An unsealed Penn 'X-76 Extra Duty High Visibility' tennis ball can. Missing metal ring-pull seal lid. has original plastic reclosure lid. Contains three non-matching Penn balls. Materials: Metal, Ink, Synthetic material, Rubbertennis

Silk, lace and cotton top, probably matching the skirt, 0258. Silk outer, with cotton on the inside, high necked with lace decoration. Shell buttons running down front, silk decorated on sleeves with similar floral/pleated design. Sleeves puffy at top, fitted lace at bottom.No visible markings.costume, female, top, blouse, silk, cotton, cream, lace, clothes

Before mechanisation, pills were rolled by hand using equipment such as this pill press. Powders ingredients were blended together to form a resin, rolled and laid across the width of the platform. The paddle was then used to push the "sausage" shape through the grooves, creating a small, consistently sized and shaped, pill. The pill was then allowed to dry for later sale. This pill press is of uncertain origins but is representative of the type of equipment used to create pills in the 19th Century. It has the capacity to make 24 pills at once, and markings on the metal plate indicate each pill would have been the equivalent of "5 grains" (approx 0.3 grams).Rectangular wooden platform with a metal (brass) plate divided into 24 (twenty-four) grooves with a catchment area. The wooden paddle has two handles, one on each end, with a matching metal plate and grooves, as well as metal (brass) guide bars to help the paddle align with the platform.Handwritten on base of platform in black ink over white background: C11087 Handwritten on inside of guide bar on paddle in black ink over white background: C11087 Manufacturer's detail stamped into metal groove on platform: S. MAW SON / & / THOMPSON / LONDONpill press, pharmaceuticals, apothecary, pharmacy

In 1938, the SEC Ballarat decoarated a tram with paper flowers for the Floral Festival. Has four ladies dressed in matching clothes standing inside the tram and four inside the doorways. Photographed in Wendouree Parade with Lake Wendouree in the background. The story is that it rained on the day and the ink in the dresses ran. See Reg Item 5188 for a coloured postcard of the ladies standing outside the tram. Yields information about a tram decorated for the 1939 floral festival colour scheme and has a strong association with the people involved in it. Demonstrates the colours used.Framed photograph of the 1939 Floral Tram, No. 29, photographed in Wendouree Parade, rendered, hand painted, in colour. March 1939. Frame - wooden, light brown frame, glazed, with a cut cardboard piece framing the photograph and most of the damage around the print. Has two rounded screw hooks with picture wire between them.Has a label on the front of the glass "Decorated Tram 1938" and number 01291. On the cardboard piece are the initials upside down "FKN"trams, tramways, floral tram, decorated trams, tram 29

Thick white cotton crocheted collar. Half circle scallop pattern and scallop edges. Open pattern. Two matching full circle cuffs of crocheted cotton. Hand made in 1960's by Lillian May Ellison (nee Rogers) Natimuk. Stored inside box 11400 650.Labelled ; Grandma Ellison made these.costume accessories, female, crocheted collar and cuffs.

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative hearth tiles used the fireplace of the morning room at Villa Alba. The patterns within the decorative tiles are self-contained or show their pattern when assembled with matching tiles. The multicoloured tiles have a grey or maroon background. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- morning room

An unsealed Penn 'X-76 Extra Duty High Visibility' tennis ball can. Missing metal ring-pull seal lid. Has Wilson-branded plastic reclosure lid. Contains three matching Penn 1 balls. Materials: Metal, Ink, Synthetic material, Rubbertennis

Forty eight page knitting pattern book featuring black and white text and colour images. The colour cover features a man laying in the foreground wearing white pants and a white knitted jumper. The background shows a man holding a woman, while both wear matching knitted jumpers.front: [printed] Patons / "Summer / Ideas" / 775 / PRICE / CODE / K / 1fashion, design, knitwear, home made, wool, pattern book, patons

The epergne was presented to Amelia Jane Donaldson (wife of Dr J.B. Donaldson Snr) "as a mark of esteem" by friends at the Presbyterian Church in 1907. Dr James Blair Donaldson had a medical practice in Linton from about 1889 until 1920, when his son, also named James Blair Donaldson, took it over.Silver-plate epergne for holding flowers. Epergne has a round base, and six branches radiating from a central stem. Branches each have a funnel-shaped small swirled-glass insert for holding flowers, while central stem has a matching, but larger glass vase insert.Engraved on base of epergne: "Presented to Mrs. J.B. Donaldson by her friends of the Presbyterian Church, Linton, as a mark of esteem. 26-4.07". Maker's marks stamped underneath base of epergne.amelia jane donaldson, dr james blair donaldson snr., ornaments, epergnes, vases

