Ladies waist length black satin boned bodice. Chelsea style collar forming V shaped neckline dipping to eight cm above the waist. Centre insert of horizontal pintucked fabric extends at centre front from throat to just above wrist. Fastened at centre front with thirteen metal hooks and eyes and crossover fastened on LHS with four hooks and eyes. Bodice is lined with black cotton fabric. Collar extends over shoulders to form imitation collar at back extending to centre back waistline. Centre V shaped insert of pintucked fabric hand stitched in place. Nine fabric encased bones inserted into waistband. Two bones on either side of front of bodice, and one bone on each side seam and three bones across the back of the bodice. Stand-up collar with horizontal pleating (5cm wide). Fastened over left shoulder with three metal hooks and eyes. Long sleeves widening at elbow and gathered onto 25 cm lower sleeve narrowing to wrist. Lower sleeve has three X three groups of horizontal pintucks. Slit at wrist - eight cm fastened with two metal hooks and eyes.costume, female, ladies black satin boned bodice

Glasses, also known as eyeglasses or spectacles, are frames bearing lenses worn in front of the eyes. They are normally used for vision correction or eye protection. A pair of fine metal framed spectacles with a blue lined caseOPTICAL PRESCRIPTION SPECTACLES / 23/ COLLINS ST MELBOURNE/spectacles, optical equipment, moorabbin, cheltenham, bentleigh, early settlers

The bra was worn with a corset and under fitted clothes which were fashionable in the 1960s.A full length cream bra with an embroidered cotton front and elastic fabric back and cotton shoulder straps. There is a blue embroidered flower at the cleavage. Four metal hooks on elastic loops are around the waistline. The back is fastened with two sets of hooks and eyes.female underwear, bras, hickory wear, george evans collection

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 long black cotton skirt with a short pleated frill at the hemline. The skirt is lined with a thick brown cotton fabric. It is joined with steel hooks and eyes. The skirt is slightly longer at the back. The skirt was owned by one of the donor's maternal ancestors.australian fashion, women's clothing, skirts, outerwear, micky ashton

The dress was worn by Dorothy Hirst (nee Cust) who was married to Cedric Hirst of the Godfrey Hirst Woollen Mills. Dorothy was born in 1908 and passed away in 2010 aged 102. Sleeveless teal and blue gown with sash at the waist and tie at back. Clear, silver and blue beaded detail is featured on the front and bodice. There are pleats when centre lower back of skirt is parted, the back also features a zip and two hook and eyes.dorothy hirst, godfrey hirst & co. pty. ltd., gown, dress, melbourne, design, fashion, park avenue, style

Model eyes were used by students to practise skills of ophthalmoscopy and retinoscopy. This item shows more variety of fundus view and refractive state than most.This fine example is preserved in excellent condition, perhaps through lack of use. It is the most complex of the five model eyes in the collection.Cased metal model eye for teaching ophthalmoscopy and retinoscopy. 17 numbered interchangeable fundi illustrating various pathological conditions. Double cell lens holder in front can hold lenses for retinoscopy. Axis scale on front. 6 lenses provided to simulate various refractive states. Rotating disc changes between 3 pupil sizes. Model eye, fundi samples & lenses enclosed in snap closing wooden case, covered in black leatherette and lined with burgundy velvet.Inside case:'F.DAVIDSON & Co,/ 29 GREAT PORTLAND STREET,/ LONDON, W/ DUNN'S MODEL EYE'optometry, ophthalmology, model eye, teaching, ophthalmoscopy, retinoscopy

Heubach German porcelain doll. Head badly cracked and taped together. The face is OK. Doll’s eyes are loose. Eyes need to be reset. All parts are separate. Composition body in need of repair. Open mouth. One tooth. Pierced nostrils. Clothed in red cotton drawers with long legs. Not original. Knitted singlet – badly moth eaten. White lawn dress with lace. Tied together with mourning ribbon. Crocheted bonnet lined with silk. Ernst Heubach was a company in Köppelsdorf, Thuringia, Germany, that manufactured porcelain-headed bisque dolls from 1885 onwardsHeubach

This was probably used by the Powell family. Selena Powell came from Eden to Orbost at the age of 18. She met and married Henry James Powell in Orbost.This item is an excellent local example of the type of hand made tea cosies which were used in an Australian domestic setting during the 1920's through to the 1960's. Fawn coloured hand-knitted tea cosy. The wool has been brushed to resemble the fur. It has brown button eyes and the nose and mouth are sewn in black yarn. The feet are embroidered in black and it has a narrow green velvet ribbon around the neck.tea-cosy domestic-item tableware handcraft knitting powell-selena

