A Weller-Ash nitrous oxide apparatus that has been sectioned, complete with a brown fabric Cattlin's rebreather bag, stopcock, rubber tubing, and celluloid mask, on an iron stand that has been decorated with a natural, gold-coloured leaf motif. The base of the stand is black, and has a brown foot pedal which controlled gas flow to fill the bag. Much of the stand and the dials on either side are a brassy gold colour.nitrous oxide, rebreathing, anaesthesia, dentistry, surgery

This vaporiser is enclosed in a portable black cylindrical bakelite carry case with moulded handle, woven fabric strap and single steel latch. The item comprises a three-chambered vaporiser, an assortment of attachments including black ribbed rubber tubing, light brown rubber rebreather bag, facemask, black rubber mask harness, Connell pharyngeal airway with connector, an attachment for an endotracheal or nasal tube, as well as spare thermometer and other parts.Stencilled in white paint on the outside top lid is 'THIS SIDE UP / WITH CARE / SEE INSTRUCTIONS / INSIDE LID'. Serial number is inscribed on metal plate inside the lid and printed in white on the inside lid is 'IMPORTANT / The Oxford Vaporiser is a scientific apparatus'vaporiser, oxford, anaesthetic, portable, bakelite, connell pharyngeal airway, heated vapor, endotracheal, nasal, rebreather bag, thermometer, facemask

Shirt - cotton, polyester fabric DPCU (Disruptive Pattern Camouflage Uniform). Jungle colours - dark brown through to light brown, dark green and black. US Design. Shirt has long sleeves, collar, four front patch pockets with button down flaps. Sleeve cuffs with button. Buttons - plastic, dark green colour. Front closure. Marking on left front pocket - black ink stamp.Black ink stamp "U.S.M.C."passchendaele barracks trust, uniform, dpcu shirt, united states marine corps.

Organza is a thin, plain weave, sheer fabric traditionally made from silk. Many modern organzas are woven with synthetic filament fibres such as polyester or nylon. Silk organza is woven by a number of mills along the Yangtze River and in the province of Zhejiang in China. A coarser silk organza is woven in the Bangalore area of India. Deluxe silk organzas are woven in France and Italy. Organza is used for bridal wear and eveningwear. In the interiors market it is used for effects in bedrooms and between rooms. Double-width organzas in viscose and acetate are used as sheer curtains. Nylon organza was very popular as the new fashion material in the 1950’sA lady's collar white embossed nylon organza with machine lace edge. C1950clothing, nylon, organza, dressmaking, moorabbin, bentleigh, cheltenham, fashion

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.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'.Full length floral crepe evening dress with squared neck and short puffed sleeves.australian fashion - 1930s, women's clothing, evening dresses

Stanley Couzens, a Gunditjmara man and long-time Geelong resident, painted this story upon commission from the Geelong Wool Combing Company. It depicts hunting in the You Yangs, the distinctive granite peaks that overlook the region. In 1993, Couzens’ painting was translated into a pattern by textile designer Jenifer McMahon. It was then turned into a jumper using wool sourced entirely from the region. It was fully processed, from fleece to fabric, in Geelong. The jumper was given to attendees at the opening of the Geelong Wool Combing company on 10 December 1993. Among the many guests, was the Prime Minister Paul Keating. The painting was acquired with the permission of the Couzens family.Framed acrylic painting on board, showcasing the You Yangs mountain range, people, and local flora and fauna in warm earth tones. The painting is signed 'S. Couzens 93' in the bottom right hand corner. The painting is framed in a dark wooden frame.Bottom right corner - 'S. Couzens 93'you yangs, gunditjmara, aboriginal art, jenifer mcmahon, design, geelong wool combing company, jumper

