Created about 1995 probably to display at Wonga Park Hall at a public meeting and also at the Wonga Park Community cottage at a Back to Wonga Park afternoon teaphotos of old wonga park

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.Beige tricel and viscose knee-length cocktail dress with pleating and an abstract fabric flower of the same material on the right front. The dress was retailed by Deja Petite of Melbourne.australian fashion - 1960s, women's clothing, cocktail dresses, melbourne fashion designers - deja petite

Colour photographic image of a doll's face in partial profile; strips of yellow, orange and green across bottom; text in yellow."10th Melbourne Queer Film & Video festival 2000. Citymedia @ Treasury Theatre, 1 Macarthur Place, East Melbourne. Opening Night Gala: Astor Theatre, Cnr Chapel St & Dandenond Rd, St Kilda."

Premier Pottery in Preston was opened in 1929 by friends David Dee and Reg Hawkins. They who both had extensive experience in pottery before beginning their small business, set up at 52 Oakover Road in Preston. This location was ideal as a large clay pit was located virtually next to the pottery. Pottery produced at Premier Pottery Preston is better known as the Remued range. The main characteristic of these pieces are the drip glaze style. Before Premier Pottery produced the Remued range they branded their pieces as PPP or Pamela. The pottery remained operational throughout World War II as the government had contracted the business to produce acid stoneware jars and white army crockery. Making any decorative pieces was forbidden at the time. In 1946, Premier Pottery was back to the level of production it was at before the war, but strong competition arose from low-cost Japanese imported goods, hindering the success of the business. This trend continued, ultimately forcing the business to close its doors for good in 1956. Premier Pottery Preston is considered a high point in the history of Australian decorative pottery, and pieces are sought and displayed by leading museums such as the National Gallery of Victoria. There was an exhibition of this pottery held at Bundoora Homestead in 2005.

Premier Pottery in Preston was opened in 1929 by friends David Dee and Reg Hawkins. They who both had extensive experience in pottery before beginning their small business, set up at 52 Oakover Road in Preston. This location was ideal as a large clay pit was located virtually next to the pottery. Pottery produced at Premier Pottery Preston is better known as the Remued range. The main characteristic of these pieces are the drip glaze style. Before Premier Pottery produced the Remued range they branded their pieces as PPP or Pamela. The pottery remained operational throughout World War II as the government had contracted the business to produce acid stoneware jars and white army crockery. Making any decorative pieces was forbidden at the time. In 1946, Premier Pottery was back to the level of production it was at before the war, but strong competition arose from low-cost Japanese imported goods, hindering the success of the business. This trend continued, ultimately forcing the business to close its doors for good in 1956. Premier Pottery Preston is considered a high point in the history of Australian decorative pottery, and pieces are sought and displayed by leading museums such as the National Gallery of Victoria. There was an exhibition of this pottery held at Bundoora Homestead in 2005.

Premier Pottery in Preston was opened in 1929 by friends David Dee and Reg Hawkins. They who both had extensive experience in pottery before beginning their small business, set up at 52 Oakover Road in Preston. This location was ideal as a large clay pit was located virtually next to the pottery. Pottery produced at Premier Pottery Preston is better known as the Remued range. The main characteristic of these pieces are the drip glaze style. Before Premier Pottery produced the Remued range they branded their pieces as PPP or Pamela. The pottery remained operational throughout World War II as the government had contracted the business to produce acid stoneware jars and white army crockery. Making any decorative pieces was forbidden at the time. In 1946, Premier Pottery was back to the level of production it was at before the war, but strong competition arose from low-cost Japanese imported goods, hindering the success of the business. This trend continued, ultimately forcing the business to close its doors for good in 1956. Premier Pottery Preston is considered a high point in the history of Australian decorative pottery, and pieces are sought and displayed by leading museums such as the National Gallery of Victoria. There was an exhibition of this pottery held at Bundoora Homestead in 2005.

Gift of the artist, 2002

Women's Pennant uniform, beige 3/4 pants, worn in pennant competition.Beige 3/4 pants. Size 10.hgc women's golf, uniform, women's pennant

All three certificates won by J G Scott. 32.3 Certificate for Bouquet of Wild Flowers, Beige.Prize certificate for Rutherglen Agricultural Society 1921, printed in black on beige card, with decorative printed edging, Certificate won by Scott, J G. for Bouquet of Wild Flowers.On front of card: "1921 / Rutherglen Agricultural Society / Thirty Eighth Annual Exhibition / Wednesday, October 19th, 1921 / Certificate / Section 25, Class 29 / For Bouquet of Wild Flowers / M J. Scott / H.J. Furze, Secretary / T. Drenen, Printer, Rutherglen"rutherglen show, rutherglen agricultural society, flower show, j g scott

All three certificates won by J G Scott. 32.5 Certificate - Collection of Wild Flowers, Beige.Prize certificate for 1921, Rutherglen Agricultural Society. Beige certificate with black printing, decorative printed edging. Certificate won by Scott, J G. for Collection of Wild Flowers.On front of card: "1921 / Rutherglen Agricultural Society / Thirty Eighth Annual Exhibition / Wednesday, October 19th, 1921"rutherglen agricultural society, rutherglen show, j g scott

Designed by Raymond Lavender, American Printing House for the Blind, it was produced between 1962-1982. A modernized Braille writer, the Lavender allowed the paper to exit through the cover in a way similar to a typewriter. The keys are rectangular and the design is compact with no protruding parts. The cover, which is an integral part of the design, snaps on the case. The case and cover are made of Cycolac, a high impact resistant plastic. After the writer was in use for some time, it was discovered that the plastic material tended to warp and production was discontinued. (Information from the American Printing House for the Blind website). Lavender Braille Writer consisting of an oblong shaped structure made out of a beige coloured metal base with cream coloured keys and a beige coloured hard plastic cover. Braille letters are achieved by punching the various keys. A metallic handle is included.Beige coloured plastic rectangle object with cream buttons and silver returns lever with covering boxbraille equipment, assistive devices

The Tellatouch was developed in the American Foundation research laboratory and resulted from one of the first AFB research projects, a major effort in the mid-1940s to help deaf-blind people. The device helped end social isolation for hundreds of deaf-blind children and adults. The Tellatouch provides a means of communication between a sighted (or blind) person and a deaf-blind person who can read braille. The keyboard has three rows of ten keys each and a standard braille keyboard on the fourth row. At the rear of the machine is a round metal plate with the braille cell in the center. The deaf-blind person rests a finger on the braille cell. Pins rise to form the equivalent of the letter key that is struck. The body of the device covered in beige vinyl, with a hinged lid at the front which lifts up to reveal the keyboard. The lid is secured with a metal latch at the front.Beige vinyl machine with leather carry strapbraille equipment, assistive devices

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

This coat belonged to Brighton resident Audrey Winifred Pickett (nee Heriot; 1915-2011). The coat is made from the pelts of rakali, also known as the Australian water rat, a native rodent species similar to an otter. Growing up to 35 centimetres in length, rakali typically live in burrows near water, feeding on fish, insects, yabbies and waterbirds. Throughout the early twentieth century, they were widely considered to be a nuisance and were hunted for their soft and waterproof fur. Demand for rakali pelts increased during the 1930s Depression years, when a ban was placed on the import of overseas furs; rakali fur became a popular substitute for the fur of the American muskrat. The species was placed under a protection order in 1938, although periodic culls were allowed until 1957 due to their perceived destruction of irrigation banks and fishing nets. Audrey recalled that the coat was made for her by furrier F. J. Ellemor after a large cull of rakali. The coat was displayed in the window of Ellemor's Block Place store. F. J. Ellemor Pty Ltd was established in 1908 by furrier Francis John Ellemor (1867-1944) and continued into the late twentieth century under the management of his son Wilfred (1801-1972). Francis and his wife Edith lived in Rothesay Avenue, Brighton from the late 1930s.Three-quarter length brown fur coat made of Australian water-rat (rakali) pelts. Wide raised collar and cuffs. Fastens centre front with two large hooks and eyes. Lined with chocolate brown silk satin.Label, woven brown on beige silk, centre back neck: created by / F. J. Ellemor / FURRIERS / MELBOURNEfur coat, rakali, australian water rat, melbourne fashion, audrey winifred heriot, audrey winifred pickett, audrey winifred north, francis john ellemor, f. j. ellemor, furrier

