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Geoffrey Kaye Museum of Anaesthetic History
Equipment - Inhaler, Hewitt, George Barth & Co. Ltd, c. 1895
Sir Frederic W. Hewitt (1857-1916), an accomplished and well respected English anesthesiologist, was an expert in the function and use of the Clover Ether Inhaler. In 1901, Hewitt described his modification of the Clover Inhaler. Often referred to as the Hewitt Wide-Bore Inhaler, Dr. Hewitt introduced changes in order to make it easier to breathe through the device and improve the ventilation of oxygen and carbon dioxide. In 1901, Hewitt was recruited to anesthetize King Edward VII for emergency abdominal surgery. This was just a day or so before the new King was to be coronated. He recovered well, and Hewitt became the first anesthesiologist ever to be knighted. (Source: Wood Library Museum)Tall black round topped box with brass hooks at the sides and brass hinges at rear. There is a brown fabric handle on the top. The box has red padding inside the lid and red lining inside the base and sides. There is a round section in the base of the box for holding the round clear glass bottle for ether. There is also a ellipse-shaped metal inhaler on small metal base with a thin metal handle and pipe with bakelite plug attached via a small metal chain. A brown mask is made of brown leather and celluloid which is connected to the inhaler. There is a metal ether measure for pouring the ether.On notecard in box: (B) HEWITT'S INHALER 1895, MADE BY GEO. BARTH & CO LTD., ADVERTISED AS THE SOLE MAKERS OF THE INHALER AND RECOGNISED BY HEWITT IN HIS TEXT BOOK - ANAESTHETICS AND THEIR ADMINISTRATION - AS THE MAKER OF HIS INHALER. / GIVEN BY DR. E.S. HOLLOWAY IN 1951, WHO ACQUIRED MUCH OF HOWARD JONES' EQUIPMENT AFTER THE LATTER'S DEATH. Stamped on underside of glass bottle in a circle: WUBW [illegible] Blue sticker on inhaler: O.2.13. Printed on inhaler under handle: Geo Barth [illegible] / SOL [illegible] Printed on body of inhaler: Full Printed on body of inhaler: 1/2 Printed on inside of leather mask: F35hewitt, sir frederic, jones, howard, inhaler, geo. barth & co. ltd., ether -
Bendigo Historical Society Inc.
Uniform - GSSC School Dress
Golden Square High School in the city of Bendigo, was established in temporary accommodation at Camp Hill Primary School in central Bendigo in 1960. With the completion of the new school's buildings, it moved to Golden Square in 1962, providing for Forms 1 to 6, now known as years 7 to 12. In 1978 it became a 7–10 school and was one of the original feeder schools to Bendigo Senior High School. In 1986, a Hearing Impaired Unit was established and in 1990 it underwent a name change to become Golden Square Secondary College. The Golden Square Secondary College campus closed on 28 November 2008. It merged with Kangaroo Flat and Flora Hill secondary colleges as part of the implementation of the Bendigo Education Plan. Its buildings were demolished. (Wikipedia https://en.wikipedia.org/wiki/Golden_Square_Secondary_College) This uniform collection belonged to Anna Matthews, daughter of the donor, who attended GSSC as part of the last group enrolled before the school closed in 2008. Golden Square Secondary College school dress made from green and white cotton and polyester check fabric. There is a thin yellow line at edges of check pattern. Short set in sleeves with a cuff edged with piping. White flat collar. The dress has a front placket opening to the waist fastened with four dark green buttons. Bust darts on both sides. Front and back below the waist have two inverted pleats. On the right hand side there is an internal pocket with a zip fastener. At centre back is a decorative half belt with diagonal check. Machine hemmed.Tag below collar. Front. "PREFECT Value Based Apparel. NAME _ _ _ _ _ _ _ " Reverse "65% Polyester 35% Cotton. Washing Instructions."gssc, golden square secondary college, uniform, bendigo education plan., school dress -
Bendigo Historical Society Inc.