Paul Leonard wore this shirt and vest to a Brighton Primary School fundraiser in the late 1960s. His wife Heather wore a matching yellow and orange dress, with hand painted yellow and orange shoes. Paul and Heather lived together in Male Street for forty years until his death in 2002. Paul worked in advertising and later became a painter, mainly of Australian icons.Cotton men's shirt (.1), mustard yellow with purple collar, cuffs and buttons. Men's knit vest (.2) featuring yellow and navy blue horizontal stripes and trimmed with narrow red stripe.paul leonard, heather leonard, brighton primary school, 1960s

The insignia on the collar of this jacket indicates that its wearer was a Marine Technical Propulsion Petty Officer in the Royal Australian Navy.Double breasted jacket in dark navy colour with notched lapels, chest pocket on left side and two hip pockets. Eight gold buttons fasten the jacket in front, each bearing Navy insignia of a crown above an anchor above the word "AUSTRALIA". Sleeves each bear navy blue patch on upper shoulder with the word "AUSTRALIA" embroidered in gold thread. Cuff of sleeves carry three gold buttons as previously described. Lapel collar has an embroidered patch on both sides which includes an ornately embroidered crown, above a propeller, above a six-pointed star above a "P"; all insignia is embroidered with gold thread. Jacket contains two interior chest pockets and is lined with synthetic material. Buttons carry embossed text "STOKES/MELB" Shoulder badges read "AUSTRALIA" Interior chest label reads, "A.G.C.F./VIC. 1981/8405-66-100-2323/SIZE. 104P/MATCHING TRS/SIZE 99P/R.A.N./MADE IN/AUSTRALIA." Handwritten on this label are the annotations "5114247/BAUMGARTEN"chief petty officer stoker, royal australian navy

This dress was typical of those worn on special 'after 5 pm' occasions eg. dinner dances, weddings, balls. There were many such functions at Mt Beauty and in the Kiewa Valley eg. the Hospital BallThis dress was worn (and possibly made) by Margaret Mc Kendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian Mc Kendrick 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.Pink satin ladies cocktail 'after 5' dress. Sleeveless fitted bodice. Pleated skirt with straight front and back panels. Zip at back is full length. It's jacket has a matching lace, long sleeved, scalloped edge, with 5 covered buttons at the back and 6 press studs.'after 5' dress; ladies clothing; margaret mckendrick; tawonga

The booklet provides information for prospective students, styled around a passport and travel guide. Page 24 features quotes regarding the forthcoming move from Mt Helen Campus to the Camp Street Campus at the end of 2001, early 2022. Pages 28 and 29 feature small quotes from GD/MM alumni, as well as naming contacts and connections. Co-production of students and staff. Initiated by lecturer Helmut Stenzel, concept by student Anthony Boulton. Design, direction, copy and production by Elise Whetter. Student works contributed by: Tim Allan, Michelle Allen, Matthew Avent, Reuben Barnett, Michelle Berry, Anthony Boulton, Lucy Brisbane, Amanda Brizzi, Simone Carras-Kerr, Naomi Craig, Belinda Garth, Alex Gillett, Danielle Harris, Andrew Isaac, Hamish McDougall, Heath McGregor, Ange Nastos, Jackie Orr, Marc Oswin, Andrea Read, Ed Sawyers, Leigh Scholten, Jessica Steinke, Peta Wallace, Andrew Wapling, Leigh Webb, Fiona Woolley, Sony Zwolinski. The cover stock is Reaction, Night Offshore Blue, 310gsm, produced by the Gmund paper company, Germany. Its reverse is matt black.Promotional brochure for prospective students of the Bachelor of Visual Arts (Graphic Design/Multimedia). 32pp text (full colour throughout) plus 4pp cover (on blue Reaction specialty stock) debossing and laser cut holes. Saddlestitched with matching blue staples. Booklet contained in a plastic sleeve with clear front.university of ballarat, federation university, graphic design, multimedia, bachelor, degree, tim allan, michelle allen, matthew avent, reuben barnett, michelle berry, anthony boulton, lucy brisbane, amanda brizzi, simone carras-kerr, naomi craig, belinda garth, alex gillett, danielle harris, andrew isaac, hamish mcdougall, heath mcgregor, ange nastos, jackie orr, marc oswin, andrea read, ed sawyers, leigh scholten, jessica steinke, peta wallace, andrew wapling, leigh webb, fiona woolley, sony zwolinski, elise whetter, helmut stenzel

