The Bocian is a versatile training sailplane that first flew in 1952. The type has been modified in several respects over the course of production by SZD (tailplane and rudder in particular). About 600 have been built; many for export to 27 countries (including Australia). The aerobatic capability and fine performance (best glide ratio of 26) has enabled the Bocian to be used to train competition pilots as well as those of lesser experience. Many world gliding records were set in the 1950s and 1960s in Bocian gliders. The Museum’s example is a type D test flown in Poland on 3 and 4 April 1963. It was imported into Australia in September 1963 by Austerserve Pty Ltd. The first owner was the Alice Springs Gliding Club and the glider had name “Cumulus” painted on the side of the fuselage (since removed). The glider had recorded 726 hours 46 minutes flying time from 2138 launches as at July 1967 when it was transferred to the Darwin Gliding Club. It appears that the glider was damaged in June 1968. The substantial repairs to the fuselage, both wings and tailplane and other minor repairs were completed on 13 October 1968. The glider continued flying with the Darwin Gliding Club until August 1969 at which time the service to that club amounted to 59 hours 7 minutes flying time from 348 flights. Between August 1969 and August 1976 no flights are recorded in the logbook. It is understood that on its last flight at Bachelor, south of Darwin in the Northern Territory (August 1969) it was severely damaged when it crashed after spinning while being auto-tow launched (although this is not expressly mentioned in the logbook). Reg Hancock purchased the damaged glider and rebuilt the port wing and restored it to airworthy condition (September 1976). It was then transferred to Colac, Victoria, and used by the Colac Gliding Group at the Yeo airfield until February 1981, adding another 153 hours from 403 flights to the glider’s record. After airworthy inspection in September 1982 the glider was used by the Geelong Gliding Club until 1983 (logbook details not held). The 20 year survey was then due and the glider fell out of service. In the course of the most recent restoration attempt it was discovered that the glue used in construction had deteriorated and that it was no longer feasible to bring it back to an airworthy condition. Subject to restoration, this exhibit may be representative of the 1950s - 1960s Bocian two seat sailplane typeThis exhibit is a large two seat glider /sailplane of wood and fabric construction. All components are present with the exception of instruments. However, at the time that the aircraft was transferred to the Museum it had been taken apart for major restoration work. As received it is stripped of the top coats of paint and a number of components (including, amongst others, tip fairings, nose cone and cockpit elements) that were removed for facilitating the repair process. The glider, serial number 803, was registered as VH-GNLaustralian gliding, glider, sailplane, bocian, cumulus, alice springs gliding club, darwin gliding club, colac gliding group, geelong gliding club, hancock

Clothing. Women's straight black wool crepe skirt. Fold over waist band lined with stiffened fabric (4cm). Centre back opening. Lining at waist fastened with two metal hooks and eyes. Back opening (19cm) fastened with five press-studs. Inverted pleats (28cm) on RHS front and LHS back above the hem. Skirt is unlined. Two hanging loops.costume, female, women's straight black wool skirt

1974 Commonwealth Games tie - New Zealand. Light grey synthetic fabric. Three 1 mm diagonal stripes at centre of tie- red, white and navy and at tail end. Below stripes at front is an embroidered square with letters NZ in each corner (1.3 cm X 1.3 cm). Below square is gold coloured embroidered crown with five sided border pattern of leaves.Label in inside seam, ''John Webster International'' , ''Wash and Wear'', ''Made in NZ''. ''Super Loom De Luxe''. Elustica Lined''.costume accessories, male, light grey synthetic tie.

Cream linen fabric, rectangular in shape. One log edge is finished with a 16 cm wide band of lace. This lace has been.machine made, and attached to the linen with a zig-zag machine stitch. The woven pattern in the lace is geometric in style. The other three sides are edged with 1.5 cm wide, woven lace in a scalloped design. Long-edge lace is 15.5 cms wide.manchester, table linen, side-table cloth

A typical North Vietnamese army issue helmet.Khaki green fabric covered pith helmet. Top part has 4 sections, each with a silver metal ventilation eyelet. Band separating top section from brim also has a metal eyelet. A domed metal vent at the top has 4 'arms. Inside strapping is green vinyl held in place by brown cord, and the chinstrap is brown leather with a silver metal buckle.pith helmet, vietnam, uniform, north vietnamese, helmet

