Ladies sleeveless yellow nylon blouse. See through nylon fabric. Peter pan collar with pintucks on upper layer. Rounded front yoke of vertical pin tucks with scalloped lace edge. Front opening with four X 1 cm clear plastic buttons. A four cm fold over edging on arm holes. Vertical darts from lower hemline- one on either side of front and two on back.costume, female, ladies sleeveless yellow nylon blouse

Colour photograph of children Brian, Evelyn and Trevor Hancock dressed for the Lakes Entrance Primary School Junior debutante ball, Evelyn in white sleeveless lace over satin frock with yellow waist band and floral head band, Brian in dark pants, white shirt, scarlet bow tie and cummerbund, Trevor as Master of Ceremonies in dark suit, white shirt and dark bow tie. Lakes Entrance Victoriagenealogy, celebrations, clothing

(1) An older man seated in an armchair with an upholstered back with a carved top playing an accordion? He is wearing shirt, cardigan, trousers, lace up boots and a cap. His walking stick is hanging on the back of the chair. (2) A middle aged man sitting in front of a brick fireplace playing an accordion. The instrument has a plate near the keys with 'The Grand Organ' printed on it. It has decorative scroll work on the corner near the keys.photo, individual, male, peter ellis collection, accordion/concertina players

They are addressed from a George to his wife Louie. WW1. Item in the collection re George Bailey Jackson, refer cat No 3446P for his service details.This is a purchased buckram book. On front it shows gold line dropping down froma horizontal bar. The tips of the gold lines show a Fleur De Lys on each tip. The phrase "Postcard Album" is also printed in gold. Inside are numerous pages cut with various slots to hold postcards. The postcards are brilliant, beautiful and awe inspiring - their colours, cottons etc. Most are sewn, some are hand painted. Some have intricate lace work.A lot of postcards have "To Louie from George" (Louie possibly his wife), Louie was c/o address Nth Ryde, Isle of Wight, England. An early card is addressed to Miss Louie Hobbs, Southampton, England. A lot are about the Army Service Corps.postcards, ww1, passchendaele barracks trust

Photograph captures people assembled for a meeting of the Elaine Coursing Club at Larundel around 1923.Black and white photograph on cardboard mounting showing a large group of people on the verandah of the Elaine Coursing Club, Larundel. The verandah has wrought iron lace work. The house is made of bricks, and two large windows can be seen on either side of the large door. Many of the people are wearing hats, the women are wearing dresses and the men are wearing suits and ties. There are more women than men.There are several chairs on either side of the group.Verso (in pencil) 'Elaine Coursing Club Grandpa'elaine, elaine coursing club, coursing, larundel estate

Bendigo Advertiser October 8, 1970 Newspaper Article Huntly Defers Decision on Bendigo Trust Cr. K.A Read suggests that too much power is being given to an organisation based solely in Bendigo when its task is to coordinate all items and laces of interest in and around Bendigo. Cr read was disgruntled that there was only one representative from each of the surrounding municipalities on the Bendigo Trust committee but many representatives from Bendigo.bendigo, history, formation bendigo trust

black and white photo: 2 storey building with 1st storey verandah. Lace balustrade, wooden verandah posts, parapet . F.E. Stilwell IRONMONGERS on shop front. Between storeys, 'Enamelware, cutlery, glassware, F.E. Stilwell, on shop front. Display cabinet shop fronts. Spoon drains . 8 male employees on verandah.. Woman and child at left. Tree with guard. Batchelder / 'gp 15' on back HARGREAVES STREET NOW HARGREAVES MALLbatchelder ?buildings, commercial, f.e. stilwell ironmongers

Black and white photo, reprint of Batchelder photo. Two storey brick building ' Holmes' cast in concrete parapet. Iron lace trim on balcony. Holmes Ironmonger, Agricultural Implements, oils, paints and paper hangings painted on side. Building in McCrae Sreet. Small weatherboard building with ' Bendigo Rifle Gallery - W. Callaghan. Brooms, pans, pans in front of shop boardwalk, Ploughs to right of photo. 4 male figures present.Batchelderbuildings, commercial, h & c. holmes, ironmongers

Sepia photograph mounted on brown embossed board. Large house, stone and brick, corrugated iron roof, gable at side. Round turret with conical roof, s\castellated parapet over square porch at right. 4 chimneys visible. At back, roof which is higher than remainder of roof, with windows along side. Adult male standing oin verandah. Garden with shrubs and grass. Bull nose verandah with iron lace.buildings, residential, victorian

Black & white photograph of Addie Keating dressed in theatrical costume as Romeo. Photograph is mounted on grey board. On the back is written: To my dear friend Ethel from Loving Yours Addie. In the photo she is wearing black tights and shoes, a long decorated jacket with an embroidered wreath on the front, a large lace collar and a hat with a feather in it. She has long hair. The background of the photo is a garden setting. 'Romeo' is signed on the front of the photo.W. Vincent Kelly. Mitchell St. Bendigophoto, individual, female, photograph, addie keating, romeo, w vincent kelly

Events, Y.M.C.A., Y's Workbox, Display & Demonstration of Unusual Crafts, Sunday October 28. 1984, at the YMCA Stadium, Mundy Street, Bendigo, 10am-5pm.Crafts including; Bobbin Lace, Marquetry,Tatting, Leadlighting,Vietnamese Wood Carving, Decoupage,Model Vintage Cars,& Tanks,Embroidery,Pen Etching,Material Mats, Ribbon Flowers,Wooden ''Dummies'',Machine Embroidery, Candlewicking on Calico,Wooden Dolls, Porcelain Dolls, & many more. C.Marrone.C.Marroneevent, exhibition, bendigo y.m.c.a.