Accessory - Pipe and Pipe cover
By 1904 Mr E R McMartin was the manager and licensee of the Shamrock Hotel including the Shamrock Tobacconist that had previously been owned and run by Mr Karl Van Damme.Dark brown pipe cover in shape of pipe, leather exterior and textured cream fabric interior, with hinge at smoke exit end of pipe and small metal latch at bottom of pipe tube. Red sticker on inside of cover reads "Shamrock tobacco Store E.R. McMartir Bendigo" in black ink Pipe made of plastic mouthpiece joined halfway along tube to wooden tube and smoke outlet by a fancy metal (Hallmarked as silver in Chester, England 1912)surround. Ash contained in smoke outlet/exit. Top of smoke outlet has an approximately 1.5cm crack.tools, smokers acoutrement -
Kew Historical Society Inc
Clothing - Silk Organza Wedding Dress, Oggi Fashion House, 1971
Fashion by Oggi, as the sign above the door proclaimed, was located at the Paris End of Collins Street, on the south side, virtually opposite Lilian Weightman’s Le Louvre boutique. Janet Brock, who at the time was working in the Central Business District of Melbourne, had stopped to admire a mauve version of the dress that was displayed in the window, and, on making inquiries from the proprietress, ordered a made-to-measure cream-coloured copy. Her marriage occurred shortly after the death of her father, and took place on 18 December 1971 at the Kew Presbyterian Church in Cotham Road, where the Rev. Peter Mackie was the celebrant. 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.Wedding dress, purchased by Janet Elizabeth Brock in December 1971 from Oggi of Collins Street. The wedding dress, reaching just below the knee, is lined in silk with a double outer layer of organza. The striking decoration of the monochromatic cream dress is achieved through the use of wide ruffled organza frills at the neck, on the sleeves and at the flared hem of the dress. The dress has a discrete v-neckline with small, self-covered buttons at centre front. At the back, the dress is closed with a nylon zip. In addition to the elaborate stiffened frills, the dress features a wide fabric belt with a double bow, worn at the front. oggi - 103-105 collins street - melbourne (vic), women's clothing, wedding dresses, janet (brock) walker, australian fashion - 1970s -
Kew Historical Society Inc
Clothing - Cape
Off white quilted silk cape, with bands of red wool. The shoulderless cape is tied at the neck by a simple cord. The overall shape of the cape includes two- triangular panels, one overlaying the other. Each panel is fringed. There is one tassel hanging from the outer cape from centre back. The cape is lined with a cream cotton fabric. Measurements - Inner panel: Length neck to hem front 81cm; Neck to hem back 100cm; Circumference 158cm; Shoulder width 29cm. Outer panel: Neck to hem front 43cm; Neck to hem back 55cm; Circumference 114cmName in ink on lining at neck: capes, clothing -
Kew Historical Society Inc
Decorative object - Paradise Bird Design Linen Curtains, GP&J Baker, 1920s
William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings -
National Wool Museum
Clothing - 35 Life, Canwen Zhao, 2022
Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize -
Bendigo Historical Society Inc.
Clothing - ANDREW - MONSANT COLLECTION: LADIES DRESS - BODICE AND SKIRT, 1909
Waist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice. -
Upper Yarra Museum
Clothing Accessory
Braces - straps worn over shoulders for holding up trousers http://en.wikipedia.org/wiki/Suspenders Suspenders (Am. English) or braces (British English) are fabric or leather straps worn over the shoulders to hold up trousers. Straps may be elasticated, either entirely or only at attachment ends and most straps are of woven cloth forming an X or Y shape at the back. Braces are typically attached to trousers with buttons using leather tabs at the ends or, incorrectly according to traditional protocol, clips.. HISTORY the modern type were first invented in 1822 by Albert Thurston and were once almost universally worn due to the high cut of mid-nineteenth and early twentieth century trousers, a cut that made a belt impractical. After losing popularity in the first World War, as men became accustomed to uniform belts, suspenders were still standard throughout the 1920s. TODAY http://www.fabsugar.co.uk/Love-Hate-Trousers-Braces-1585776 Androgynous fashion nearly always appears on the catwalk and trousers with braces made an appearance this season at Paul Smith...Grey Elastic braces forming a y shape at the back, with leather tabs to hold clips and braided loops to attach to buttons on trousers. trousers, braces, straps -
Federation University Historical Collection
Banner - Banner - Course Promotion, VIOSH: Banner promoting "Occupational Health and Safety" Course
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Banner used for Open Days and Expos to advertise/promote the VIOSH Program. Product made by BannerUp. When retracted it is easily carried in a heavy cotton fabric bag, black.Retractable banner in black carry bag.Occupational Health and Safety. "BannerUp" on caseviosh, victorian institute of occupational safety and health, banner, occupational health and safety, open days, exposes, promoting course -
Churchill Island Heritage Farm
Clothing - Muff, Seal Fur
After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing and furs were tanned and lined with fine fabrics to create items of apparel. Seal fur has a soft velvety feel when stroked in the direction of growth. A muff was a thick tubular piece of fur or other material used by women and girls to keep the hands warm and it was also used as a handbag, The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Seal fur muff, with lining and some fraying on edges. seal, fur, churchill island, amess fur collection, janet, jane, amess, frances -
National Wool Museum
Manual, [Hattersley] Standard Loom Tuners Handbook: Setting instructions