The Anti-moth crystals were sold with the Electrolux Vacuum, along with the many other attachments, including the vaporiser. The crystals were made of paradichlorobenzene which is used in mothballs. Electrolux, founded in Sweden, has been manufacturing vacuum cleaners since 1919. On the back of the tin - 'Poisonous - Not to be taken - Electrolux Pty. Ltd., Melbourne - When used in conjunction with the vaporiser supplied with the Electrolux cleaner in this tin, Electrolux anti-moth crystals will destroy moths and moth larvae and are also effective against silverfish and other similar pests. Crystals or vapour will not harm fabrics in any way. Keep tin in cool place. - Kills Moths'A small empty vintage red, white and blue round lidded tin, 'Electrolux Anti-Moth Crystals'. The brand is printed in blue text on the middle white and red bands of the tin, with a moth shape included. The manufacturer is printed inside a white star shape on the blue lid. Detailed instructions for use is printed on the back in blue and red lettering. 'Electrolux Anti-Moth Crystals'. On the back of the tin printed in red 'POISONOUS - Not to be taken Electrolux Pty. Ltd. Melbourne' Full details for use is also provided. vacuum cleaners, cleaning equipment, domestic equipment, electrolux

Work clothes are made of durable fabric and the reflective tape enables it to be safe day and night. McConnell Dowell construcion company: Remote resources and energy projects - building, civil, electrical, fabrication, marine, mechanics, pipelines, rail, tunnel and underground construction. Founded in New Zealand in 1961. In 2003 it became wholly owned subsidiary of Aveng (Sth Africa). It expanded to Australia, Asia and the Middle East in he 1970s. Bogong Power Development consisting of tunnels and shafts and the construction of a new underground Hydro Electric Hydro Electric Power Station. It is the largest Hydro Power project constructed in Australia in 25 years.Bogong Power Development created a new power station extending the Kiewa Hydro Electric Scheme and increasing the generation of renewable energy.1. Overalls: Bright orange cotton gabardine overalls with 6 heavy duty studs down the front and retro reflective tape. Straps over the shoulders. The back has a large pocket sewn dividing it into 2 compartments. The front has 2 side pockets at the hip and 2 pockets at the chest. 2. Coat: Reversible red/grey coat. Sleeveless zip at the front. Pockets on each side of each layer - zip on one side and zipless on the other of each side. Waterproof grey material on one side and red warm materialo on the other. Sewn patches on the outside ".92R Yakka" "McConnell/Dowell/Bogong Power/ Development/ Safety Award/ 1 year/ 250,000" in white and green and on the grey side. "Aurora Australia/ picture/ Tunnel Boring machine"1. Black texta print 'Wiffen' and washing instructions label. workman's clothes, bogong power development, mcconnell dowell, high visibility garment

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

Arabic text with English translation. This document was given to all Air Crews in WW11 in case of a crash in Arab lands.A rare British High Command in the East "blood chit" or message issued for use by British aviators in the North African campaign for Arabic citizens coming across an English Officer of the English Government and a friend to all Arabs, advising all to treat him well and help him to return to the nearest English soldiers. A prayer completes the notice. There is a list of a few Useful Words in English and Arabic at the bottom of the sheet. The sheet is backed on linen.At the top of the notice there is Arabic script, and printed inside a circle in the centre of the page is the English Government symbol of a lion and a unicorn holding a shield with a crown on the top. There is Arabic script inside the circle too. On the back of the fabric glued to the paper are some grey pencil markings: 282 T Cite 32 25 W 36. 28 E Baltr 395 15 c These are all indescipherable numbers and letters. 22Ukb 2Cww11, world war 2, second world war, war documents

