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Flagstaff Hill Maritime Museum and Village
Furniture - Shelves, A. Englander & Searle, Late 19th Century (1898)
This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture -
Blacksmith's Cottage and Forge
Top Hat, late 19th century
This hat belonged to Mr William Grant, Shire President of Bacchus Marsh. Mr Grant and his wife were invited to the opening of the first Federal Parliament held in the Royal Exhibition Building, Carlton, on the 9th May 1901. The opening was attended by the Duke and Duchess of Cornwall and York (later George V and Queen Mary) and 12,000 guests. Mr Grant's family were early settlers in Bacchus Marsh, and both he and his father were influential people in the town. They owned the property "Millbank". When William Grant died in 1924, his obituary in the 'Express' listed 17 public positions he held, including severaal terms as Shire President.This item has historical significance at a local, state and national level. It is representative of formal gentlemen's dress in the latter part of the 19th century/early 20th century.Gentleman's black shiny velour top hat with silk ribbon band, bound inside with leather sweat band, adjustable with silk ties. Inscription inside hat. Purple lining with gold embossing. Light canvas coated inside. Protective silver paper sweat band under leather sweat band.Inscription in gold inside hat reads "GREASE PROOF / Prize Medal" / Royal Insignia with motto "Honi soit qui mal y pense" / "VENTILATED / AND / FELT BANDED".1910, top hat, gentlemen s fashion, mr grant, velour, ninteenth century attire, skilled hatter, upper class attire, formal wear, monopoly token, president bacchus marsh shire, federation celebrations 1910, federation, owner millbank, mad hatter, opening parliament 1910, royal exhibition building, original box, greaseproof prize medal royal isignia, the sea breeze, no 5044, size 6, 7 8 -
Flagstaff Hill Maritime Museum and Village
Container - Wooden Box, 1930s
One pharmaceutical enterprise which put greater emphasis on the manufacturing side of its business and whose successors strengthened this emphasis was Faulding's. A pharmacist, Francis H. Faulding, started his shop in Adelaide in 1841 and formed a partnership with an English physician, L. Scammel, in 1861. From its beginnings the firm showed a flare for innovation. After Simpson's discovery of the anaesthetic properties of chloroform in 1847, Francis Faulding was the first to import chloroform; in 1858 he distributed cocaine preparations; in 1864 he produced the first olive oil from South Australian olives and, after J. Lister's reports in Lancet on the reduction of mortality after surgery with the use of phenol, Faulding began production of antiseptics ('Solyptol') in 1867. Faulding was also the first to utilize the medicinal and antiseptic properties of eucalyptus oil which was obtained from distilleries on Kangaroo Island The Second World War in Europe disrupted the supply of cod liver oil, an important source of Vitamin A. Faulding chemists found an alternative source in white schnapper shark, which sustained supplies in Australia as well as generated exports to the UK . When supplies of I.G. Farben's newly discovered sulpha drugs ran out, Faulding became involved in the national program organised by the Medical Equipment Control Committee (MECC) and, jointly with universities, synthesised sulphanilamide. Following the transfer of American knowhow. Faulding's was also the first private enterprise to produce yet another life saving drug of military importance, penicillin. After the war basic synthesis of antibiotics became difficult to sustain by private enterprise because of the gigantic scale advantages of competing US producers, and competition in the synthesis of new drugs demanded huge investment in R & D; Fauldings maintained their business by a combination of marketing, wholesaling and producing consumer and medical products. In the 1970s, however, Fauldings set a remarkable precedent in research strategy and achievement in the Australian pharmaceutical business. They decided to concentrate their research on drugs which had proven efficacy, but which also suffered from certain shortcomings restricting their clinical usefulness, and to seek advances overcoming these shortcomings. This was an imaginative new strategy, a way of grafting Australian knowhow on to major products, in keeping with local resources and yet offering opportunities for sophisticated skill. At the same time it promised to open international markets, since the major producers of the basic drugs could hardly ignore significant advances. https://www.samhs.org.au/Virtual%20Museum/Medicine/drugs_nonsurg/Fauldings_drug/Fauldings_drugs.html This decorative gift box once containing Faulding’s Old English Lavender soap or powder belonged to Dr. Angus’ wife Gladys. It 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” 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. Powder or soap in boxes such as this was perfumed and used as part of a women’s personal grooming in the early to mid 20th century. Faulding’s Company began in Adelaide, Australia, in 1845 and made a wide range of cosmetic and perfume products as well as pharmaceuticals. The company is still in operation today. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. Fauldings Company is a very historical Australian company, still in operating today. The powder box is an example of fashion and grooming in the 1930's in Australia. The W.R. Angus Collection is significant for still being located at the site 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. Container, wooden soap or powder box with separate lid. It is part of the W.R. Angus Collection. Round box is made from light coloured timber and was sold containing Faulding’s Old English Lavender soap or powder. The wooden bowl is light in colour and the lid has a decal with text and images of two ladies facing each other, a gentleman looking over his shoulder at them, and red roses.Printed on decal “FAULDING'S OLD ENGLISH LAVENDER”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, gladys angus, faulding's old english lavender, personal effects 1900's, grooming items1900's, faulding's company australia, fauldings powder box, fauldings soap box -
Glen Eira Historical Society
Album - Album page, "Ripponlea", Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea -
Glen Eira Historical Society
Album - Album page, Kambrook Road, Circa 1972
This page of photographs is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair -
Glen Eira Historical Society
Album - Album page, Fairfield Hall, 225 North Road, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Glen Eira Heritage Management Plan 1996 by Andrew Ward https://www.gleneira.vic.gov.au/media/4777/heritage_mment_plan_vol_3b.pdf (as of 27/01/2021) - p90 An imposing single storeyed Italianate bi-chromatic brick villa with three staged tower surmounting the entry and facetted corner bay with conical roof. White tuckpointed black body bricks are relieved with reds and stucco work. Gable ends are fretted and there is a concave cast iron verandah to the principal elevations.Victorian Heritage Database (as of 27/10/2020) - HO49 225 North Road Caulfield South https://vhd.heritagecouncil.vic.gov.au/places/42426 "Maniar" (?) is a substantial late Victorian Italianate villa with tower and extensive grounds built for Frederick Curwan, an inspector of the National Bank, in 1890. It is aesthetically and historically important. An imposing single storeyed ltalianate bi-chromatic brick villa with three staged tower surmounting the entry and facetted comer bay with conical roof. White tuckpointed black body bricks are relieved with reds and stucco work. Gable ends are fretted and there is a concave cast iron verandah to the principal elevations. It is aesthetically important as an imposing and substantially intact villa residence demonstrating the changing architectural fashions of the 1890's, evidenced by the use of face brickwork and fretted gables in the Queen Anne manner. It is historically important for the manner in which it demonstrates the lifestyle to which a businessman could aspire during the boom period.Page 150 of Photograph Album with four landscape photographs of Fairfield Hall on North Road.Handwritten: "Fairfield Hall" 225 North Rd cnr Younger Ave [top right] / 150 [bottom right]trevor hart, jenny o'donnell, verandah, porch, tower house, tower, mansion, three storey tower, bichromatic brickwork, fairfield hall, 1890's, george jobbins, conical roofed projecting corner bay, conical roofed bay, timber ceilings, north road, younger avenue, frederick wallis curwan, curwan, italianate, queen anne, australian homestead, arched windows, curved windows, columned parapet, return verandah, fairfield estate, fairfield street, slate roofed, red brick, polychrome bricks, victorian style, cast iron work, caulfield south, maniar, house names -
Glen Eira Historical Society
Album - Album page, Ripponlea, 192 Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria's first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 90 of Photograph Album with five photographs (one landscape and 4 portrait) of Ripponlea - two different views of the front entrance to the mansion, one of the front gates and two different views of the main residence.Handwritten: "Ripponlea" 192 Hotham Street [top right] / North [under top left photo] / Neg 255 Dec 1972 MAIN DRIVE [under bottom left photo] / Neg 238 8 OCT 1966 [under middle right photo] / 88 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque architectural style, rippon lea, taylor and fitts, land subdivisions, gardens, drives, vegetable gardens, orchards -