Textiles, pink cotton lingerie or stocking bag with fold over envelope style flap at back over opening. Front has overlay of cream coloured tapestry fabric with pulled thread work embroidered with pink cross stitch and line patterns. Three decorative 2 cm pink satin ribbon bows in three corners. Fourth ribbon detached (stored in bag). 4 cm gathered cream lace edging on four sides.textiles, domestic, pink cotton lingerie bag

Clothing. White cotton half slip floor length petticoat. Drawstring waist six darts across centre front waist. Back opening (21cm). two layers from 58 cm below waist. Outer layer of horizontal strips of broiderie lace and two rows of three pintucks. Scalloped edge at bottom of petticoat. Second layer of white cotton fabric. French seams. Machine stitched. Old box 230.Stamp inside waist band, ''P Lyon''costume, female, half slip floor length petticoat

Textiles. Cream coloured cotton pillow sham. Centre panel (60cm X 32cm) made up of six pieces of scalloped edged embroidered fabric. Scalloped edges stitched together to form one horizontal and two vertical lines of open circular shapes (2cm). Centre panel edged with threading ribbon. (No ribbon). Pillow sham has border of lace (10cm) with floral pattern.Old box 75, Yellow label 183.textiles, domestic, cream coloured cotton pillow sham

Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian doll and clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen.Hand made Authentic Bavarian doll. He wears a bottle green woolen hat with light green band and white feather. Bottle green jacket with red trim on front opening and pockets. Red jumper with white pointed collar. Leather lederhosen with flower embroidery on waist and braces. Arms and legs made from hessian? Leather boots with laces. White knitted socks with green band. Hand sewn and painted face.else oertel, friedel dehnel, bavarian, doll, dressmaker, else-lore hukins

Steel framed folding babies basket. The frame painted cream has four swivelled small roller wheels attached. The basket frame can be removed by unscrewing four round knobs and the frame can be folded flat. The basket has a canvas base and sides woven with cotton cord. The basket is fitted with a pink liner with broad lace edges. Ther are two pockets sown onto the inside of the liner. The liner is in poor condition.The Universal Folding Basket. H & C printed on canvas base.

Article titled 'Students catch up on real life experiences' with four photos. The first photo the children and man are making damper. The second is a head shot of Shannon Fernie wearing a lace hat. The third is the Vice Principal Ron Payne receiving a basketball activities kit from Mike McHugh of Basketball Australia and the fourth photo is two children reading books. They are wearing Christmas hats. The article mentions the life experiences the children are studying.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, shannon fernie, ron payne, mike mchugh, advertiser, australia post, graeme topp

This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism

NSW Mounted Rifles officer's mess dress waistcoat worn by Lieutenant William Augustine Newman (1873-1955) during the Second Boer War. Born in Campbelltown, NSW, William began working in the colonial public service at the age of eighteen. In 1899 he travelled to South Africa to fight in the Second Boer War as an officer of the 1st NSW Mounted Rifles. Returning to Australia in time for Federation on 1 January 1901, William rejoined the public service and was appointed to the original staff of Prime Minister Sir Edmund Barton, attending the first opening of Federal Parliament in Melbourne as Barton's private secretary. He went on to serve as the chief clerk of the Home Affairs Department, Commonwealth Electoral Officer for Victoria and official secretary to the Governor-General. In 1927 he was appointed Administrator of Nauru, a position he occupied until his retirement at the end of 1932. He retired to Brighton, where he lived with his family at 43 Martin Street until his death in 1955.Black NSW Mounted Rifles officer's mess dress waistcoat. Black superfine wool front, with black cotton back and cream cotton lining. The neck, front and bottom front edge are edged with gold metal lace and gold cording in an Austrian knot style. Two front pockets are edged in the same looped cording. The left front opening is edged with a row of decorative gold metal studs, with hook and eye fastenings underneath.Handwritten in pen on lining: "MESS WAISTCOAT / BOER WAR / LIEUT. NEWMAN / Gift of Mrs. D. Kelly, daughter".military uniform, nsw mounted rifles, boer war, william augustine newman

Items in the collection re: "William Anthony (Bill) THEODORE DSM" Refer Cat No. 7926P for his service record. Trousers issued to "H.R. Rodgers"Trousers - part of the summer uniform worn by Recruit to Leading Seaman Ranks RAN. Known as 'Bell Bottoms'. White colour cotton fabric, trousers with inset front pockets. Two layer front flap fly with numerous buttons. Wide waist band with lacing at back for size adjustment. Buttons silver colour metal. White colour cotton manufacturers label back inside waistband. Handwritten owner's details inside waistband.Manufacturers information - red ink print "M.TX/Size 4". Handwritten - owner's details - black ink pen "H.R.RODGERS".uniform, ran, ww2, william anthony theodore dsm