This handbook contains the setting instructions for a Standard Hattersley Loom developed by George Hattersley and Sons Ltd. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The company had been started by Richard Hattersley after 1784, with his son, George Hattersley, later entering the business alongside him. The company developed several innovative looms, of which the Hattersley Standard Loom – developed in 1921 – was a great success. The Hattersley Standard Loom was designed and built in 1921. Thousands of models were expected to be sold, which would bring considerable financial success to the company. After the recapitalisation boom of 1919, cotton yarn production peaked in 1926 and further investment was sparse. Rayon, an artificial silk, was invented in the 1930s in nearby Silsden, and the Hattersley Silk Loom was adapted to weave this new fabric. An example of this type of loom can be seen on Vic Collections here ( https://victoriancollections.net.au/items/54065d0f9821f50e3cc9c122 ) and is also on display within the National Wool Museum in Geelong, Victoria. A copy of this manual may be available by contacting the National Wool Museum Collection Team. Book, 64pp. Red and black loose leaf, soft cover, printed black ink. "[Hattersley] Standard Loom Tuners Handbook: Setting instructions " - George Hattersley and Sons LtdTHE BRUCE WOOLLEN MANUFACTURING CO LTDtextile industry - history textile machinery weaving textile industry - education, george hattersley and sons ltd, weaving looms, weaving machinery, textile industry - history, textile machinery, weaving, textile industry - education -
National Wool Museum
Work on paper - Women's Village/Travel Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Village/Travel Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 village clothing was designed to be a highly visible garment meaning that it was easy to "Spot the Aussies" and helped to contribute to a good team spirit. Blocks of contrasting colours were a feature of the pure wool shirts. A newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8118.1- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts with a yellow and green printed, striped shirt, cinched at the waist by a brown woven belt. At the bottom of the page is a detailed drawing of the weave of the belt with an Australia shaped belt buckle. A small drawing to the right of the main image also details a small bag/pouch that attaches to the belt. 8118.2- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts paired with a block colour shirt in green, red, white and yellow with a symbol in the shape of Australia on the right side of the shirt. There are small detail images of shorts and a skirt to the left of the main image and a detail drawing of a brown leather shoe to the right.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Men's Village/Travel Uniform Design Drawing, Wendy Powitt, c. 1992
A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Village/Travel Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 village clothing was designed to be a highly visible garment meaning that it was easy to "Spot the Aussies" and helped to contribute to a good team spirit. Blocks of contrasting colours were a feature of the pure wool shirts. A newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic men's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts, a green and yellow striped shirt with the Australian emblem on the right breast of the shirt and a brown leather woven belt. The top of the page shows a detailed drawing of the belt weave with a symbol of Australia as the belt buckle. To the right of the main image is a detailed drawing of the shorts as well as a drawing of a leather pouch that is attached to the belt.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
Warrnambool and District Historical Society Inc.
Pith Helmet, Royal Australian Navy, 1930s
This helmet has been used by a member of the Royal Australian Navy in the early to mid 20th century. The Commonwealth Naval Forces were formed after Federation in 1901 and became known as the Royal Australian Navy in 1911. Pith helmets are now used only in the Australian Defence Forces for ceremonial purposes. No information is available on A.B. Pollock.This helmet is retained for display purposes.This helmet is made of white material with a six-segmented crown and a peak and back covering. In the centre of the crown is a dome with three breathing holes. On top of the dome is an ornamental gold-coloured metal finial. The edge of the crown has a band of white fabric and in the centre of this is a metal badge with a crown, anchor and seven stars and the wording ‘Royal Australian Navy’. Inside, the helmet has a leather rim with an adjustable leather string with brass clips (one missing). Inside, the breathing holes are made of brass and the metal rotates to open or close the holes. Inside also are the size of the helmet, the owner’s name and some other indecipherable information Royal Australian Navy A.B.Pollock 6⅞ vintage headwear, royal australian navy, history of warrnambool -
Warrnambool and District Historical Society Inc.
Safari Helmet, Early 20th century
A safari helmet was also called a pith helmet as it was made of sholapith material. It was first used by the Spanish forces in the Spanish East Indies and by the mid 19th century was used extensively by military forces in tropical countries and then became common civilian headwear for westerners in the tropics by the end of the 19th century. Safari helmets are still won today in tropical countries by both men and women and are part of the dress or ceremonial uniform for many members of the armed forces and music bands. This helmet has no known local provenance but is retained for display purposesThis is a pith or safari helmet made from a cream-coloured stiffened fabric. The crown has six segments with a small dome on top with three arch-shaped breathing holes. Around the edge of the crown is a white or stiffened cream cloth (puggaree) intertwined in layers and stitched onto the crown. The brim is peaked at the front and oblong at the back and tapered from front to back. The pleated cloth band is stiffened and has two brass clips. The edge of the brim is reinforced, perhaps with wire. Inside the helmet is the brass base of the top dome in eight circular sections. The interior of the helmet has green cloth in a damaged state. headwear, history of warrnambool -
Warrnambool and District Historical Society Inc.
