Studio photograph of standing young female teenager. Dress length several inches below knee. Lace fringed apron with ruffled shoulder cape on shoulders. Faded ink stamp on photo front. Lancaster Bairnsdale, Gippsland.Lancaster Bairnsdale Gippslandphotograph, person, female

These garments were made by Evelyn Carfrae's grandmother for her trousseau around 1890. Evelyn Carfrae was a long time volunteer in O.Gilpins Store at Coal Creek.9056.1 Ladies long white nightdress with lace trimmed collar 9056.2 Ladies white mid calf length crotch less undergarment 9056.3 Ladies white calf length undergarment with drop down panel in front

Clothing. 2 cm wide, blue satin ribbon, edged with 1.5 cm wide, blue lace with a floral design, covers the elastic. Satin ribbon 1 cm wide is tied in a bow, with a folded ''extra tails''.costume accessories, female, blue satin ribbon and lace garter

Cycling shoes first appear in the 1880s and progressively became more sophisticated. Cleats first appear on cycling shoes in the late 1930s - before this toe cages and straps were used. The cleat design on these shoes was commonly used from the 1970s. Reflects the style of cycling shoe common in the 1970s and 1980s. Black leather cycling shoes with laces and slotted cleats. The leather uppers have punched holes in them to make them lighter and for ventilation. Some pairs have leather soles and others feature hard nylon soles. cycling shoes; sdi;

Full length, sepia photograph of the marriage of Rev. H. J. Williams and his bride. He is wearing a suit and his clerical collar and she is in a full length lace bridal gown with a veil and train and silver shoes.On the back front in white ink: "237 Collins St Frances Young Melb". On the back hadnwritten in ink: "H J Williams Wedding 1929 Appointment to New Britain"h j williams

Photograph of Don Raitt as a baby in a cane & seagrass chair, born 1903. Don is the son of Jim & Mary Jane Raitt Stawell. Don in his working career worked as a blacksmith for Bert and Edgar Heal, Upper Main St. He later worked at North Western Woollen Mills Pty. Ltd. Playford St Stawell.Sepia photograph of Don Raitt seated on a floral cushion in a cane & seagrass chair in studio setting. Dressed in a winter overcoat with large buttons on front. Cape like collar with a lace trimmed bib over the top. c1904Stawell Photographic Co., Main Street. Close Railway. C. Hewitt, Manager. Hand written on back is Don Raitt cousin of B Biggs. Also Stawell Photographic stamp.stawell portrait

Hemley George & Eliza nee Chandler. Eliza was born in 1838 in Bedfordshire England and died in 1914 aged 76. Liza Chandler married George Hemley on 4th Jan. 1854 in Shoreditch Middlesex. George was born in 1818 in Bedfordshire, England and died in 1887 aged 69 and buried in Stawell Cemetery. Photo taken by G. Woods Main St, Stawell. Additional detailed information also with photos and in Hemley file.One Black & White photo of separate images of George & Eliza Hemley. The print of George shows George seated close to the camera and the image of Eliza is of her seated on a cane chair in a dress with a lace collar and holding a book.stawell portrait

Hand embroiderered tea-cosy cover - white linen with fully crocheted scalloped lace edging and a mid blue embroidered design based on the Willow Pattern story.The cover is single thickness with identical design on both sides.handcrafts, embroidery, manchester, table linen

Bisque Doll dressed in cream silk smocked dress with crocheted lace border on collar.and hem. White lawn petticoat pin tucked on hem. Wooden legs on cords attached to body. Brown hair with pink ribbon.toys, dolls

Purchased from OP Shop, Vermont, Victoria by member Historical Society: a collection of One Woman's Patterns, Sept 1947 - April 1951Knitted lace doyley & cotton (ecru) on five steel Fairy Knitting Needles. Included: six patterns, three transfer sheets. Contained in Walker's Shortbread biscuit tin. A total of 18 items make up the set.handcrafts, knitting

Large white cotton tray cloth. Machine made. Torchon lace border with hand embroidered button holing stitch. Leaf and flower pattern in four corners and cut out button holing pattern in centre and sides.manchester, table linen

White cotton nightdresses with long sleeves. Eyelet cotton lace around neck. Spotted cotton frill on sleeves and alternate layers of spotted embroidery panels and pin tucking on bodice. Three buttons in concealed placket in front.costume, female nightwear

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. This 1930s evening dress is one of a number of items donated by Teresa Mayer.Deep rust coloured three-quarter length crepe dress featuring extensive ruching on the bodice and to the short sleeves. A bow of the same fabric with hanging laces (sic) is attached at the neck. The garment has been dated to the 1930s.women's clothing, australian fashion - 1930s, day wear, day dresses

Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford

This dress belonged to Mary Grace Medbury (nee Matthews, 1885-1967). Mary was born in Kansas, USA, and as a teenager travelled to Devon, England, before she came to Australia with her family and married Walter Ambrose Medbury (1887-1947). They lived together in Cheel Street, East Oakleigh. Walter, a building contractor, worked on numerous construction projects in the Melbourne area, including the Oakleigh Methodist Church, the HMAS Cerberus naval base and - closer to home - the former Brighton Courthouse, which was built in 1936 and still stands at 15 Boxshall Street. Mary gave the dress to her granddaughter, Fiona Nissen, when Fiona was a teenager. A Brighton local, Fiona donated it to the Society in 2013.White cotton muslin day dress with three-quarter length sleeves and square neckline, both edged with lace. The dress features white floral embroidery on the sleeves, skirt and front of bodice. Hook and eye fastenings at back.mary grace medbury, mary grace matthews, fiona nissen, migration, 1900s