The letters of the completed banner were made by different churches within in the presbytery and spelled a sentence, presumably "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. One of 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.11 "H" edged with pale blue metallic fabric paint "H"uniting church adult fellowship

Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. Photo of numerous pipes, all installed during the period when the house was owned by the Royal Women's Hospital as a home for nurses (1950-1974). The pipes extended from the roof and from rooms used as washrooms on the first floor.villa alba museum, conservation photographs, victorian architecture, drain pipes, waste water

Worn by donor to her sister's wedding 25 February 1966 at Christ Church Hawthorn.Cream Crepe bridesmaids dress Sleeveless which has a taffeta lining. the dress is a princess line style and has stiffened cream fabric flowers, with pearl centres. The flowers are mounted on continuous wire thread, Dress has a round neckline with a zip down the back. Gloves - Elbow length coloured cream with 2 pearl buttons at wrist closing. (Left glove has stain on back.)costume, female ceremonial

Worn by Donor's baby boy during the 1950sViyella fabric boys shepherd's jacket with collar and long sleeves. Opening at front with three cream buttons at top and one press stud at top. Jacket is cream coloured with blue smocking at front top.|There is a blue and white edging on cuffs and collar, also down one side of jacket. Back has centre pleat and one smaller each side. Under smocking jacket is gathered.Dacolocostume, children's

Evening or opera coat with princess line seams and shawl collar. Leg o' mutton sleeves, full length flared skirt of six panels and secured with one self covered button and bound buttonhole at the waist. Fully lined in cream coloured silk taffeta. Fabric is printed in gold with flowers, vines and butterflies with hand silk screened roses and forget-me-not flowers over the topNone

The Arrow shirt company was founded by William H.Titus and his partner in Chicago, Illinois and in the late 1800s merged with Cluett Peabody. In 1929 Cluett, Peabody & Co. established a national menswear business under the Arrow brand name. The "Arrow" name gradually grew into a product line that included shirts, collars, handkerchiefs, cravats, pyjamas, and underwear for men and boys. (Wikipedia)Two pairs of men's underwear. "Arrow" Trademark. Made from "Sanforized Shrunk fabric - ironless finished cotton". Cotton tape threaded through the top band allow for some adjustments to sizing. One garment appears to have hand stitching on the top band to allow for resizing or repair. Each pair has three silver coloured press studs for front fastening. 1930s - 1940s.arrow clothing, underwear

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Late Victorian black silk damask outfit comprising a flared skirt and a short bodice. The high necked bodice reflects changing fashions at the turn of the 20th Century in that the silk fabric on the bosom is lightly gathered. The sleeves are pleated at the elbow. The skirt is lined with a black cotton lining. The neckline of the bodice includes a narrow band of pale cream lace. The outfit was owned by one of the donor's maternal ancestors.women's clothing, australian fashion - 1890s, mourning wear, micky ashton

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Beige silk theatre or opera jacket with multi-coloured guipure lace at the neck, on the front bordering the opening, and on the cuffs. The long sleeves have extensive old lace extending beyond the wide cuffs. The inside is lined with quilted pink silk, which has darker silk panels at the front. The jacket has a high neck. It is closed using three embroidered fabric buttons at the frontedith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, coats

The outbreak of Coronavirus COVID-19 in Melbourne in 2020 resulted in changed behaviours by the population. These changes included, at least in Kew, the placing of teddy bears in windows. In the final months of 2020, an easing of restrictions allowed members of the Kew Historical Society to meet face-to-face, including during the annual Christmas Dinner, on this occasion at the Greenacres Golf Club. At the event a decorated mask competition was held. Individual masks were donated by a number of attendees for the collection.A series of hand-made and adapted commercial masks worn during the COVID-19 pandemic in Melbourne at the annual Xmas Party of the Kew Historical Society. Attendees were advised that an award would be made to the creator/wearer of the best decorated mask. This was won by Jan Walker the owner of the pink patterned fabric beaded mask. The makers of each mask is identified in the Media Reuse credit underneath the image.masks, covid-19, kew historical society -- celebrations