A tie pin is a neckwear controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls, and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-produced. 3 men's metal lapel pins with coloured glass inserts 1 yellow 2 red jewellery, tie-pins, male neckwear, moorabbin, brighton, early settlers, pioneers, cheltenham

A tie pin is a neckwear-controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-producedThe family of Lorna Risstrom were early settlers in Moorabbin ShireA tie-stud and chain in a small, blue velvet covered, silk lined, hinged jewellery box with . The tie-stud has a red stone set in gold metalmoorabbin, bentleigh, cheltenham, early settlers, pioneers, market gardneners, jewellery, risstrom lorna, tie-pins, tie- studs, cravats, silk, lace,

Dora Walker, a member of the Ladies Harbour Lights Guild married H.P. Simpson on 14 February 1928. The wedding was celebrated at the Mission's chapel at 2.45pm. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."2 original prints and a reprinted version depicting the St Peter chapel decorated with flowers for Dora Walker's wedding in 1928 wedding, dora walker, st peter chapel, mission to seamen, mission to seafarers, flinders st, lhlg, dora simpson, 1928, valentine's day, amy dora walker, ladies harbour lights guild, malvern, reverend j.r. weller, molly walker, ella kendall, flowers

Clothing. Fine white linen fabric. A .8 cm 'tuck' edged at top and bottom with a spoke-stitched border, marks the waistline. Below the waistline is a peplum, split at the centre front with 8 cm deep peaks. These peaks are repeated at the centre back. The peplum tapers to 7 cm deep at side seams. The camisole is trimmed at the top edge with a 4 cm deep band of cotton lace. The top edge of the linen fabric has a double row (off set) of cotton embroidered 'spots' 2 mm in diameter, and three rows of drawn thread work - one cm in width, 3.5 cm wide lace form the shoulder straps. The back opening fastens with six tiny 7cm pearl buttons, and hand-stitched button holes. The lower button fastens with a loop at the waistline 1880-90's. A 'fan' of pintucks, arched from 4 cm long at the ends, to 6 cm long at the centre, fans the midriff at the centre front, above the waistline - 28 tucks in total.costume, female, camisole.

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This nightgown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. The item appears to have been made or altered to accommodate a pregnant belly, however purpose made maternity clothing was not common at this time. Mrs Ward-Cole’s six pregnancies took place in 1843, 1844, 1845, 1847, 1849 and 1851. The style of this garment in particular the shape of the sleeves would indicate that it is most likely to have been constructed in circa 1860, so whilst it appears to be a maternity item, and historically has been referred to as thus, this purpose cannot be confirmed. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolishedA hand sewn ivory cotton muslin nightgown, c. 1842–1850. The bodice is made of delicately embroidered muslin in a floral design. The open flat collar features a scalloped lace frill underneath. The bodice fastens with thirteen mother of pearl buttons down the centre front. After the fourth button, the remaining buttons are concealed beneath a full gathered modesty skirt, which falls from just below the bust line. The modesty panel is secured horizontally across the bodice by six mother of pearl buttons. The sleeves finish over the back and palm of the hand in two flattened peaks. The front of the gown consisting of the modesty front is full length. The modesty gown at both sides joins two panels that are an integrated part of the bodice. At the centre back there is a very full gathered panel with lace trim that falls to create a train. It is semi-attached to the bodice with a top section secured with mother of pearl buttons and small ties. The purpose of this design feature is unknown. st ninians, george ward cole, brighton, night gown, thomas anne ward cole

local manufacture either a seemstress or a mother. Time Circa 1920s to 1940s. Distance from towns with haberdasheries would force local manufacture of garments by highly skilled women.Historical period Circa 1920s to 1940s was before easy access to branded manufactured clothes. Majority of basic clothing was hand made either family or skilled friends and neighbours This is Garment is cross referenced to KVHS 0249 and KVHS 0248 and details the growth of a young childGarment has sleeveless top attached to pantaloons at waist and open crotch and going down inner leg seam to 8cm from bottom. Bottom section of each leg adorned with crocheted lace and two pin tucks around bottom of the legs. Top back of garment has three "Mother of Pearl" buttons and narrow 8 mm wide shoulder cross reference to KVHS 0249 and KVHS 0240 straps. Machine stitched cream in colourvest, underwear, child's clothing

Small, hip length portrait of a lady. She is standing beside a cupboard? With her right elbow resting on the cupboard and her hand up to her face. Her left hand is beside her right elbow. Her dress has long sleeves and lace at the collar and cuffs. Printed on the back in gold is the photographer's name and address. Also handwritten: - 'to Mrs Carson with my best love Angelina Moorhead. Sailors Gully. Feb 21st /7 5.'The Briston Portrait Rooms, A. J. Davis, 75 & 77 Swanston Street. Melbournephotograph, portrait, female, portrait of a lady, bristol portrait rooms, a j davis