Clothing. Cream coloured lace silk wedding dress. Dress made from fine silk fabric with self stripe, fully lined with cream coloured linen. High round neckline with stand up lace collar(6cm). Bodice at front has crossover from shoulder to waist, forming deep Vshape at centre front with net insert below the collar. Net insert has vertical pin tucks. Bodice front and back has cream coloured lace overlay that extends over the shoulders to halfway down the 3/4 length sleeves. Hem of sleeves trimmed with embroidered lace with geometric pattern. Cummer bund of pleated silk fabric (7cm) is attached around waistband. Floor length skirt is gathered into the waistband.Front of skirt has straight lace panelsoverlay (37cmX 90 cm) including 20 cm flounce at lower edge, attached at waistline. Back of skirt has gathered lace overlay attached at waistline extending across side seams and over the edge of front lace panel. Centre back opening fastened with eighteen metal hooks and eyes from collar to waist and six metal press-studs below the waist. Cummerbund fastened with three metal hooks and eyes. A fabric insert at centre back fastened with press-studs. Collar has five pieces of stiffening plastic. Bodice has three bone casings across front above waistline, and four across the back. Cotton tape band (66 cm X 3cm) attached inside bodice at front with hook and eye fasteing.Printed on inside waistband, ''AMALIA SALXANO FARRONE'' NAPOLI ''MODE +CON----'' VIA EGIZIACA A PIZZO FALCONE 93''. Printed inside LHS sleeve at arm pit ''SAXONIA 48X''.costume, female, cream coloured wedding dress

The album tells the story of ports visited by Allan Charles Quinn during his service on board the M/S "Mongabarra". He signed on in San Francisco on December 1, 1949. Note this trip overlapped with the Album (00278) which documents the next trip Quinn made to Africa out of Gothenburg. The album preserves a 1950s perspective of a Merchant Seaman and his experience of the respective Ports at that time. The Collection is especially useful when viewed along with contemporary Quinn family correspondence.Album with metal Metal binder rings at spine and beige fabric cover with gouache printed colour design featuring scandinavian buildings. The album contains 25 pages of b/w mounted photographs. Some are missing. The cover is illustrated with colour screenprinted pictures of a white tower on the left and a brown Barn-like building on the right. There are stylised canoe boats containing rowers in the foreground.. On the inside front cover is a handwritten itinerary of the places visited.On front cover possible designer printed signature in black: "Grane"; On inside front cover on adhered sheet of paper in aqua ink lists intinerary/ index of 20 Ports visited: Title (see above) / "Signed on in San Francisco December 1st 1949 / " then a header line for 4 columns: " PORT COUNTRY ARRIVED DEPARTED / 1. San Francisco U.S.A 10-10-49 4-12-49 / ... / 10. ADELAIDE ... 11-4-50 19-4-50 / .../ 20. HALDEN NORWAY 23-7 - 50 25-7-50" ; Most of the photographs in the Album also annotated and dated ; inside back cover has an embossed letter R.album, photograph, ms mongbarra, san francisco, dunkirk, voyages, allan quinn, barbara quinn, seafaring life, ww2, seafarer, melbourne, sydney, brisbane, san pedro, newcastle, adelaide, port pirie, port lincoln, cape town, las palmas, australia, south africa, canary islands, usa, united states, france, antwerp, belgium, hull, england, hamburg, germany, copenhagen, denmark, gothenburg, norway, sweden, halden, malmö

.1) Leather Writing Satchel, dark brown with leather thong sewn around edges. On the front is embossed a crown, wings & scroll denoting RAAF. Inside are 5 compartments for writing material made from soft leather. .2) Wallet, black leather, folds in 3 with a metal, silver clip to close the wallet. .3) Set of wings, fabric, blue & white, crown over wings with letters RAAF. Item was inside .2).containers, trades-leatherworking, domestic items-writing equipment, uniforms - badges - air force

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. No interior lining. Has perforated leather sweat band. Rigid peak/visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings.

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Frank McClelland.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. Acrylic interior lining. Has perforated leather sweat band. Rigid visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings.

Donated to Ansett Museum. Formerly worn by Ansett Airlines pilot.Complements the collection of air flight crew attire.Pilot's peaked cap. Brown cotton flat-topped crown. Brown cotton exterior band supported by rigid internal leather band. Interior lining of green acrylic fabric. Leather sweat band. Rigid leather visor covered by brown plastic on top and green plastic on bottom. Brown plastic strap above visor is secured by brown button on left side. Button missing from right side. Missing insignia.No label for manufacturer, designer, or supplier.

Warrnambool Harbour Board The Warrnambool Harbour Board was constituted by Oder of Council in 1928 under the Harbour Board’s Act of 1927. The Board was made up had 7 members 1 from the Government in Council, 3 from the City Council and 3 from the Shire of Victoria. After the functions of the lighthouse keepers ceased, the Lady Bay Assistant Lighthouse Keeper's Quarters, on the western side of the building, wererented out to the public as living quarters.The book is significant for its connection with the Heritage Listed Lady Bay Lighthouse Complex. It is also connected to the community of Warrnambool, and to the Warrnambool Harbour Board.Hard covered ledger book with bound pages and hand written entries. Grey cloth covered back and front covers with spine and corners reinforced with light brown fabric. Book was labelled and printed for use as the Warrnambool Harbour Board Rent Register . Hard covered bound ledger book with hand written entries dated October 1930 to 1936 Rent paid on the Western side of the building previously used as the Assistant Lighthouse Keepers Cottage.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, warrnambool harbour board rent register, lady bay lighthouse complex, lady bay lighthouse keeper's quarters, lighthouse keeper's quarters, assistant lighthouse keeper's quarters, assistant lighthouse keeper, rent paid, record book, rent book, rent register, warrnambool harbour board

The Hall Cherokee II glider is an American design for amateur construction from plans. The designer was Stan Hall (1915-2009), a professional engineer, who gained extensive experience in the United States aviation industry during World War 2 including the programs for military gliders. He continued to work as an engineer for aircraft manufacturers and as a consultant to the industry after the war. He was active in gliding and, in particular, the home built sailplane movement. The Cherokee II was one of about 10 glider designs that he produced: it came out in 1956. It is understood that over 100 Cherokee gliders have been built. In Australia the number is possibly 10 or 11. The Hall Cherokee VH-GVO was built by R.D Meares of Caringbah, New South Wales. The glider was registered as VH-GVO on 11 October 1973 and given serial number “GFA-HB-82” by the Gliding Federation of Australia. The Logbook for VH-GVO appears to be a complete record of the flying history; in aggregate 210 hours 40 minutes in the air from 331 flights. The first test hop occurred on 29 July 1972 at Camden, New South Wales. VH-GVO was last flown on 22 July 1986. Many of the flights recorded are of one or two hours duration. The glider was last inspected and certified as airworthy and in a reasonable condition at the Hunter Valley Gliding Club in July 1986. Since that time, until transferred to the Australian Gliding Museum, the glider was in storage. Structural restoration work has been completed on the fuselage and one wing. However, inspection of the other wing revealed extensive damage to the ribs and spars and consequently a decision was taken to make it a static exhibit. The exhibit is an example of home built construction of a type that has proved popular amongst amateur glider builders.The Hall Cherokee (formerly registered as VH-GVO) is a single seat wooden home built glider. The glider is constructed from wood, plywood, fabric and metal fittings, all commercial grade except for main wing fittings, pulleys, cables and bolts. The fuselage is simple with four main longerons and bulkheads with diagonal bracing. The wing has two identical solid spars which form a geodetic structure, hence the leading edge is non-structural. Registration VH-GVO – serial number GFA-HB-82 australian gliding, glider, sailplane, hall, cherokee, meares, hunter valley gliding club

Textiles, black velvet tea cosy.Embroidered in velour thread. Floral design. One side has three stems of pink dahlia like flowers and leaves. The other side has three stems of yellow flowers with leaves. The tea cosy is edged with 7 cm red and yellow striped cord. The tea cosy is lined with red cotton fabric with a pink and green floral printed pattern. Both sides are padded. Hand made.textiles, domestic, velvet tea cosy

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

Clothing. Infant's ivory coloured nightdress. Front yoke with 1 cm X 14 cm centre lace insert. Lace trim around neckline. Centre back opening(24cm) with tape ties at neck and waist. Lace trimmed 58cm fabric ties attached at waist at centre front. Eyelet lace trim around waist. Ribbon missing. Skirt gathered at waist. Long sleeves with lace trim at wrist. French seams.costume, children's, infants ivory coloured nightdress

As children were admitted to Victorian Deaf and Dumb Institution, The Victorian School for Deaf Children and Deaf Children Australia, their details were recorded and they were given a registration number. Information included Medical Information.The Registers document where children came from, their family details and medical information, all relating to the time they were admitted and reflect the society of the time.Light green fabric with red tape over spine bound book containing specially printed pages with handwritten entries and an alphabetical index notebook attached to back cover. Contains register of pupils of Victorian School for Deaf Children, from 1970 to 1973, admitted to Princess Elizabeth Kindergarten for the Deaf (Elgar Rd, Burwood). Each entry is a full open two pages. The alphabetical index notes their Admission (?) number from 1993 to 2181Spine: "REGISTER OF PUPILS" in gold lettering "1993-2181/YEARS 1970 - 1973" handwritten in inkdeaf children australia, deaf education, register of pupils

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. BN068.2 "U" fabric paint words: "LOCH POOWONG east poowong nyora strezlecki kernang athlone" "U"uniting church adult fellowship

Programme of entertainment held on the Rippon Lea property on Thursday 15th March 1900, to raise money for the "Empire Patriotic Fund". Presented by Mrs Cardwell.Programme of entertainment held on the Rippon Lea property, to raise money for the Empire Patriotic Fund. Cover of programme is made of satin weave fabric, coloured blue, with illustrations of widlife, mounted uniformed men and the Australia and British flag. Photograph of Rippon Lea is also featured. Back of cover features a bird sitting on the end of a cannon, holding a sign in it's beak, with the words "An Absent-Minded Beggar" written on it. Various text written below this image.

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.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Two piece olive green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s

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.The donor, a resident of Kew, provided a handwritten provenance with the donation. "This is an heirloom dress, worn in Tasmania by a Fletcher relative c. 1860s, 1870s. It was for years, with another in the Queen Victoria Museum and Art Gallery, then borrowed for concerts. In (the) 1990s it was enlarged at the back for a Centenary reenactment. I thought you might like it for your collection."19th century white cotton day dress, photographed as accessioned, which is printed with a design in black. The front has a 3/4 length buttoned opening. The dress has wide ruffles in the same fabric at the base of the skirt. The later 1990s inserts which can be seen in the first and third images have been removed in preparation for the dress to be restored. The buttons are a later addition. Historically appropriate replacement buttons were later added.women's clothing, day dresses, australian fashion - 1870s, coralie coulston

This dress belonged to Mrs Lillias Parker (nee Johnston, 1820-1904). Born in England, Lillias was married in London in 1844 to Samson Parker (c. 1820-1886). The couple lived in Bendigo, Victoria for much of their lives, with Samson first arriving around 1853 and establishing a business with Samuel Macord as tent makers and fruiterers. He later had a successful business as a hat and cap manufacturer and a sewing machine agent. Lillias' obituary suggests that she was one of the first women settlers to live in Bendigo and noted her reputation for philanthropy and her interest in the welfare of the blind and vision impaired, having herself experienced loss of sight many years before.Two piece day dress of mulberry figured silk. The dress comprises a separate bodice (.1) and skirt (.2). The bodice fastens centre front with fabric covered shank buttons and has twelve bones encased along the interior seams and darts. Two piece fitted sleeve and high stand collar. Bodice is backed with a caramel coloured printed cotton. The skirt has a slight train and is backed with a caramel coloured twill-woven cotton. lillias parker, 1890s, bendigo, goldfields