This item was worn by Maj Damien Batty whilst on UN peacekeeping in BougainvillePolyester cotton brassard in Disruptive Pattern Camouflage Pattern (DPCU Rabbit pattern) Fabric. Sewn on the main body of the brassard are two patches, the first patch represents the United Nations featuring the United Nations symbol, the second is a square patch of the Australian flag. The brassard is secured to the sleeve by a slit in the top through which the shoulder strap is threaded and a velcro straps wraps around the arm. United Nations Patch - UNITED NATIONS / NATIONS UNITES Australian Flag - AUSTRALIAbrassard, united nations, australian flag, dpcu

Wedding dress bodice of Mary Rebecca Poulter ( 1879- )who married Hector (George?) Chapman (1871-1932) in 1901 at Christ Church, Kilmore.Clothing related to early Kilmore families.Deep blue bodice, tucks entire length of bodice. Bodice boned below bust to narrow waist, sleeves flaring at cuffs. Cotton lining, remnants of a lacy fabric at neckline. High collar, side fastening, dark blue braid trim at cuffs, collar & front. Hand sewn throughout. Front fastenings - metal hooks & eyes. Very fragile & poor condition. Not repairablepoulter, chapman, wedding dress

This apron was made by Theresa Dunn (néé Wallis) of Breakaway Creek, Victoria. Born in 1912, Theresa came from a farming family and left school at the age of 14 following the death of her mother to help care for her younger siblings. Well known for her needlework, Theresa and her sister Eileen exhibited widely and later judged work for Victorian and interstate needlework competitions. Sticklers for perfection, they were known to always look at the back of the work first. In 1935 Theresa married Allan Dunn. This apron formed part of her glory box; a collection of items saved in preparation for married life. Never used, it was donated to the Ballarat Apron Festival in 2017 by Theresa’s daughter. Made by Theresa Dunn of Breakaway Creek in the 1930s, this apron reflects early-20th century ideals of thrift and resourcefulness that were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Part of Theresa's glory box, this apron is in immaculate condition and is an example of depression era clothing and resourcefulness. Sugar bag apron (circa 1930s) Ballarat Apron Festival collection Until the mid-20th century concepts of thrift and resourcefulness were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Colonial Sugar Refining Co Ltd. Pure Cane Sugar 70lbs. Melbourne 1A

The cornet was owned and used by W H Nicholls, a member of the Linton Brass Band, most likely in the 1890s or early 1900s. The cornet was donated to Linton & District Historical Society in 2017 by Robyn Nicholls, of Blackburn. It is understood in the Nicholls family that Robyn's late husband, Graeme Nicholls, inherited the cornet from his great-grandfather, William Henry Nicholls (1845-1902). However it is also possible that the cornet was owned and played by Graeme's grandfather, also named William Henry Nicholls (1880-1943).Brass cornet with mouthpieces, in original dark wooden case which has red fabric lining. Instrument is approximately 30cm in length, has a 12 cm bell and three valves. A small portable sheet-music holder is also in the carrying case. The manufacturer's name "Gautrot Brevete, Paris" is imprinted on the bell, along with the inscription "Exposition Universelle de Paris, 1889, Medaille d'Or". EXHIBITION / UNIVERSELLE / DE PARIS / 1889 / MEDAILLE D'OR / Gautrot Brevete / PARIS.linton brass band, musical instruments

BHS CollectionBlack linen-like dress. Peaked collar. Front opening, fastened with five press studs. Seventeen covered buttons decorate the front opening from neck to waistline. A three point five cm wide band marks the waistline, caught at eight points.Skirt has four panels of fabric. Long set-in sleeves have a turn-back cuff, decorated with three covered buttons.