Black and white copy of original photograph showing the side profile of a lady wearing dark dress, lace trim collar, buttoned bodice with flowers at her neckline. Dark hair tied back in a bun and dangling earrings.mrs mclachlan

Black and white copy of original photograph featuring an older woman dressed in dark clothing with lace at the cuffs and a hat with a ribbon tied under her chin. It appears that she is resting her arm along a gate or fence."36 rs James Beale"mrs james beale

Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, and nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together and neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.A pair of handmade, adult brown leather work boots, with brown leather laces, decorative stitching, metal eyelets and are stitched with waxed thread. The soles are covered with hob nails in a decorative pattern. They have metal caps on the heels. bootlaces, boots, footwear, clothing

Part of the Kevin John Herdman, No. 397661, Collection. See Catalogue No. 5942P for details of his service record..1) and .2) A pair of black leather Army issue ankle boots (AB) with leather soles and laces. Each boot has a metal toe cap tacked to each sole. .2) has a metal heel tip.Stamped on each sole: '8,6'.uniform, boots, kevin john herdman

Huttley - Martin FamilyB/W Group portrait 2 rows of females 'white Blouses, dark skirts & stockings/tights' dark lace up shoes. Centre gril with plait holding hockey stick. right end girl with tieDrury's Elite Studio Stawell Back: Kath Healy, Vera Shaw?, Jean Ransom, Jouen? Davidson, Jean Bryant, lilla S..wood? front: Lena Byron, Rachel Lindsay, Madge Huttley, agnes Gcragg, Ruby Abbott.huttley, martin, students, sport, education

See Item 11000.189A Collection of Photographs of decorations for Hanro Window Display: All black and white photo's. Photo A) A soft toy of a lamb with a bow around its neck and in the mouth is a garment with Hanro embroider on it. On the back is the number 2056 hand written in blue ink. Photo B) has two cane suitcases with handles one smaller than the other. Both have flowers woven through the cane. A petticoat with lace and two thin straps at the top is laid through the larger suitcase and a sign *Hanro* sits on the bench. On the back is 2100 hand written in blue ink and in pencil VV11. Photo C) Is of a Cane French Horn with a bunch of flowers in the horn part. A Hanro sign is attached to the middle of the Horn and a petticoat with a lace bodice and hem and two thin straps is draped through the bottom of the French Horn. Some glue on the back and 2114 in biro, 14 in pencil. Photo D) Is a mock cloths line in front of a dark background with three petticoats. The first has a lace top and hem with two straps pegged to the line, the second is hung upside down with two pegs. It has a lace top with a V neck. The third has a lace V neck top and at the hem line. The garment is pegged to the line by the straps. There are two pots with flowers hanging from the line. Photo E) A vase made of cane with flowers and a Hanro sign attached. Two petticoats either side are laid on the bench both with a lace bodice. There are two Hanro signs on the table. On the back in blue ink hand written is *Dek. Nt.2094 Photo F*. There are three cane baskets with flowers and Hanro signs at the top of each hung on a wall and two cane baskets with flowers on the table. One petticoat is hung up on the wall through the baskets. The petticoat has a lace border at the bodice, The other is laid on the table, has a V neck and lace border. A Hanro sign is in front of the petticoat. On the back printed in blue ink is *Dek. Nr. 2098* Photo G) Is three bunches of flowers to have Hanro sign attached. On the back is *Dek. 2077. Photo H) Is three groups of several crystal balls strung together with pine needles at the top and the sign Hanro at the top of each. On the back hand printed in blue ink is *Dek.2124* The photos were together in a piece of paper which has writing in green ink *Decorations for clients window display*.Reg. V. Brock Studiosphotograph, hanro. reg. v. brock.

Uniform items worn by girl students at Ballarat & Clarendon College (Years 11-12) in the 1970's. To be accompanied with fawn tights and brown lace-up shoes. The uniform was more relaxed to denote to seniority of the students. Girls were able to choose a jumper the colour of any of the lighter tones of the tartan. Box pleat, plaid skirt with fitted, adjustable, waist band, zip fastener; accompained by cream turtle neck jumperManufacturer's label sewn inside waistband: 'Flatcher Jones / 55% POLYESTER / 45% WOOL' Name tag sewn to manufacturer's label: REHFISCHuniform, ballarat-and-clarendon-college, girls-uniform, tartan-skirt, box-pleat-skirt, 1970s, winter-uniform, senior-college-uniform

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 247 View St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 257 View St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 22 Valentine St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron",iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon. A black and white photograph by Alan Doney of 288 View St in Bendigo. The photo shows detail of the wrought iron on the fence. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of 159 Forest St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of Caretakers Residence Cathedral Short Street Bendigo showing detail of the wrought iron on the verandah. A Doney Bendigoalan doney, bendigo, wrought iron, balustrade

Cast iron lace was made in foundries in most cities. There were 42 such factories in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.Black and White photos by A Doney of bench seats one showing fern detail and the other leaves and flowers.Photo A Doneyiron lace work, a doney, bench seats