Part of hostess/stewardess uniform designed for Ansett Airlines of Australia 1969 to 1972. Donated to Sir Reginald Ansett Transport Museum. Complements the collection of air flight crew attire 1969 to 1972.Beige pillbox hat, with a flat crown and straight, upright sides.Turned brim, featuring peaked detail on one side. Piped edging. Heavy duty cotton fabric with reinforcing stitches. Fawn grosgrain ribbon interfacing inside. Cream Bem silk lining. Gold coloured badge features 1968-1981 Ansett logo: A Delta"Nivek Headware Reg. Melb" on label inside. Blue ink numeral 21 handwritten on label. Possibly size 21 inch hat.hostess, 1970's, flight attendants, ansett airlines of australia, stewardess, pillbox, 1969-1972, beige, nivek headwear

Donated by Shirley Boles, to Sir Reginald Ansett Transport Museum. Part of hostess/stewardess uniform designed for Ansett Airlines of Australia 1969 to 1972.Complements the collection of air flight crew attire 1969 to 1972.Beige pillbox hat, with a flat crown and straight, upright sides.Turned brim, featuring peaked detail on one side. Piped edging. Heavy duty poly-cotton fabric with reinforcing stitches. Fawn grosgrain ribbon interfacing inside. Cream Bem silk lining. Gold coloured badge features 1968-1981 Ansett logo: A Delta." by Nivek Headwear Reg. Melb" on label inside. Red ink numeral 21 handwritten on label. Possibly size 21 inch hat. Handwritten initial "SB" in red ink on manufacturer's label. Commercial name tag, labelled Shirley Boles hand sewn to Grosgrain ribbon.beige, hostess, 1970's, flight attendants, ansett airlines of australia, stewardess, pillbox, shirley boles, 1969-1972

This hat complements the stewardess uniform designed for Ansett Airlines of Australia between 1969 to 1972. It was donated by Shirley Boles, to Sir Reginald Ansett Transport Museum. Shirley Boles was an air hostess with ANA in the early days of Ansett. Shirley has made a considerable contribution of items to the Sir Reginald Ansett Transport Museum. She was a popular staff member who worked for many years with the company.Beige pillbox hat, with a flat crown and straight, upright sides.Turned up brim, featuring peaked detail on one side. Piped edging. Heavy duty cotton fabric with reinforcing stitches. Fawn grosgrain ribbon interfacing inside. Cream Bem silk lining. Gold coloured badge features 1968-1981 Ansett logo: A Delta" by Nivek Headwear Reg. Melb" on label inside. Red ink numeral 21 & 1/2 handwritten on label. Possibly size 21 inch hat. beige, hostess, 1970's, flight attendants, ansett airlines of australia, stewardess, pillbox, shirley boles, 1969-1972

Donated to Sir Reginald Ansett Transport Museum by Shirley Boles Ansett Airlines of Australia 1969-1972 Uniform designed for Hostess/Stewardess uniform. Complements the collection of air flight crew attire 1969-1972.Shirley Boles was an air hostess with ANA in the early days of Ansett. Shirley has made a considerable contribution of items to the Sir Reginald Ansett Transport Museum. She was a popular staff member who worked for many years with the company.Beige coloured pillbox hat , with flat crown and straight, upright sides. Turned up brim featuring peaked detail on one side. Piped edging. Heavy-duty poly-cotton (?) fabric with reinforcing stitching. Fawn grosgrain ribbon interfacing inside. Cream bemsilk lining. Gold coloured badge features 1968-1981 Ansett Logo A Delta "by Nivek Headwear Reg. Melb" on label inside. Pencil numeral 20 & 1/2 hand written on label. Commercial Name Tag hand sown Shirley Boles customer service staff, pill-box hat, 1970s, beige, hostess, stewardess, shirley boles, flight attendants, 1969-1972

Cornelli embroidery (or Cornely work) is a refined, decorative embroidery technique characterized by its lace-like, intricate, and raised texture. It involves applying a cord, braid, or ribbon to fabric in a continuous, flowing, and often swirling pattern.Beige linen pouch bag decorated with cornelly cord work in a grey/beige colour.embroidery, bags, 1920-40, cornelli work

Beige linen, couched in 2 shades of blue floss. Design is outlined in beige braid.embroidery, silk embroidery, early 20th century, italy, folders

Beige fur collarjulie jones, fur, collar, clothing

A beige coloured leafletnon-fictionInformation about B.C.G. Vaccinations from the Department of Healthb.c.g. vaccination, department of health