This dress was typical of those worn on 'after 5' special occasions to: dinner dances, weddings, balls. There were many such functions at Mt Beauty and the Kiewa Valley eg. the Hospital BallThis dress was worn (and possibly made) by Margaret McKendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian McKendrick and they lived in Mt Beauty. She worked as a nurse at the Tawonga & District hospital. Ian worked at the Mt Beauty Post Office. They had 3 children.Long sleeved fitted pale apricot guipure lace full length dress fitted at the waist line. Gored skirt. Scooped neckline at the front. High neckline at the back. The back has a 28 cm long opening fastened by hooks and eyes. Unlined.'after 5' dress; margaret mckendrick; tawonga; ladies' clothing

Won in 1920 at a raffle for the Mechanics Hall, Orbost.A celluloid kewpie doll with painted eyebrows and eyes and smile, wearing a tulle land ribbon skirt/dress. The doll's joints are held together with elastic. Its hands and feet are not naturalistic and its legs are moulded together. Overall, it does not have a naturalistic appearance.doll kewpie-doll celluloid-doll

The pair of ornamental white resin owl bookends was likely made around the 1930s when epoxy resin became available. Bookends modelled on owls have been a popular ornament for many years, possibly because of the association between owls, books and wisdom. They are used and displayed in places where books are appreciated and valued, such as homes, libraries, educational buildings, business offices, legal institutions and banks. Bookends hold a row of upright books in place by supporting the beginning and end of the row. The books are more likely to keep their integrity when stored vertically. The first patent for a metal bookend was placed by William Stebbins Barnard in 1877. Bookends became useful and decorative items around the middle of the sixteenth century after printed books became available. At that time books were expensive and treasured possessions, treated with much respect. Even in the early nineteenth century, a Bible was often the only book in the home. It was included among the limited items brought by many immigrants to Australia. Books became more available and affordable to the public by the end of the nineteenth century and households and businesses were able to build their own libraries. Bookends were used then, and are still used now, to keep books organised, cared for, and readily accessible. Bookends, a pair of two (2) small white resin owls with clear bright red eyes standing on a stack of books, their bodies facing towards each other, chests on an upright book, heads turned towards the viewer. The ends are left and right-handed.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ornament, bookend, bookends, pair of bookends, library, book storage, book display, room decoration, resin ornament, white bookends, owl bookends, owl ornament, white owls, resin owls, book support, bookend patent, william stebbins barnard

Belonged to Kelly Gardener. Brought back from Hong Kong by Myrtle Bennett from a cruise to JapanPlastic doll with brown eyes which can shut and open; long blond hair. Dressed in red and black check skirt with lace trim; blue blouse with red buttons down front; red shoes. Doll can walk and sit up.toys, dolls

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with shamrocks outlined in jet passementerie. The capelet has a dog-collar neck, that is lined with leather. The original lace, forms a wide border edging the satin. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear, catherine francis ellen gulliver, doris catherine kriesfield

Used by German Soldiers to protect against chemical weapons WWI German Gas Mask made of Tan rubberised canvas, with metal canister and cellophane eyes. Elastic straps for the wearer to fit to head and a long cotton strap to wear around neck when mask is not in use. Hand written text on head straps.Hand written text on head straps - indescribable. ww1, german, gas mask, wark vc club

The poodle was purchased at the PX store in Vietnam by a soldier returning home as a present for his girlfriend (later to become his wife). Andrew Clyne, Service no: 3799091, served in 110 Signal Squadron, Vietnam, in 1971.Two-toned blue synthetic toy poodle with a gold collar and chain around its neck. It has two brown glass eyes, a black plastic nose and red felt tongue. A metal zipper under belly conceals the mechanism of a transistor radio.Transister Japan/ Novelty/ Vol/ Tuner/ Made in Japan on tag attached to hind leg. Red NOVELTY printed on control. toy poodle, japan, transistor radio, clyne, 110 signals, andrew clyne

Kit Bag, brown canvas, cylindrical Top closed with rope threaded through 8 brass eyes. Rope threaded through material loop on base to form a shoulder strap. Circular flap sewn into top to cover contents when bag is closed.military equipment, containers, kit bag, passchendaele barracks trust

Discharge papers for soldiers of WW1.272 Private Lisle John Pulbrook of Murtoa in Victoria, served 1774 days, 1440 abroad. age 24and 10/12 years, height 5'4", complexion Dark, eyes Grey, Hair Brown. Trade on enlistment..Painter

The Grey Petrel is commonly seen around New Zealand and rarely around mainland Australia. They are large birds with a grey-white-brown colouring who fly just above the water and are often solitary. They mainly eat squid and fish which they catch by shallow diving. Their scientific name, Procellaria cinerea, is derived from Saint Peter and the story of his walking on water. The Grey Petrel can appear to run on water as they prepare to take off. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Grey Petrel is a large bird with a grey and cream coloured plumage. It has short legs with webbed feet and a stout bill. The specimen stands on a wooden pedestal with a paper tag tied around its right leg. The eyes are small and made of a dark coloured glass.15a Great Grey Petrel - Catalogue, page 40.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, grey petrel

Item made by an Italian POW held in Camp 13A profile of a monkey sitting with its knees bent and arms resting on the knees Hand painted in dark brown with light brown face, red lips, ears and fingernails, black eyes and nostrils. Inscriptions in White POW in front, 27-4-42 and RICORDO on sides.27-4-42, Ricordo, POWitalian pow's, camp 13 murchison, hand made objects

Worn b y Gloria Woodland as a foundation garment for special evening gown - she found it a very impractical garment taking up to a half an hour each time at the toilet. Only worn once...Flesh coloured elastic & lace body length garment. Lace bra cup - lace panel down front - elastic shoulder strap, silk nylon crutch with eight adjustable hooks and eyes to close under the crutch - also four loops to hold suspenders.Hickory Style 4512 - size 16Bcostume, female underwear

Sepia studio photograph of Alwyn and Alison Till on a wooden piano stool Inscription: Till, Clive Street, Mitcham. As copy coloured - both light blue eyes, fair hair, fresh complexions. Girl, pale blue dress. Boy, navy blue coat.till, alison bertha, alwyn

Modern porcelain or ceramic doll, belonging to 6th generation of Henry and Martha Sebire. Emma & Karlee Jennings.Porcelain or ceramic doll with blue eyes and red lips. Wearing a long sleeved white lace and embroidered christening style dress with a matching bonnet, a ribbon bow is on the bodice of the dress, and two white buttons on the back of the dress. Towelling type cotton body with panties.dolls, baby dolls, toys, leisure objects

Carved wooden face mask with hollow eyes, nose and mouth. Decorated with ochre, yellow, black and white pigment. Top and back of mask is formed with plant serials, woven twine and reeds form the frame and mane down the centre and back of the mask. Hessian inside the mask.

Wooden mask carved from log with small hollow at back. Decorated in ochre, yellow, black and white pigment with shells for eyes. Tongue extends from mouth and white tusks stretch between the mouth and the top of the head. Dried plant material covers the top of the head.

Through the eyes of two cultures. A catalogue of an exhibition of paintings by artists Zhou Xiaoping & Jimmy Pike held at the National Gallery of China Beijing, created by the Golden Dragon Museum & sponsored by Arts Victoria, Australia Council for the arts & Foreign Affairs and trade. Coloured photographs of artworks.art, aboriginal, art, zhou xiaoping, jimmy pike, golden dragon museum, aboriginal artists.

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Paper mache head and hands and 1 wooden boot covered with brown leather. 1 wooden leg carved as a hoof. Head painted red with white eyes and teeth trimmed in black. dressed in maroon trousers and coat with red and gold trimmings. Black felt collar.pow puppets, pow handcrafts, hand puppets, sharon lohe, ww2 camp puppet theatre

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

Used by German Soldiers to protect against chemical weaponsWW1 German Gas Mask made of Tan rubberised canvas, with metal canister and cellophane eyes. Elesick staps for the wearer to fit to hear and a long cotton strap to wear around neck when mask is not in use. mask has folded in and set in place due to decay3379 2 printed inside chin paddingww1, german, gas mask

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of a rotary (helicopter) wing pilot and his 'Possum' aircraft, swooping low over the jungle of Phuoc Tuy Province, South Vietnam, in search of a very elusive NVA/VietCong enemy. These unarmed aircraft were part of the eyes of the Australina Task Force.photograph, helicopter, possum aircraft, jungle, phuoc tuy province, south vietnam, nva/vc, gibbons collection catalogue, denis gibbons, photographer, vietnam war, viet cong, australian task force