Garment, Dress coat
This opera coat was made for Louisa Jane Cam, nee Rust, born 24/6/1873. Her parents were John Rust born in Hamburg, Germany and Jane Mc Meekin from Port Patrick, Scotland. In 1892 Louisa married John Cam the director of the Hawthorn Brick Company. It is understood Louisa wore the coat to the opening of the first Federal Parliament in the Exhibition Buildings in Melbourne in 1901.This item being an early nineteenth century opera coat has aesthetic interest. It is also important because of its provenance being worn by Louisa Cam at a significant event in Australia's history.A three quarter length Mandarin styled gold threaded brocade, lined coat dress with long sleeves. The fabric is black with gold patterns of leaves and circles. Large circles feature gold, red, yellow, pale and dark blue flower like images surrounded by gold fringes. The yolk section finishes with a small pleat over the flared bottom section. Edging around the neck is black lace. It is understood a fur collar was previously in place. The cuffs of the sleeves are pleated and have a wide frill above the pleating. The lining is pale blue silk . At the end of the sleeves the lining has hand ruched binding. Nil -
Flagstaff Hill Maritime Museum and Village
Book - Fiction, Jules Verne, The Giant Raft Part 2 The Cryptogram, 1885
This book is one of several books in Flagstaff Hill's historic book collection by the author Jules Verne, who was a popular mid-to-late 19th-century fiction author. Some of his works included Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, and Around the World in Eighty Days. The book is part of the Pattison Collection. This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL PUBLIC LIBRARY The Warrnambool Mechanics’ Institute (WMI) was formed by a voluntary community group in 1863, within six years of Warrnambool’s beginnings, and its Reading Room opened in 1854. The WMI operated until 1963, at which time it was one of the oldest Mechanics’ Institutes in Victoria. Mechanics’ Institutes offered important services to the public including libraries, reading rooms and places to display and store collections of all sorts such as curiosities and local historical relics. In 1886 a Museum and Fine Arts Gallery were added to the WMI and by the beginning of the 20th century there was also a billiards room and a School of Art. By this time all Mechanics’ Institutes in country Victoria had museums attached. Over the years the Warrnambool Mechanics’ Institute Library was also known as the Warrnambool Public Library the Warrnambool Library and the Free Library. Early funding from the government was for the “Free Library”. The inscription in a book “Science of Man” was for the “Warrnambool Public Library”, donated by Joseph Archibald in 1899. Another inscription in the book “Catalogue of Plants Under Cultivation in the Melbourne Botanic Gardens 1 & 2, 1883” was presented to the “Warrnambool Library” and signed by the author W.R. Guilfoyle. In 1903 the Warrnambool Public Library decided to add a Juvenile Department to library and stock it with hundreds of books suitable for youth. In 1905 the Public Library committee decided to update the collection of books and added 100 new novels plus arrangements for the latest novels to be included as soon as they were available in Victoria. In July 1911 the Warrnambool Council took over the management of the Public Library, Art Gallery, Museum and Mechanics’ Institute and planned to double the size of the then-current building. In 1953, when Mr. R. Pattison was Public Librarian, the Warrnambool Public Library’s senior section 10,000 of the 13,000 books were fiction. The children’s section offered an additional 3,400 books. The library had the equivalent of one book per head of population and served around 33 percent of the reading population. The collection of books was made up of around 60 percent reference and 40 percent fiction. The library was lending 400 books per day. In 1963 the Warrnambool City Council allocated the site of the Mechanics’ Institute building, which included the Public Library, Museum and Art Gallery, for the new Municipal Offices and the Collections were dispersed until 1971. The Warrnambool Library took over the Mechanics’ Institute Library’s holdings on behalf of the Warrnambool City Council. Since the closure of the Warrnambool Mechanics’ Institute the exact location and composition of the original WMI books and items has become unclear. Other materials have been added to the collection, including items from Terang MI, Warrnambool Court House and Customs House. Many of the books have been identified as the Pattison Collection, named after the Librarian who catalogued and numbered the books during his time as Warrnambool Public Librarian in the time before the Mechanics’ Institute closed. It seems that when Warrnambool became part of the Corangamite Regional Library some of the books and materials went to its head office in Colac and then back to Warrnambool where they were stored at the Art Gallery for quite some time. Some then went to the Warrnambool Historical Society, some stayed at the Art Gallery and some were moved to Flagstaff Hill Maritime Village. The various stamps and labels on the books held at Flagstaff Hill show the variety of the collection’s distribution and origin. The books in the collection at Flagstaff Hill Maritime Village date from the 1850’s to the late 1950’s and include rare and valuable volumes. Many of the books are part of the “Pattison Collection” after the Warrnambool’s Public Librarian, Mr. R. Pattison. Jules Verne (1828–1905) Jules Verne pursued his writing career after finishing law school in 1849, during this time he was writing poetry and short stories. He began to hit his stride after meeting publisher Pierre-Jules Hetzel in1862, who nurtured many of the works that would later comprise the author's 54 novels the (Voyages Extraordinaires). Often referred to as the "Father of Science Fiction," Verne wrote books about a variety of innovations and technological advancements years before they were practical realities. In 1856, Verne met and fell in love with Honorine de Viane, a young widow with two daughters. They married in 1857, and in 1861, the couple's only child, Michel Jean Pierre Verne, was born. Realizing he needed a stronger financial foundation, Verne began working as a stockbroker. However, he refused to abandon his writing career, and that year he published his first book, The 1857 Salon (Le Salon de 1857). In all Verne authored more than 60 books as well as dozens of plays, short stories and librettos. He conjured hundreds of memorable characters and imagined countless innovations years before their time, including stories about submarine and space travel, terrestrial flight and deep-sea exploration. Jules Verne died in 1905, at his residence in the French city of Amiens, stricken with diabetes, on March 24, 1905. Verne had many memorable novels, his most famous being Five Weeks in a Balloon, Journey to the Centre of the Earth, From the Earth to the Moon, Around the World in Eighty Days, In Search of the Castaways and Twenty Thousand Leagues under the Sea Additional works surfaced decades later. Backwards to Britain based on his many trips to the United Kingdom was finally printed in 1989, 130 years after it was written. Also Paris in the Twentieth Century, originally considered too far-fetched with its depictions of skyscrapers, gas-fuelled cars and mass transit systems, followed in 1994. Citation Information Biography.com Editors Jules Verne Biography: https://www.biography.com/writer/jules-verne The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Book; The Giant Raft (Part II) The Cryptogram Author: Jules Verne Publisher: Sampson Low, Marston, Searle & Rivington Date: 1885 Blue hardcover book with fabric on cover. The title and original library shelf location are printed on the spine. A line drawing on the fly page is within a circle bordered by a vine plant. Within the circle is a man dressed in a suit, wearing a cravat, holding an unravelled scroll with marks like a crossword, and tugging at a vine wrapped around his neck. This illustrated fiction book has a handwritten paper label taped to the spine. The fly page has a handwritten inscription. The book is part of the Pattison Collection. Label "PAT 843 VER" Front loose endpaper sticker: "Warrnambool Public Library" covered by a sticker from "Corangamite Regional Library Service" Front loose endpaper Stamped "Corangamite Regional Library Service" Handwritten script inscription on Fly "C. L F. (or could be T.) 2/4/. (could be 2 pounds 4 shillings)" On Fly page "ILLUSTRATED" "1885"warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the giant raft part 2 the cryptogram, jules verne, the cryptogram, the giant raft, science fiction, 1885 -
Flagstaff Hill Maritime Museum and Village
Clothing - Riding Habit, jacket, Early 20th Century
The Manifolds were a significant pioneering pastoral family in Western Victoria. The donated riding jacket originally belonged to Mrs Edward Manifold, formally Beatrice Mary Synnot Anderson. Beatrice was Edward Manifold’s cousin once removed whom he married in 1900. Edward, the son of John Manifold, was born on 15 November 1868 and educated at Geelong and Melbourne Grammar schools and at Trinity Hall, Cambridge (B.A., 1891). He chose the Danedite portion of land at Purrumbete, and on the death of his bachelor brother Thomas Peter (1863-1895), after a hunting accident, he took over his allocation, Wiridgil. He also owned Boortkoi, near Hexham and on these properties, he ran merino sheep, a Lincoln stud which dated back to 1870, and Shorthorn cattle. 3000 acres were also leased to dairy farmers. Edward was a member of Hampden Shire Council in 1909-31 and three times president at Camperdown. The town was largely bordered by Manifold land and partly dependent upon the local pastoral dynasties, which benefited the local area from the families’ various business interests. Though an offer to build public baths to commemorate the Queen Victoria Jubilee in 1897 was not proceeded with, the town acquired a hospital, a reserve on Mount Leura, a clock tower and a cricket pavilion, as well as notable donations from the Manifolds to St Paul's Church and the grammar school. Edward was a keen polo player and racing man. He was also a successful owner of steeplechasers and a committeeman of the Victoria Racing Club for many years. He was also a member of many Western District racing clubs. On the 16 July 1900, Edward had married his sixteen-year-old cousin Beatrice Mary Synnot Anderson by whom he had three sons Thomas Peter, Andrew and Robert Edward Manifold. Edwards's estate at his death was valued for probate at nearly £500,000. Edward died following an operation on 14 February 1931 at a private hospital in Yarra Vale Melbourne. Beatrice passed away in 1954, aged 79 in Ballarat where she was born in 1874. Contextual historic Family background: The Manifold brothers Thomas (1809-1875), John (1811-1877) and Peter (1817-1885) were the fourth, fifth and sixth sons of William Manifold and Mary, nee Barnes, of Courthouse Farm, Bromborough, Cheshire, England. The family had decided to emigrate to Van Diemen's Land. Thomas was sent ahead, arriving in Hobart Town on 23rd January 1828 with £1500 and a letter of recommendation from the Colonial Office. Thomas acquired 1280 acres on the west bank of the Tamar River. John and Peter, with their parents and three sisters, arrived on 8th July 1831. Land grants by then had finished but William brought ninety acres next to his son Thomas’ land and on the combined properties the family built Kelso