Lack model metallic tongue depressor. General deterioration over its surface with presence of scratches, worn surfaces mostly at the edges of the piece, oxidation spots and resin plasters around the handle base with dust and fabric fibers glued to it. It has a serrated surface bellow the blade to facilitate tongue adherence. It has an adult medium size. No inscriptions or further details are present to determine manufacturer or owner.tongue depressor, lack's tongue depressor

Object. Clear plastic basket, in the shape of a flower carrying basket, with a high looped metal handle. A .8 cm wide satin ribbon bow adorns the top of the handle. Six silk fabric rose buds stand in the basket, with four stems of decorative pearl tipped ''stamens'' and one larger pearl on each stem. Silk leaves and flowers are all arranged in a frill of tulle.wedding, accessories, cake topper decoration

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A handmade, sturdy white cotton christening gown. The bodice is made from a number of separate pieces of fabric. At the front there is a flat, pleated panel that extends well below the waist. The longer half-length sleeves are attached to the neckline rather than from a shoulder. Each sleeve is bordered with crocheted lace. Crocheting is also used as a decorative element on the front of the tie. The skirt is simply hemmed. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

John Stanistreet collection..1) Ribbon: British War Medal 1914-18 .2) Ribbon: Victory Medal 1914-19 .3) Button: Brown, plastic 4 hole .4) Button: Brass coloured Australia in centre Crown above .5) Button: Gold coloured Australia in centre Crown above .6) Button: Gold coloured Australia in centre Crown above, piece of fabric attached.4) - .5) - .6) ”Australian Military Forces”uniforms - accessories, metal craft- brassware, manchester

.1) These capes were worn by student nurses when going on and off duty, when called to see the Matron or senior nurse (but never worn on duty). They were made of unlined woollen fabric and were wrist length and worn by Alfred Hospital student nurses until 1992.This nurses cape was made before 1970 as Ball & Welch Ltd was bought out in 1970. .2) RANF was between 1971-1988. In October 1975 the Royal Victorian College of Nurses amalgamated with the RANF Employees' Section and became the new Royal Australian Nursing Federation. .1) Machine stitched light blue pure wool cape with stitched down shoulder epaulettes. Around the neckline is stitched cotton bias binding which is hemmed by hand. Hook and eye fastening. .2) Badge pinned to left hand front Badge - Student Nurse Unit R.A.N.F.nursing, alfred hospital, student nurse cape, woollen cape, royal australian nursing federation, ranf, badge, ball and welch, costume, textiles

Michael O’Connell (1898-1976) arrived in Melbourne in 1920 with no professional training apart from that of a soldier on the Western Front. During the 1920s however he discovered a talent for design and, returning from a visit home to England via France and Italy in 1929, focussed on textile design with his wife Ella. This fragment of a wall hanging shows clear indebtedness to the School of Paris, Matisse in particular, and other designs from the early 1930s indicate that O’Connell was familiar with the work of Raoul Dufy who had created some successful and popular fabric designs for Paul Poiret.Textile piece featuring women and geometric patterntextile design, rmit design archives, mid-century modern

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.This day dress conforms to the V&A's description of fashion in the 1950s in that: 'The 1950s continued the late 1940s style with very full skirts, cinched waists and sloping shoulders. Dresses with pencil or full skirts were seen in either plain fabrics or floral prints.'Sky blue ballerina length dress with pleated skirtaustralian fashion - 1950s, day dresses, women's clothing

The rectangular brass plaque commemorates the centenary of the official opening of the Point Hicks Lightstation on 15 May 1890. The engraved text in capitals reads ‘Point Hicks Lightstation/This plaque commemorates/The opening of/This Lighthouse/ (Then known as Cape Everard) /On the 15 May 1890/’. It finishes with the date of 13 May 1990. It is not known whether the plaque is a fixture attached to one of the lightstation buildings, or a detached object. If it is attached, it is defined as building fabric and is included in the Victorian Heritage Register listing for the lightstation. Details of the commemorative ceremony presumably held on 13 May 1990 are not known. It is not known whether the plaque is a fixture attached to one of the lightstation buildings, or a detached object. If it is attached, it is defined as building fabric and is included in the Victorian Heritage Register listing for the lightstation. Brass plaque with an engraved inscription. to commemorate opening of the lighthouse."POINT HICKS LIGHTSTATION/ THIS PLAQUE COMMEMORATES/THE OPENING OF/ THIS LIGHTHOUSE/ (THEN KNOWN AS CAPE EVERARD) / ON THE 15 MAY 1890 / .....13 MAY 1990"