Part of the Uebergang Collection. Made by the firm of Triaca & Picchi. Camilo Triaca (1887-1972) was a sculptor born Tuscany, Italy. He arrived in Melbourne in 1909 and practised his craft in Richmond, Melbourne, before returning to Italy in 1914 to serve in the Italian Army. He returned to Melbourne in 1923 and continued to sculpt at his Richmond home before relocating to Fitzroy. A 1927 image of workers at his studio workshop taking a lunch break is in the Italian Historical Society collection (http://trove.nla.au/version172106091). The workshop was situated at 76-78 King William St, Fitzroy.Plaster figurine depicting a boat with a girl sitting in the front holding the rope of an anchor and a boy holding the back of the boat which is up on the sand. The girl wears a short sleeved frock with green edged neck and sleeves, and a matching scarf. The boy wears a V-neck shirt with sleeves rolled up.Triaci & Picchi/1773triaca camilo, triaca & picchi, italian immigrants, families, businesses, trades, sculptures, sculptors, melbourne, allansford, uebergang

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a double storey white-rendered brick house. Other features include tiled roofs, flat roof porch, double doors to the patio with matching windows either side, an adjoining garage and a low brick fence painted white in the foreground with an attached letterbox with "2" displayed on the front.2murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, gloucester court, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, windows, garages (private), brick fences, patios

Photo of Ballarat trams 13 and 14 at the City Terminus, Sturt St, with the Ballaarat Town Hall in the Background. Note the FE Holden with an almost matching green colour scheme. Tram 13 has a destination of "Mt. Pleasant" Kodak cardboard mount slide, taken Mark Plummer, September 1971tramways, trams, sturt st, city terminus, town hall, tram 13, tram 14

Lady's hat made from cream coloured straw like synthetic fabric with a matching cream ribbon around the crown. The band is tied in a bow with a decorative faux pearl clasp stitched onto the band. Hand stitching presents as the hat being hand made. Black chin elastic attached.hat, millinery

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Three piece brown outfit comprising a long dress, a separate bodice and a belt of scarf. The outfit is made of a synthetic fabric. The long plain brown dress has been designed with a matching bodice that features a tan trim; the wide belt/scarf is striped. Brown silk purse with brass fittingsgrace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

The strips show the mark or hole shape for each ticket punch at Essendon Depot. The set of four sheets, for punches numbered 1 to 200 are dated 8/12/73. The second set, for punches numbered 1 to 225 have the same matching punch shapes as the first set but are undated. The second set could possibly be an earlier set when there were more conductors at Essendon. Demonstrates a record of each ticket punch mark or shape against the ticket punch number.Set of 9 card strips, which have been punched for each numbered ticket punch at Eassendon Depot.Set 1 of 4 has "As at 8/12/73" on the base of the first sheet and the first four have been stamped "Essendon" on the top of each sheet.tramways, mmtb, tickets, conductors, outfits, ticket punches, essendon depot

This wedding dress and headpiece were worn by Emily Elizabeth (Betty) Cock (1907-2001) when she married Euston Murray Nutchey at St Andrew's Church, Brighton, on 28 April 1938. The bride's great-grandmother, Emily Cock (nee Smith), was married in the same church 69 years earlier; Emily's dress is also in the Brighton Historical Society collection. The dress was made by Melbourne dressmaker Beatrice Cook, with distinctive blue beaded panels worked by Betty's younger sister Margaret (1915-2006) to match the wedding's blue-and-pink colour scheme. The dress was accessorised with a pale blue tulle veil and a bouquet of blue hydrangeas, delphiniums and pale pink roses.Satin dress cut on the bias, originally ice-blue, now faded to cream. The dress features a long train and broad v-neck. The bodice and waist are softly ruched and gathered on either side of a finely beaded centre panel running from the neckline to the hem. The beadwork features a design of small cream-coloured leaves winding between large stylised blue flowers and leaves, all bordered with silver beads. Full-length sleeves are slightly puffed at the shoulder, narrowing to a close fit, with beaded cuffs matching the centre panel. The dress is accompanied by a matching blue, cream and silver beaded coronet or headpiece; this was originally worn with a pale blue tulle bridal veil.Label, woven mauve on beige silk, centre back: Beatrice Cookbetty cock, betty nutchey, emily elizabeth cock, emily elizabeth nutchey, euston murray nutchey, beatrice cook, wedding dress, st andrew's church brighton, 1930s, frances margaret cock, frances margaret ward