House. The Manifolds’ properties were comparatively poor and when news of the Port Phillip District, in Victoria reached Thomas, he lost no time in coming to see for himself in February 1836. He was impressed with what he saw and hurried back to Tasmania to buy lambs and ewes. With one of his brothers, on July 9th he landed his stores at Point Henry and proceeded to occupy both sides of the Moorabool River. Thomas, at the end of the year, returned to Tasmania and left Peter and John to run the new property. Thomas, however, returned to Victoria for several visits and on one of these visits he, along with his brothers, examined the country near Ballarat. In December 1838 they managed to penetrate the Stony Rises, and Peter and John reached Lake Purrumbete and the Mount Leura country. During this time, on 4th July 1838, Thomas married Jane Elizabeth, eldest daughter of Captain Walter Synnot, formerly of Ballinate, County Armagh, Ireland, and then of Van Diemen's Land. Thomas joined his brothers, and they occupied the Purrumbete run in January 1839. On the journey to Purrumbete they could not take their stock and drays through the Stony Rises, so went north of Lake Corangamite, to the neck of land between it and Lake Gnarpurt. By April the move from Moorabool area was complete. As yet they had no hut and were working day and night, but their delight in their new run was unbounded. John wrote to his mother: “We are at last got to the land we wished for it is a beautiful place, and cannot be surpassed by any I have ever seen”. The three brothers occupied Purrumbete together, breeding both sheep and cattle until Thomas went to Grassmere run on the Merri River near Warrnambool in 1844. John and Peter soon gave up breeding sheep but retained the well-known '3M' brand for the cattle. These were Shorthorns, derived from four bulls originally imported by the Boldon brothers and later improved by further importations, and were renowned for size and quality. By the time of the gold rush in 1851, John and Peter were breeding over 1000 head a year, as well as fattening stores. The diggings at this time had disorganised Grassmere by drawing away Thomas's men, and his wife decided to take her two sons and two daughters to Europe for their education. Thomas gave up the property next year, went to England to join his family, and eventually brought the family back to live in Melbourne. At Purrumbete things were different. The brothers, John and Peter, preferred black stockmen to white, so the discovery of gold upset them very little while providing the very market they required. John was on his second visit to England when the rush started, and Peter went in his turn soon after John returned. On 2 September 1856 John married Marion Thomson, at Cormiston, Van Diemen's Land. They had four daughters and five sons, from three of whom, William Thomson, James Chester and Edward, the later generations of the family descend. Through the years the brothers had to contend with the scab, fluke and footrot, depression, rabbits, bush fires and pleuro-pneumonia. In 1861 they appointed as manager Henry Manifold Matson, their nephew, who had already been with them for five years. Thomas died in Melbourne on 7 November 1875, John at Purrumbete on 3 January 1877 and Peter at Purrumbete on 31 July 1885. Devout members of the Church of England, John and Peter, during their lives, gave generously towards building St Paul's Church, Camperdown, and guaranteed part of the vicar's stipend. Peter was a member of the Hampden and Heytesbury Roads Board from 1859 and carried on into the Hampden Shire Council when it was formed in 1864. However, it was not for public works that they were known, but for their personal example. In a new land where speculators and adventurers were all too common, the Manifold brothers were among those who intended it to be their home and their children's home. Industrious, unpretentious and hospitable, they were respected in their community as men of the highest integrity. This riding habit is a characteristic example of the type and style of riding clothes that well-dressed ladies wore in the 1920s. It highlights the changes that were beginning in society for women. Prior to 1918 ladies still had to ride side-saddle with skirts over Jodhpurs. Society of the time regarded women riding astride as unseemly and just not done. This riding habit is particularly significant on a number of levels, it shows the beginnings of change in society's attitudes through women's fashion after the First World War. A change that was to bring a start to a more liberating societal attitude towards women after the successful establishment of the Representation of People Act 1918 that gave women the right to vote. This garments provenance is linked to one of Victoria's important pioneering families the Manifolds, one of the first families that came from Van Diemen's land to settle the Western District of Victoria in 1844. Originally the garment belonged to the wife of the great-grandson of pioneer William Manifold, Edward Manifold who married Beatrice May Synnot Anderson, Edwards Cousin in 1900. The garment was made by the Mayfair tailors J. Busvine & Co. in the early to mid-1920s (estimate) who at the turn of the century were tailors to the Courts of Europe. Their clothing is highly collectible today and examples can be found in a number of significant museum collections around the world, notably the Metropolitan Museum of Art in New York and the FIDM in Los Angeles. A riding jacket, part of a three-piece, side saddle riding habit tailored for Mrs Edward Manifold. Knee length English woolen jacket black in colour, seamed and fitted to the female client's figure, fastening from the waist with three bone buttons to rather high lapels. The sleeves are long with closely fitted cuffs and one button and lined with cream satin. The jacket is fitted to the waist and flared to below the hips with a 35 cm vent to the back. Lower back to the jacket is reinforced with removable fabric and the jacket is lined with black twill cotton, there is a cream satin label, with makers' emblem Busvine. Circa 1920s Label to Jacket Embroidered in gold with a Royal logo on a Cream Satin label “By Special /Appointment” “To Her Majesty/The Queen”, “Busvine / Ltd / London 4 Brook St. W. / No” “hand written in purple ink 315 / Mrs Edward Manifold”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, side saddle riding habit, mrs edward manifold, edward manifold, busvines, shipwreck coast, flagstaff hill maritime village, great ocean road -
Warrnambool RSL Sub Branch
Trousers, Australian Government Clothing Factory (A.G.C.F.), 1978
These trousers are part of a winter mess dress uniform belonging to Bernard Farley during service with the Australian Airforce. Worn in 1978, this trouser style was first developed in the 1950s and continues to be worn as mess uniform in the present day.This item has aesthetic significance and is a representative example of uniform design from the 1950s to present day. This item has clear provenance, having been donated by RSL member and Secretary (2019), Bernard Farley after its use during Bernard’s service in the Airforce. As a former member of the Australian Airforce and member of the Warrnambool ex-service community, Bernard’s uniform has great social significance, telling a broader story of life after service.Dark navy blue dress trousers with cream coloured lining on waistband and pockets; dark synthetic material rectangles are sewn on interior of pants hem on pressed edge. Seven buttons, coloured black, are present on the interior of the waistband and were likely used as attachments for suspenders; reverse of pants rise into two points either side of the spine. Pants are fastened with a black plastic zip and a hook and eye at the top of the fly. Two pockets are present on both left and right hips and one small pocket on the front right hand side near the pelvic bone. Fabric is pleated twice on the front and has two darts on the reverse. Label on interior collar reads “A.G.C.F./VIC. 1978/(arrow symbol)/NO./NAME” Inscription on interior left hand pocket lining reads “992”dress uniform, airforce, commonwealth government clothing factory, uniform -
Flagstaff Hill Maritime Museum and Village
Uniform - Doublet
The design of the uniform with its silver, diamond shaped buttons with the Scottish thistle symbol on them, indicate that the uniform was made for a Scottish Pipe Band member. Uniform tunic; red jacket; Scottish Pipe Band Doublet with silver braid and silver diamond-shaped button closure and decoration. The buttons have the Scottish thistle symbol on them. There are seven buttons on the tunic front, three on each skirt flap, three on each contrasting black cuff and one on each black epaulette. The tunic has a two-inch stand-up collar. The whole item is fully lined with black nylon/silk blend fabric, the shoulders are padded, and there are pockets under the front skirts. There is an inscription on the maker's sewn-in label. Made by David Lack Pty Ltd, a uniform specialist in Melbourne.Label "David Lack Pty Ltd, uniform specialist Melbourne. "flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, uniform, tunic, dublet, jacket, scottish pipe band, pipe band, david lack pty ltd, david lack melbourne, uniform specialists, david lack, diamond buttons, silver buttons, scottish thistle buttons, scottish piper's buttons, thistle, scottland symbol -
Bendigo Historical Society Inc.
Clothing - MEN'S SUIT JACKET - STAFFORD ELLINSON BRAND
Stafford Ellinson suit: Brown striped single breasted men's suit jacket. Fine white striped fabric with tan satin lining. Two buttons on front opening. Breast pocket on LHS. Hip pockets on both sides.(Slit at centre back long sleeves with three decorative buttons at waist). RHS has double pocket. LHS has two inside pockets. Matching trousers 11400.258 & belt 11400.259. This suit was purchased by James Lerk in late 1981. He wore it frequently when he travelled around the world in 1986. He used it to advertise his home town of Bendigo.Label inside RHS, ''Stafford Ellinson''International Size 102Rcostume, male, men's suit jacket -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: ROYAL BLUE COAT BY ZANKO: PART OF ENSEMBLE WITH 11400.524, 1950s
Royal blue rayon long sleeved coat to wear with 11400.524. Fully lined with blue rayon lining, ¾ length set in sleeves with 10cm fold back (fully lined) cuffs. Front opening with no fastening or crossover. Fold back shawl collar. Front darts running from centre shoulder – 24cm vertically Internal pocket of lining fabric. Pockets on either side at hip level. Angled 15 degrees away from side seam with a band along opening edge – 16 cm. Back made from one piece. A line shape. Slightly flared at hem. Machine stitched. Part of ensemble with 11400.524.Created by ZANKO of Melbournecostume, female daywear, coat -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: DOUBLE DAMASK TABLE RUNNER/COVER WILL PULLED THREAD EMBROIDERY, Early - mid 1900's
Textiles. Damask weave fabric, with a design of a rose, with buds, and two stems of leaves, and a lovely soft sheen. Two bands of six zig zag peaks, are made by using pulled thread embroidery, and form a border either side of a row of pulled threadwork diamond shapes, 7 cms x 7 cms. This decorative border is at each end of the runner, which also is completed with a 12 cm deep fringe. A geometric patterned weave forms the background to the pulled thread embroidery, while a single rose and bud weave is tucked into each zig zag, and a scroll design features at each fringed end.textiles, domestic, double damask table runner -
Bendigo Historical Society Inc.
Clothing - ELAINE BISHOP COLLECTION: INFANT'S GOWN, 1890-1910
Clothing. Infant's white cotton gown with long sleeves. Round neck with casing for cotton tape ties. 2cm lace trim around neck. Back opening (18cm). Gathered at back from neckline. Front has pintucks from neckline to broiderie lace band at waist (15cm X 2.8cm). Gathered below band. Cotton fabric ties (66cm) attached to either side of waist band.Centre front of bodice has vertical lace insert (10cm X 2.8cm) from neck to waist. Ties and sleeves trimmed with 1cm lace. French seams. Machine stitched. Old box 230.costume, children's, infant's gown -
Bendigo Historical Society Inc.
Clothing - NAVY POLO SHIRT
Navy polo shirt with yellow triangular trim on each side of raglan sleeve seams - front and back.Seven cm yellow strips on each side seams from underarms. Yellow embroidery over right breast. ''100,000 ounces 2011''. Yellow embroidery over left breast, ''FOSTERVILLE GOLD MINE''. Front opening fastened with three X 1 cm navy plastic buttons.New condition. Swing tags still attached. 1.Biz Collection: Style/Modele P7700 Colour/Couleur: NAVY/GOLD, Size/Taille: 2x6/27G Biz Collection. 2. Biz Cool - Description of fabricTwo labels inside neck at back !. ''Biz Collection'' 2. ''Mens 2XL/2TG. Made in China, Fabrique en Chinecostume, male, navy polo shirt -
Tatura Irrigation & Wartime Camps Museum
Booklets
1. Finnish Opera. Black cover with 5 pictures of people on the front cover and a picture of a new Opera House in Helsinki on the back cover|2. Christmas in Finland. Navy/black cover with a christmas scene on the front and back cover.|3. Finnish Design - White cover with 4 Finnish designs on the front cover and printed fabrics on the back cover|4. Nature in Finland. Pale grey front cover depicting a cat. Back cover white with a scene in the Nuiuksio National Park, outside Helsinki on the back cover|5. Sauna - A Finnish National Institution. White cover with scenes of Lakeside saunas on the front and back covers.finland, documents, phamplets -
Uniting Church Archives - Synod of Victoria
Communion set, circa 1940
Hand written note in the box: "I am Chaplain of Wesley College"Brown leather case with handle and metal locks at front. Blue fabric lining. Three copies of "Order for the Administration of the Lord's Supper", a Wesley College New Testament and Psalms (1947) in fitted slot. Silver salver (12cm diameter) and silver wafer tin (7.5cm diameter) in fitted slots in lid. In body of box: two plain glass bottles with plastic screw tops and two plain corks, a silver goblet (13.5cm high and 7.5cm diameter) and four glass communion tumblers. Small brown bottle with a plastic lid. Includes large white linen communion cloth. Gold lettering on front of set.On case: "The "CHAPLAIN V.T.L. ROBERTS" Inside lid on leather: "THE GIFT OF THE METHODIST PADRE'S AUXILIARY OF VICTORIA"methodist padre's auxiliary of victoria, wesley college -
Hume City Civic Collection
Dress, navy floral print, 1940s
Belonged to Kathleen Marjorie Dunn (nee McKenzie)Day dress in fine silky fabric. It has a blue, white and green floral pattern on a navy ground. The skirt is gathered to the waist in two places in front and has two darts at the back. The sleeves are short, set in, gathered at the shoulder and end in inverted V shapes. The bodice is shaped with two sets of gathers in front and two darts at the back. The square neck dips to a shallow point in front, fastens with six self-covered shanks behind and is edged with cream net frill (probably discoloured white). There is a side vent wiht four press studs on the left at waist level. The hem is hand sewn.Nonecostume, george evans collection -
Kew Historical Society Inc
Clothing - Black Silk Damask Mourning Outfit, c.1898
Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl. The donor's father was the youngest who was born in 1911. The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist. The donor's father lived until he was 100 years of age.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 costume, which may have been used as a mourning dress is comprised of a matching heavy black silk skirt and top. The styling of the short bodice is accentuated by pleating and by the use of spirals of Parisian jet (black glass beads) on the bodice and cuffs. Chiffon lace is attached to the cuffs and is of the period. The dress is made of silk damask with a woven design of joined lines and circles. The rigidity of the fitted bodice is achieved by the use of baleen and by a heavy striped cotton fabric. The wide skirt, in contrast, has a stiffened brown cotton lining. There is a small insertion on the inside of the bodice that may have been used for a watch. The dress is in excellent condition. elizabeth morrison, australian fashion - 1890s, women's clothing