Glen Eira Historical Society
Album - Album page, Ripponlea, 192 Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 91 of Photograph Album with four photographs (two portrait and two landscape) of various external views of Ripponlea.Handwritten: SOUTH [under top left photo] / SOUTH [under top right photo] / WEST [under bottom left photo] / 91 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, polychrome bricks, lombardic romanesque style -
Glen Eira Historical Society
Album - Album page, Ripponlea, Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 92 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - views of entrance and left front of mansion.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 245 Dec 1972 [under top left photo] / Neg 246 Dec 1972 [under bottom left photo] / Neg 247 Dec 1972 [under bottom right photo] / 92 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, lombardic, romanesque, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque style, rippon lea, entrances -
Glen Eira Historical Society
Album - Album page, Ripponlea, Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 93 of Photograph Album with four photographs (two landscape and two portrait) of Ripponlea - lake and gardens.Handwritten: Neg 239 Dec 1973 LAKE [under top left photo] / Neg 242 Dec 1973 FERN HOUSE [under top right photo] / Neg 243 Dec 1972 FERN HOUSE [under bottom left photo] / Neg 241 Dec 1972 LAKE [under bottom right photo] / 93 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, gardens, ferns, bridges, walking trails -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, Eliza Towns, Late 19th century
This item of underclothing, called a "combination" 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 as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns -
Flagstaff Hill Maritime Museum and Village
Accessory - Necklace, Late 19th to early 20th century
The origin of this necklace of facetted amber-coloured glass beads is unknown. However, its design is reminiscent of jewellery that was fashionable in the late 19th and early 20th centuries.This necklace of facetted amber-coloured glass beads is an example of a women's fashion accessory of the late 19th and early 20th centuries. Necklace; metal chan with facetted ambe beads attached to the lower half. A small chain is added to the clasp. Each teardrop-shaped amber-coloured glass bead is linked to smaller round, lighter-coloured beads, which are then joined to the chain links.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, accessory, fashion accessory, necklace, facetted beads, amber beads, glass beads, late 19th century, early 20th century -
Bright & District Historical Society operating the Bright Museum
Boots Ladies, Lasalle's & Koch Co, 1930
Boots made in U.S.A//imported by store owner Antonio Mascorini/owned by Mrs Mascorini of Bright/donated by her great,great granddaughter Josie CassarottoThe significance of these boots ' they were owned by Mrs. Fanny Augusta Masciorini, wife of Antonio, owner of the Fashion store London House in Gavan Street Bright00054,1 : left boot; 00054.2 : right boot Caramel-brown ladies leather boots, mid-calf, lace-up front, 36 eyelets with laces. Stitching near toes and around heels. Worn left heel with nails heads showing. Foam inside boots.Under left heel "THE LASALLE & KOCH CO." $11.00 inside boots "MADE IN U.S.A"ladies apparel, boots, leather, masciorini, cassarotto, london house bright -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, Late 1800s
This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations -
Flagstaff Hill Maritime Museum and Village
Clothing - Nightgown, Late 19th century
This handmade women’s nightgown features hand-worked Broderie Anglaise yoke and trim. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. This design of nightgown was worn by females in the 19th century and is still worn today.The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's long straight nightgown, white cotton, with long sleeves gathered at the cuff, stand-up lace collar, and a small catch closure on the bodice's centre opening. Hand-worked Broderie Anglaise yoke and sleeve tips.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, nightie, nightgown, women’s nightwear, sleepwear, night dress, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, nightdress -
Flagstaff Hill Maritime Museum and Village
Clothing - Camisole, Late 19th Century
This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery -
Flagstaff Hill Maritime Museum and Village
Clothing - Camisole, Late 19th century
This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, neck trim and waist trim. Drawstring, tie and button closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery -
Flagstaff Hill Maritime Museum and Village
Clothing - Camisole, Late 19th century
This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. It has button closures down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery -
Flagstaff Hill Maritime Museum and Village
Clothing - Bloomers, Late 19th century
This handmade women’s pair of bloomers, or drawers, features hand-worked Broderie Anglaise and applique trim and a drawstring rear closure at the waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's bloomers or drawers, handmade from white cotton fabric, with hand-worked Broderie-Anglaise trim around the bottom of legs with applique motifs. Bloomers have a drawstring, back of waist closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, bloomers, drawers, underpants -
Flagstaff Hill Maritime Museum and Village
Clothing - Camisole, Late 19th century
This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and drawstring peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. Front closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery -
Flagstaff Hill Maritime Museum and Village
Clothing - Childs Dress
The fabric of this child's dress includes 'Broderie Anglaise, a form of needlework involving patterns of holes that are each stitched to form a finish that will not fray. The dress features a homemade button.. This handcraft dates back to the 1500s. It became popular in the 1800s and early 1900s, particularly for women's nightwear and underclothing.This child's dress has handcraft and needlework skills that were popular in the 19th and early 20th centuries. The dress also features a homemade button.Child's dress, white fabric, with short sleeves, gathered waist and scalloped hemline. The bodice and shirt have Broderie Anglaise embroidery inserts, with the holes formed into a star pattern. The bodice insert is a 'V' shape. The back has a ribbon tie and is finished with a homemade button.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, child's dress, clothing, embroidery, broderie anglaise, handmade button, handmade dress, child's fashion, dressmaker, handcraft, needlework, lacework -
Federation University Historical Collection
Book - Book -Scrap Book, Ballarat School of Mines: Scrap Book of newspaper cuttings, Book 29, November 1986 to February 1987, 1986-1987
Collection of newspaper articles related to Ballarat School Of Mines.They cover activities and advertisements for staff. The papers concerned are The Courier, Ballarat, The Australian, The Age over the period of 20 November 1986 to 14 February 1987.Book with blue cover, front, spiral bound.courses available, tertiary orientation program, t o p, teaching positions advertised, smb programs, fashion of the future, clare schreenan, lisa willison, mary anne rowe, smb staff join protest, wool classing exams, smb secretarial program, women graduate with trades skills, linda bland, julie baulch, tracey coleman student, royal horticultural society of victoria, garden tools for field officers, helen mclennan course teacher, writing for pleasure, book launch "wednesday's words"june griffiths, nan gale, averil macklin, smb applied science grant, atomic absorption spectrophotometer, julie baulch encourages women to break with tradition, family centre space in tippett building, mellissa bone win photographic award, smb computer world's best, sue dennis, school's in for adults, smb vocational programs, university of the third age, ken flecknoe managing director courier retires -
Flagstaff Hill Maritime Museum and Village
Clothing - Boots, Tony Lama, Early 20th century
The inscription "T L" on these early 20th century ladies button-up boots lead to the maker likely to be Tony Lama, a famous USA boot manufacturer, son of Italian immigrants. The "Rome" is the style of boot. The "6" is likely to be the soot size. Tony Lama began work at age 11 years in the leather trade industry, serving an apprenticeship as a shoemaker. He joined the US Cavalry when he was 16, after lying about his age, working as a cobbler to make boots for the soldiers. His workmanship became popular, particularly for the 'Western' style of boot. TONY LAMA boots In 1911 Lama established a company in Texas, first repairing boots, then adapting his shop to manufacture boots in order to meet the many orders he was receiving. He married and he and his wife Esther brought up six children who also went on to work in the family business. The business continued to grow through WWII. Part of the business included custom boot making and Tony's eldest son Joseph presented President Truman with a pair of kangaroo skin boots. The prosperous business became a company and eventually, in 1990, was sold to Justin Industries.This pair of boots is an example of women's footwear dating around the early 20th century. Pair of ladies leather button-up boots. Two-tone style: black bottom strong leather bottom and white, soft kid leather top. Boots have a curved fly fastened by 11 white buttons with metal shanks. Boots are constructed with cork filling. Inscriptions of both boots. "6 101" "TL" " Rome" "Cork Filled"flagstaff hill, warrnambool, maritime-museum, shipwreck-coast, flagstaff hill maritime museum & village, ladies button up boots, footwear, victorian era, granny boots, tony lama, ladie's boots, ladies' fashion, women's clothing, rome, kid leather, two-tone boots, leather boots, button-up boots -
Flagstaff Hill Maritime Museum and Village
Clothing - Stockings, c. 1910
This pair of long white cotton stockings once belonged to Mrs W N Barnard of Portland, Victoria.These hand-knitted cotton stockings are representative of early 1900s ladies' fashion.Pair of lady's white cotton stockings, hand knitted with a pattern on the lower leg and top of the foot. Circa 1910.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, ladie’s fashion 1910, ladies knitted stockings, hand knitted stockings, w n barnard, ca. 1910 -
Flagstaff Hill Maritime Museum and Village
Clothing - Gloves, c. 1910
This pair of ladies white kid gloves once belonged to Mrs W N Barnard of Portland, c. 1910.These kid gloves are representative of ladies fashion of the early 1900sA pair of lady's long white kid gloves. Two button closures at the wrist of each glove. Hems are machined, and buttonholes and edging are hand-finished. Circa 1910.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, ladies fashion c. 1910, ladies fashion accessory c. 1910, ladies white kid gloves c. 1910 -
Flagstaff Hill Maritime Museum and Village
Clothing - Socks, c. 1910
This pair of child's white cotton socks once belonged to Mrs W N Barnard of Portland and were worn by her son Robert Barnard.This pair of hand knitted child's socks is representative of children's fashion of the early 1900sA pair of child's white cotton socks, hand knitted, pattern on top of sock. Circa 1910flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, child’s white socks c. 1910, child’s clothing c 1910, robert barnard -
Flagstaff Hill Maritime Museum and Village
Accessory - Ribbon, c. 1910
This cream coloured silk ribbon once belonged to Mrs W N Barnard of Portland, c. 1910.. Ribbon such as this could have been used as a hair ribbon.This lady's hair ribbon is representative of ladies’ fashion of the early 1900sLength of cream silk with woven floral pattern. Circa 1910.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, lady’s fashion c. 1910, hair accessory c. 1910, white silk hair ribbon c. 1910, ribbon, silk ribbon, hair accessory -
Flagstaff Hill Maritime Museum and Village
Clothing - Cravat, c. 1910
This gentleman’s white silk cravat once belonged to Mrs W N Barnard of Portland, c. 1910.This gentleman's silk cravat is representative of men's fashion of the early 1900sGentleman's white silk cravat, hand stitched. Wide, pointed ends with narrow, ribbon-like mid-section. Circa 1910. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, gentleman’s cravat c. 1910, gentleman’s silk cravat c. 1910, gentleman’s fashion c 1910, men's accessory, ca 1910 -
Flagstaff Hill Maritime Museum and Village
Accessory - Handkerchief, c. 1910
This gentleman’s white silk handkerchief once belonged to Mrs W N Barnard of Portland, c. 1910.This silk handkerchief is representative of gentleman's fashion in the 1910s.Gentleman's square cream coloured silk handkerchief, handmade, with wide hem around the edges. Circa 1910flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, gentleman’s handkerchief c. 1910, gentleman’s silk handkerchief c. 1910, gentleman’s fashion c 1910, silk handerchief -
Flagstaff Hill Maritime Museum and Village
Clothing - Cummerbund, c. 1910
This gentleman’s silk cummerbund once belonged to Mrs W N Barnard of Portland, c. 1910.This gentleman's silk cummerbund is representative of men's fashion in the 1910s. Gentleman's silk cummerbund; a long narrow hemmed piece of white fabric, c. 1910flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, gentleman’s cummerbund c. 1910, gentleman’s silk cummerbund c. 1910, gentleman’s fashion c 1910, cumberband, silk cumberband