sons, r a plant, w k schmidt, t j vick, k & j wignall, a e wright, g chapman, a j gillies, p g & m m harris, ian r hollingsworth, b kennedy, s letcher, s & d k letcher, p m llewellyn, l g mason, boyer r t, connally m f, kennedy & mortlock, nevins j p, r w johnstone, w j keith, b d kelly, notman r, pitts a j & c a, pitts mervyn l & co, rowe w o, warren k m, associated stock & station agents, dalgety farmers ltd, elders dsm estates, ellis nuttall & co, gallagher g d, hamilton real estate, mcgregor ralph h & co, mckean w & co, miller turner livestock co, vains e m & co, victorian producers, hill m j & co, bennetts meats, comell bros, davis b & d, hardwick g f & v c, penney & lang p/l, tendercut meats, northern seed supply co, bendigo fertilizers, agri business pty ltd, agrilink consulting group pty ltd, acil aust pty ltd, mcgowan & associates, chapman w c, talbot e j, mcculloch w & sons pty ltd, k v equipment, commercial egg producers assoc co-op, monsanto aust ltd, balmer bryan r, barry i j, bath l, clarke b j, treacy k m, turner j m, bendigo mower serv pty ltd, everlast concrete tank tyltd, wicks bros, canvas goods, don mcarthur, bendigo communications, transcom, emdell pty ltd, epsom pharmaceutical supplies, sandhurst fencing pty ltd, arnolds gates & fencing, r furniss, carne neville, awa & unicla, ajm refrigeration, bendigo concrete sawing service, hamilton r j, hearpes t w, j e brown, campey dr a r, fyffe j j, kangaroo flat vet clinic, ottrey k e, bendigo sprinkler installations, milnes irrigation, onga pumpshop, barastoc products, bush's produce stores, epsom produce, k m m pty ltd, bendigo grain co, eaglehawk chaff mills, grain elevators board dept, bonneys pest control, knights pest control, brown wk & l d, bendigo sewerage authority, bendigo water board, aci computer services, leham donald, a e hueffer & associates, wolmoke planners, p langley, mr ken strachan, mr evan jones, mr peter byrnes, mr wayne street, street ryan & associates

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 7 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph was taken during a flood year, perhaps 1923, when the Yarra encroached on the grounds of the Abbotsford Convent. In the distance, the Johnston Street Bridge separates the viewer from the industrialised landscape of Fairfield. In developing the photo, Henry Christian employed a circular frame to artistically focus the view. He empkloyed this technique for what he may have viewed as his best photographs. "Studley Park / Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, fairfield, kew, johnston street bridge, studley park

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of pink leather court shoes with a black insole on which Tony Bianco, the designer’s name is embossed.Tony Bianco / Made in Italyfootwear, women's shoes, court shoes, tony bianco - designer

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Expandable wood and metal shoe stretcher. The expansion is controlled by a coiled spring. The name of the manufacturer is stamped on the toe section.FLARTA shoe expanders, flarta

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of off white leather shoes with rounded toes and a sling-back buckled strap. The shoes have a brown insole on which is embossed in gold print Mescher Paris.Made by M. Faris / All leather solefootwear, women's shoes, mescher of paris

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of black suede evening shoes by Paragon. The brown leather insole is embossed with the name Para[gon].PARAGON 5 Cparagon shoes, women's shoes, footwear

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of two tone, navy and beige women’s shoes by Bruno Magli, retailed by Hermann.BRUNO MAGLI / MADE IN ITALY / EXCLUSIVE TO HERMANN 37 1/2bruno magli, women's shoes, footwear, court shoes

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. A pair of two-toned navy and cream slingbacks by Paragon. The shoes are from the Parisienne range.Paragon / Parisienneshoes, women's shoes, footwear, paragon -- shoes

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of black suede (sic) women’s designed by Bally, England and retailed expressly for Georges, Collins Street, MelbourneBALLY / England / Expressly for Georges, Collins Street, Melbournefootwear, women's shoes, bally -- england (uk)

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of leather navy women’s court shoes designed by Andre. The shoes have small leather bows at the front.ANDRE / A / Genuine Leather All leather / Upper & Sole / Leather Lining / Made in Chinawomen's shoes, footwear, andre --shoes

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of open-toed, sling-back two-tone red and white women's shoes. Stamped on the red partial upper is the Italian designer’s name, Urbinati.URBINATI / Made in Italy VERO / CUOIO / Made in Italy / 38 1/2shoes, women's shoes, footwear, urminati - shoes - italy, sandals

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of black suede women’s court shoes with a cream leather lining on which is stamped in gold lettering Bruno Magli. The Italian designed shoes were retailed by retailed by M.C. Hermann.BRUNO MAGLI / Made in Italy / Exclusive for M.C. Hermann bruno magli, women's shoes, footwear, italian shoes, m. c. hermann

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of open-toed women’s fashion shoes made of black leather with gold edging. The sling back shoes feature a narrow stiletto heel. The shoes were designed and manufactured by Paragon of MelbourneBelle Chasseur / PARAGON / REMI / Made in Australia Genuine Leather 8B women's shoes, footwear, sandals

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of black leather women’s shoes with black velvet bows, retailed by Rules of LauncestonExclusive to / Rules of Launcestonwomen's shoes, rules of launceston, footwear, court shoes

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of open-toed women’s shoes made of gold coloured leather. The sling back high heel shoes identify Angel Albert as the designer on the brown leather upper and state that they were made in Spain for Myer.Angel Albert / Made in Spain; Made in Spain for Myerwomen's shoes, footwear, sandals

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. A pair of open toed women’s sandals in silver leather. The name of the shoe and the designer is embossed on the brown leather upper as “Evening Star / Made by Sherry”Angel Albert / Made in Spain; Made in Spain for Myerwomen's shoes, sandals, sherry -- shoes -- spain

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of silver leather women’s shoes with two glass studded buttons at the front. The shoes were designed by Charles Jourdan of Paris expressly for Georges, Collins Street, Melbourne women's shoes, footwear, charles jourdan -- designer -- paris

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Paragon Shoes Pty Ltd was one of the most significant 20th century Australian shoe retailers, and at one time was the largest manufacturer of high quality of women's shoes in Australia. Its factory was located in Melbourne, and its shoes were sold throughout Australia and New Zealand. (Museum Victoria)Pair of two toned brown leather and suede women’s shoes designed and made in Australia by Paragon. The label identifies the Paragon range as Belle Chasseur - Jessica. Genuine leather 7 1/2 Bwomen's shoes, pargon shoes, footwear, shoes

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. A pair of wide shaped and heeled women’s leather slingback shoes designed by Moya in shades of brown, red and ochre.women's shoes, moya -- shoes, footwear

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of brown leather court shoes with deep tan leather uppers, designed by Yves Saint Laurent, Paris.YVES SAINT LAURENT / Pariswomen's shoes, yves saint laurent, footwear, court shoes