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

This ensemble would have been worn early in the second half of the 20th century. It would have been worn on special occasions rather than for everyday wear and would perhaps have been worn with a hat, gloves and high heels. This ensemble is retained as an example of a women’s outfit worn in the 1960s and 70s. It will be useful for display. This is a cotton wove dress and jacket in matching material. The pattern has bands width-ways and is in grey, brown and cream colouring. The dress is sleeveless with a rounded neckline and a zip at the back. The skirt section is slightly flared. The jacket has short sleeves and finishes at the waistline. The jacket has four buttons and a small collar.ladies fashions

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of white rendered house with unpainted variegated brown brick features and a later second storey addition. Other features include a porch, tiled roof, tall chimneys, window awnings and low unpainted matching brick fences in the foreground with "27" on the letterbox near the brick pillar beside the driveway.murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, arches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, brick features, awnings, brick fences, rendered houses, letterboxes

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of an unpainted variegated brown brick house. Other features include a square porch with 2 open arches, tiled roof, white sash windows, striped awnings and low unpainted matching brick fence in the foreground with "230" on the brick pillar with white cast iron gate beside the driveway.murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, murrumbeena road, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, brick features, brick fences, arches, sash windows, striped awnings, cast iron work gate

Belonged to Margaret Ord. She grew up at 31 Drummond Street, Blackburn, in 1946Porcelain head, hands, & half leg. Doll, shoes & socks painted, also painted face.Cotton stuffed body to knees. Long nylon hair. Dressed in black floral cotton dress, lace trimmed with long sleeves. Matching bonnet & cream calico apron. Probably a copy of a much earlier doll.?theatre (use performing arts), toys, dolls

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.Kew was declared a separate municipality in 1860. To commemorate this, a number of events were held in Kew, including a Centenary Dinner Dance in 1960 at which the speakers were Sir Robert Menzies and Cr WHS Dickinson. As the Mayoress, Mrs Doris Dickinson accompanied her husband, wearing this dress. Evening dress, made of unlined grey velvet, worn by the Mayoress, Mrs Doris Dickinson, (wife of Cr WHS Dickinson), to the Kew Centenary Dinner Dance in the Kew Civic Hall. The dress has matching cream kid gloves. The dress was donated by Mrs Judith Goodes, a daughter of Cr. and Mrs. Dickinson.cr whs dickinson, mrs doris dickinson, australian fashion - 1960s, women's clothing - 1960s, city of kew centenary - 1960, evening wear, evening dresses

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this two piece ensemble from the influential fashion boutique "The House of Merivale and Mr John" to wear to a performance of "The Sleeping Beauty" by London Festival Ballet, featuring Rudolph Nureyev at the Palais Theatre in St Kilda in May 1975.A two piece ensemble consisting of long evening dress (.1) and matching jacket (.2), cropped jacket of black acetate. The jacket features a tie front and long buttoned sleeve. The full length dress is slim fitting with centre back zip, shoestring straps and shaped bust with ruched centre front."Mandamatilda", "Dry Clean Only, SSWdi reidie, 1970s, house of merivale, manda matilda

This rope-making machine, called The New Era Rope Machine, was patented in the USA on July 18th 1911. It was made by the Continental Trading Corporation Ltd. in Chicago, USA. The ends of the rope would be threaded through the matching and hooked onto the machine's claws on the other side. The machine's handle would be rotated manually, which would twist the rope ends together, entwining them to make one thick rope.This manually operated rope-making machine is a labour saving devise used particularly by sailmakers in their rigging and ropework tasks. Rope-making machine, metal. The model is "The New Era Rope Machine". The manually operated machine has three claws through which roping material is threaded. Internal wheels have cogs around their perimeter. The two pieces that make up the machine's case are bolted together. Made by Continental Trading corporation Ltd Chicago USA. The machine was patented on 18th July 1911."The New Era Rope Machine" " Continental Trading Corporation Ltd Chicago USA" "Patd july 18 1911" "Made in USA" "Keep oiled"flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ropework, the new era rope machine, patented, 1911, textile machine, continental trading corporation ltd., chicago, rope-making machine, textile industry

The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion