Minnie Tittell Brune was born in 1875 and died in 1974. She was an American actress, little known in her own country, but a major figure in the history of the Australian stage. The peak of her career coincided with an Antipodean tour from 1904 to 1909. She was brought to Australia by J. C. Williamson, A sepia postard whowing a seatedwoman in elaborate costume. She is American actress Minnie Tittle Brunechatham-holmes family collection, tittell brune, actress, theatre

This scarf was commissioned by Ben Mountford who was part of the Collaborative Research Centre in Australian History (CRCAH) based at the Federation University SMB Campus (former Ballarat School of Mines). Ben now works at Australian Catholic University, but before that he held a lectureship at Federation University Australia as well as research fellowships at La Trobe University and the Huntington Library, and a lectureship at the University of Buckingham. From 2008-15 he was at Oxford University. Up to eight scarves were made in the Ballarat School of Mines colours for various staff members for the 2016 Australian History Association Conference which was held in Ballarat. This scarf was a gift to John McDonnell and was donated when clearing his office in 2018 after finishing in the position of Dean of Education at Federation University.This acrylic knitted bottle green scarf with gold stripes has green and gold fringing on both ends and the crest of the Ballarat School of Mines embroidered on one end.ballarat school of mines, collaborative research centre in australian history, crcah, scarf, ballarat school of mines crest, ben mountford

The carte de visite features a photograph of Charles Sherwood Stratton (professionally known as General Tom Thumb) and his wife, Lavinia Warren Stratton. The image was taken in Paris, France in 1864. Charles Sherwood Stratton and Lavinia Warren Stratton were American performers who traveled with the Barnum & Bailey Circus, founded by Phineas Taylor (P. T.) Barnum in 1871. They each participated in various acts including singing, dancing, miming, and celebrity impersonations. Both Charles and Lavinia gained international fame for their successful careers and small physical stature. The duo performed in Australia in August 1870. They were joined by their touring party as part of the Barnum & Bailey Circus "Round the World" tour. The "Australian Tom Thumb", real name John David Armstrong, made his "audaciously competitive" stage debut alongside the popular Stratton couple when the circus performed at the Prahran Popular Entertainments in Melbourne. Charles, Lavinia, P. T. Barnum and the circus inspired the musical drama film, "The Greatest Showman" (2017).The carte de visite is historically significant due to Charles Sherwood Stratton's status as an internationally renowned performer. In a general sense, it also provides insight into the arts in Victoria during the late nineteenth century, illustrating the type of entertainment that was enjoyed by the public during this time. The record's historical significance is further enhanced by its medium as a "carte de visite"; a specific photographic method popularised in the nineteenth century. The record has a valid interpretive capacity for those interested in history and museum studies. It develops our understanding of the sensationalised "human curiosities" exhibition genre that was championed by the West during the late nineteenth and early twentieth centuries. Considering the record's historic context, it is a useful resource for discussing the ethics of representing live human beings for entertainment in a public exhibition context.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: General Tom Thumb and Wife, / in the identical costumes worn before Emperor Louis / Napoleon and the Empress Eugenie, at the Palace of / the Tuilleries, Nov. 29, 1864 / Reverse: 3707 / Compliments of / Charles SStratton. / Lavinia Warren Stratton. / Published by / E. & H. T. Anthony & Co. / CA / 591 Broadway New York. / MANUFACTURERS / of the best / PHOTOGRAPHIC ALBUMS / A02539 /entertainment, entertainment album, circus, general tom thumb, australian tom thumb, charles stratton, lavinia stratton, performance, arts, carnival, p. t. barnum, melbourne, prahran, john david armstrong, film

South Australian textile artist Trevor Smith was taught to crochet by his mother Jean in the 1960s. After training in sculpture, he returned to crochet after participating in a Regional Arts Victoria project in 2009. His quirky and inventive crochet sculptures stem from his interest in costume, characters, fashion, culture and history and push the boundaries of crochet in a move from functional items to creative artworks. Trevor has exhibited in various museums and galleries including the Art Gallery of Ballarat. Trevor Smith once held the role of Collections Coordinator at the Glenelg Shire Council.Crochet sculpture of a Leafy Sea Dragon. The Sea Dragon is on an oval, crochet background. It is two shades of green with the darker shade being the inner oval surrounded by a larger oval in a lighter shade of green. A brown sea dragon is on top of the oval. Crochet 'leafy' parts on the dragon's body and legs.portland, glenelg, glenelg shire cultural collection, great southern reef, marine, marine biology, crochet, craft

Portrait of Johann Gottlieb Adler, farmer, c1880. Adler came from Silesia in Germany to Port Phillip in 1848. His story is recorded in the Uebergang family history (The Uebergang Families in Australia 1848-1985, pp.43-48) which includes a list of descendants.Black & white photograph of barded man in suit with bowtie, mounted in oval mat in brown frame with plaster decorations.uebergang, allansford, adler, johann gottlieb, germany, farmers, farmers, costume, male, portraits, selectors

Portrait of Johanne Christiane Adler, nee Uebergang, c1880. Christiane's story is recorded in the Uebergang family history (The Uebergang Families in Australia 1848-1985, pp.43-48) and includes a list of descendants. A companion portrait of her husband Johann Gottlieb Adler is also in the collection.Black & white portrait of woman wearing a dark top with pale jabot and a close-fitting bonnet tied in a bow under the left ear. The photograph is mounted in an oval mat in a brown wooden frame with plaster decorations.allansford, murtoa, penshurst, penshurst, germany, costurme, female, costume, female headwear, portraits, farmers, selectors, uebergang

Gippsland Heritage Journal is a journal, produced about every nine - twelve months, for those interested in regional, local and family history in Gippsland, Victoria, Australia. It is compiled by Meredith Fletcher, Debbie Squires and Linda Barraclough and includes a diverse range of articles, both academic and non-academic. Since No.24 it has been a partially refereed journal. This copy was used in the library of Orbost Secondary College. This item is a useful reference tool on the history of Gippsland.A 64 pp magazine, titled Gippsland Heritage Journal No 12 (June 1992). It cost $7.00. The front cover is pink with a b/w photograph of "a friend in costume" by Lucy Way. The magazine contains photographs, articles on the history of Gippsland.

From Title Page - "THE AUSTRALIAN/ LIGHT HORSE/ The Magnificent Australian Force and its decisive victories in Arabia in World War 1".Soft cover book. Cover - cardboard, yellow and brown colour background. Gold, red, black print on front, spine and back. Illustrated front - two sepia photographs of soldiers on horseback. Back - three small photographs, sepia and colour soldier in local costume, soldier on horseback, group three soldiers on horse book. 549 pages - cut, plain, off white colour paper. Illustrated - black and white photographs and maps.publications, books, military history, australian light horse

Worn by S J KIRKHAM No 685 1st Pioneers 8th Battalion. Refer cat No 1281 for his service history.Kahki Battle Dress Jacket issued in WW1.australia, military uniform, armed forces, costume, male

CAPT GLADYS ELVA Mole VFX17199, Australian Army Nursing Service. Refer 1900.2 Photos, 1901.4 Medals & Service history. Served Palestine, Tobruk, Colombo, Queensland, Borneo & Singapore. See also Reg No 1497.9 for remainder of uniform.Red Nurses Cape worn by Nurses over their uniform. Cape belonged to CAPT GLADYS ELVA MOLE. Cape fits over shoulders & clips at top front with hook & eye fastener. Complete with Captain's pips on epaulettes with Australia badges & buttons.Embroidered inside back neck edge in orange thread: “MOLE” Label lower back edge: “V231 Made in AUSTRALIA 1943 Size W”uniforms - military, medicine - nursing, costume female, cape, nurse

Green woollen beret, black corduroy rim, small black ribbon at rear.Front: “Royal Australian Corps of Signals (RASigs) badge” Stamped inside: “Kent Pure Wool Large”military history-uniforms/army, costume - male headwear, beret, signals

Item issued to Wayne Forbes, refer Cat No 754 for his service historySlouch Hat, chin strap fitted, khaki, light green puggaree. The badge on the side is that of Royal Australian Engineers.uniforms - army, costume - male, headwear

Belonged to Maxwell Lennox Matheson No 418447 RAAF. Refer Cat No 1959 for his service history.RAAF peaked cap. Dark blue with black leather band around brim and blackened brass RAAF badge on front."Made in Australia 1945"uniforms-raaf, costume-male-headwear, metalcraft

Slouch hat and Uniform jacket belonging to Edwin James JONES No 3511 AIF. Refer 1367.5 for his service history. The hat was manufactured in 1918 by Dalter Lucas & Sons Bury, UK. It appears to be of a similar style to those issued to Gurkha troops due to the thickness of the felt, the three rows of stitching around the brim and the use of a press stud to pin up the left hand side of the brim..1) Coat, Battle Dress, Kahki, includes 2 x “Australia” shoulder badges, 2 x “Rising Sun” epaulette badges, 2 x “yellow over purple” colour patches, 3 x “service chevrons”, 1 x “Empire Wounded stripe”, 1 x “Lewis Gun” cloth badge, all metal buttons intact as well as waist belt. .2) Hat, Slouch, kahki fur felt, cotton pugaree, leather head band, Rising sun badge, no chin strap..2) Pressed into the hat band appears to be; “Dalter Lucas & sons (1910) Ltd, BURY 1918”uniforms, military clothing, costume accessories - male

Uniform items issued to Quentin Clifford BINKS, V245016 & VX114178 2nd AIF. Refer Cat No 1835 for his service history. .1) Jacket, Service Dress, khaki, summer with 2 x Australia shoulder badges, 2 x Rising Sun lapel badges, 4 x Lieut rank badges ( 2 on each shoulder), 2 x WW2 Service Ribbons, 2 x blue Service Chevrons on right sleeve, metal buttons, 4 pockets. .2) Trousers, Service Dress, khaki, summer, 3 pockets. .3) Shirt, polyester, khaki, long sleeves. .4) Tie, cotton, khaki. .5) Belt, Sam Brown, brown leather, waist and shoulder belts. .6) Braces, clear plastic..1) “Wardrop, My Tailor of Melbourne, Collingwood and Geelong for all men’s wear” .2) “Wardrop of Melbourne, Collingwood and Geelong, approved Military Tailors” Under in ink “Lieut Binks Dec 1942” .3) “ADF 1989” uniform - army - male, costume - male, costume accessories - male

Items in the collection re J.C.W. LEDEUX, refer Cat No 2378 for his service details. These items are classed as Trench Art WW2..1) Perspex map of Australia with Australian coat of arms in metal in centre. Has shape of colour patch in centre. Australian Armoured Division. .2) Perspex bar with Rising Sun badge suspended beneath on chain. .3) Mother of pearl Rising Sun with metal Rising Sun badge in brass in centre. costume accessories - jewellery, military history - souvenirs, numismatics, trench art

Beret, black felt with reinforced black hat band, 2 air vents RHS & back. Silver RAEME (Royal Australian Electrical & Mechanical Engineers) badge in front.costume-male, headwear, military history - army, raeme, passchendaele barracks trust

item relates to Cat No 2854.3.1) Forage Cap, navy, two buttons on front & Crown & Eagle Badge. .2) Forage Cap, navy, two buttons on front..1) Inside cap: “Q136 1944, Size 7-1/8, Made in Australia” .2) “J Josephson 1941 Laver”costume - male head wear, military history - air force, passchendaele barracks trust

Items relate to HEWSTON Collection WWI & WWII.1) Button, metal, Crown over map of Australia. Australian Military Forces around edge. .2) Button, metal, gold colour with anchor & flower arrangement.costume accessories - haberdashery, uniforms, military history, buttons

Item re Ebdon.Khaki hat band, felt, cut on bias, black/red triangular, colour patches, machine and hand stitched. RAA 7th Australian Division uniforms - army, costume accessories - hat accessories, military history, passchendaele barracks trust

BHS CollectionA soft covered book titled 'Two Hundred Dancing Years and how to celebrate them with a Colonial Ball.' by Shirley Andrews and Peter Ellis. Published by The Australian Bicentennial Authority Australia 1788 - 1988. Presented to the Royal Historical Society of Victoria, Bendigo Branch with kind regards from Peter Ellis 3/12/1988.Shirlely Andrews and Peter Ellisentertainment, dance, colonial ball, peter ellis, book, dance, dancing, music, colonial ball, australian history, history, australian bicentenary, dance styles, balls, entertainment, recreation, australian food, food, menus, colonial food, colonial fancy dress, costume, fashion, dance programmes

The three Lucas (Lekatsas) siblings, Peter, Nina and Andrew are photographed wearing Greek traditional costumes. The boys are wearing the uniform of the Greek Evzone soldiers, and the girl the traditional dress. They are children of Gerasimos and Kaliope (nee Zavistanos) Lekatsas.Children often wore national costumes at special Greek national day events which were usually organised by the Greek Community in conjunction with the Greek language schools. Most children of Greek background attended Greek school after hours to learn Greek language, history and culture. The national day events were an important way for Australian born children of Greek background to develop a deeper understanding of Greek history and an appreciation of their cultural heritage.A black and white studio photograph of a girl and two boys dressed in traditional Greek costumes. The girl is seated on a chair and the two boys are standing on either side of her.

This blouse was made by Annie Beryl Mathieson from silk material which came originally from China via family relatives. Annie Beryl Mathieson, born in Western Australia in 1910, married John Harman in Nullawarre in 1939 and made the blouse which she wore under a navy costume for her 'going-away' outfit. They lived at Macarthur and Annie Beryl died in 1983. This blouse is of interest as an example of women's fashions in in the late 1930s and of handmade clothing in the same era.This is a cream silk blouse. It is gathered from the bust line with navy cotton embroidery on the upper section and it has a pointed collar with cream lace edging, small puffed sleeves with navy embroidery and an open neckline laced up with a navy cord. annie beryl harman, warrnambool history

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey children’s cardigan with embroidered flowers and human figures in folk costume, and crocheted design around neck in green, yellow and red. Left panel has embroidered figure of man with blue lederhosen and yellow shirt, black shoes and hat, hat has red accent. Right front panel depicts woman wearing red skirt with white stripe, white shirt, and green headscarf with black stockings and shoes. Flowers are embroidered in pink, white and blue with green and yellow accents for stems and flower centres. Cardigan closes in front with five marbled grey plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 22 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, folk art, folk embroidery

LEATHER GUARDS FOR THE LEGS WITH LEATHER STRAPS TO FASTEN. PLACED OVER PANT LEG IN BETWEEN SHIN AND BOOT TOP.AUSTRALIA JHlocal history, costume, military, male, accessories, military clothing accessories