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

This dress was made for and belonged to Mrs Elizabeth McLachlan (nee Duncan, 1820-1904), wife of Reverend John Hamilton McLachlan (1813-1908), who was the first Minister of St Cuthbert's Presbyterian Church in Brighton. Elizabeth and John were married at the Free Church of Ayr at Lindsaystonn in the Parish of Kirkmickach, Ayrshire, Scotland on 15 October 1849. At this time his occupation was listed as "Minister of Presbyterian Church" and hers as "Governess". They left for Australia on the 1 November 1849 and arrived in Australia 6 months later. Apparently John's hair turned snow white during the journey due to his seasickness! The McLachlans first went to Geelong upon their arrival in 1850, then to the Western District, then Brighton, then Talbot at the height of the gold mining era. The couple had seven children: John Campbell Duncan McLachlan (b. Geelong, October 1850), Mary McLachlan (b. Geelong, November 1851), Agnes McLachlan (b. Hopkins River near Wickliff, May 1853), twins Elizabeth and Walter McLachlan (b. June 1854), Elizabeth McLachlan (b. Hesham, June 1855), Margaret McLachlan (b. Brighton, 1857). Elizabeth died in 1904. She and John are both buried in Amherst Cemetery. The dress was donated by one of her granddaughters. This circa 1849 silk blue grey window pane check dress features a high round neck and pleats on either shoulder extending over the natural shoulder line. The dress shows evidence of nine ornamental buttons down the centre front with only four blue silk buttons currently still attached. The dress fastens with thirteen concealed hook and eye closures to the waist. The Pagoda sleeves inset into the bodice in a small high armhole flaring out and finishing just below the elbow. A pale blue silk ribbon with a diagonal drawn stitch design decorates the front of the sleeve in a simple geometric design. The Pagoda sleeve is lined in a matching pale blue silk. The full skirt is pleated into the waistband and finishes just above the floor at the front. At the back the bodice features a squared off design to the princess panels shaping the dress into the body. The skirt is heavily pleated at the centre back into the waistline and finishes slightly longer at the back than the front. The skirt features two very small pockets on either side of the dress, just inside the hips. reverend john hamilton mclachlan, st cuthberts presbyterian church brighton, elizabeth mclachlan, amherst cemetery, 1840s fashion, brighton

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

The donation records indicate that this dress was worn by Georgiana Elizabeth Moore (1899-1974), who lived for most of her life in Brighton at 38 and later 40 Cochrane Street. Since the dress is of an earlier date, It is likely that it belonged to Georgiana's mother, Elizabeth Moore (1860-1950). Georgiana was born to Richard and Elizabeth Moore in Brighton in 1899. She was named after Richard's first wife, Georgiana Leake Moore (nee Paul), who had died in 1893 aged only 38. Georgiana is recorded as having been "tall with red hair". The family moved to Diamond Creek for several years, but returned to Brighton after Richard's death in 1922. Georgiana and her mother settled in Cochrane Street, where they lived for the rest of their lives. We know very little about Georgiana herself. Newspaper records indicate that she was a talented musician, graduating from the University of Melbourne with a diploma in music in 1927. BHS holds a small collection of items belonging to the Moore family. This dress was donated by Georgiana's niece, Jeannette Fraser, along with two nightgowns: a c. 1880 night dress believed to have been worn by Elizabeth and a c. 1910 night dress believed to have been worn by Georgiana's sister Amelia Henrietta Fraser (née Moore) while boarding at Merton Hall (this nightdress does also show a laundry mark of G.E. Moore and so may have been worn by both women). Georgiana herself donated a number of items to the Society in 1972, including a 1920s black and white geometric loom-beaded handbag.A good example of a princess line dress of this period in good condition and with provenance.A one-piece princess line dress, circa 1878-1882 of deep royal blue silk featuring Chinese-inspired self pattern. The neckline features a standing collar and is secured through the centre front from neck to floor with self covered buttons. At the front knee the fabric has been gathered and drawn to the back into a tiered fish-tail swag and trimmed with a matching blue knotted fringe. The swagging is created by interior tapes. The dress is backed with cream cotton.georgiana elizabeth moore, elizabeth moore, amelia henrietta fraser, brighton

This work was exhibited at 'Stories from Kitty's Lead Road' at Chiara Goya Gallery in 1999. Of the exhibition Ros Lawson explained: "Beyond the city, before the outback, lies a little-explored , unfashionable space - the "bushland" of suburbia. I explore this landscape of tension between nature and human settlement. It is the activities that occur within the lanscape that are of interest: animal husbandry, feral animals, nature walks, star gazing and more mythic qualities of the area. Within these themes lie the reflections of the artist I regard to the erfurbishment of the landscape and the desire to observe, classify and make significant in order to preserve nature."Rosalind LAWSON (11 January 1948 - ) Born Ballarat, Victoria Rosalind Lawson has spent much of her career working in rural environements, in Australia and Ireland. She has exhibited widely, and in 1997 won the Broken Hill Outback Art Prize. She holds a Master of Fine Art from R.M.I.T. (1995), a Diploma of Fine Art from R.M.I.T, A Diploma of Physical Education, from the University of Melbourne, and a Trained Teachers' Certificate from Melbourne Secondary Teachers' College . Between 1989 and 2012 Ros Lawson Lecturered in painting, drawing, papermaking, and was a tutor in Art History at the University of Ballarat Arts Academy (now Federation University). Her studio practice includes painting, drawing and paper art using handmade paper. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, rosalind lawson, lawson, ros lawson, birds

'Black Day' was part of a series of paintings drawn from a larger body of work produced over a four-year period exploring the 'harsher side' of the Australian landscape and the aftermath of extreme weatehr events and climatic occurences of fire, flood, drough and wind. Although loosely based on real places and events, the works are essentially fictional with ideas gleaned from popular media - telveision, Internet, magazines and newspapers. While my return to abstraction and landcape painting from figuration has been relatively recent, the natural environment has always been informed by my artistic practice regardless of subject matter, and has had always informed my artistic practice regardless of subject matter, and has had a long-standing influence on the aesthetics, the compositional structre and imagery in my work. The flattening of the picture plane and the prominent horizontal and vertical marks in my composition are informed by a response to both natural and man-made interventions in the land - the muted and restricted colour palette echoing my response to extrems in environmental changes, particulalry of cental and western ditrict Victoria. Created in the studio environment, I consisder this boxy of work as being imaginative 'conglomerates' which reflect varying perspectives and textural interpretrations of the land - defining and expresssing my response to particular and significant climatic, environmental events and my personal experiances. September 2012Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This item is part of the Federation University Art Collection and was purchased for the collection by Vice Chancellor David Battersby. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Acrylic on canvas paintingart, artwork, glover, tarli glover, bushfire, alumni, available

John Wicking and Arthur Wilkins smile for the camera outside Government House (Victoria), after receiving their awards. Mr Wicking was awarded a Member of the Order of Australia for his service to the welfare of handicapped persons, whilst Mr Wilkins was awarded a Medal of the Order of Australia for service to the welfare of visually handicapped persons. B/W photograph of President John Wicking and Arthur Wilkins with their medals.john wicking, arthur wilkins, association for the blind

Association for the Blind President John Wicking receives his Member of the Order of Australia medal from the Governor General of Victoria, Sir Henry Winneke.B/W photograph of John Wicking receiving his award at Government House (Victoria)john wicking, sir henry winneke, association for the blind

Photocopy of the advertisement in the "Argus" 24.12.1862. Horticultural Society of Victoria - Opening, Exhibition of Flowers and Fruits, Admission, Grand Floral Fete and Collation.the australian, horticultural society of victoria, opening day, flower show, survey paddock, burnley gardens, horticultural society's gardens

Photograph taken by a staff member of the rear view of the Kooyong building, facing the blind cricket ground. There is a rainbow above the building, visible against the stormy clouds.vision australia, buildings

Print of bombing of Darwin 19 February 1942 by Japanese aircraft. Shows several vessels loaded with ammunition, having been hit and set on fire in the harbour. Image from AWM collection AWM13495, issued by DVA 2012.

Book - soft cover

Booknon-fiction

Book

Book

In Memoriam booklet of 34 pages.

Book

Framed Photograph

pruning, fruit trees, burnley, public day

35 slides Jul 78.pruning day, 1978, open day, pruning day 1978

When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established and the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. This stamped, addressed Commemorative Pictorial Postmark envelope celebrates the 1951 Bendigo Gold Centenary Philatelic Exhibition. Registered, postmarked 02 July 1951. Printed and stamped envelope featuring an image of a poppet head on the left and four commemorative stamps celebrating 100 years of gold top right. Letter is addressed.Obverse Top left; $30 Centre top and bottom; various pencil markings Lower right; T. Clark / 5 Princes St / Oakleigh s.12 / Vic Reverse- Two red pencil lines Centre - postal stamps bendigo post office, bendigo tourism, city of greater bendigo tourism, post office collection, making a nation exhibition