Showing 31 items
matching cummerbund
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Flagstaff Hill Maritime Museum and Village
Clothing - Cummerbund, c. 1910
This gentleman’s silk cummerbund once belonged to Mrs W N Barnard of Portland, c. 1910.This gentleman's silk cummerbund is representative of men's fashion in the 1910s. Gentleman's silk cummerbund; a long narrow hemmed piece of white fabric, c. 1910flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, gentleman’s cummerbund c. 1910, gentleman’s silk cummerbund c. 1910, gentleman’s fashion c 1910, cumberband, silk cumberband -
Bendigo Military Museum
Clothing - CUMMERBUND, BLACK, Austico Tailored Dress Wear
The cummerbund would have been used as part of the uniform at formal functions. Item in the collection re Tom Glazebrook, refer Cat No 4330.2 for his service details.This is a four layer black cummerbund. It has chromed buckle parts on the inside are two strips of velcro on the end pieces. Velcro length 28 cms. The cummerbund is lined with a black polyester material.formal clothing, cummerbund -
Warrnambool RSL Sub Branch
Cummerbund, Australian Government Clothing Factory (A.G.C.F.), 1983
This cummerbund is part of a winter mess dress uniform belonging to Bernard Farley during service with the Australian Airforce. Worn in 1978, this cummerbund 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 broad waist sash which forms part of a dress uniform. Elasticised woven fabric in a rectangular shape fastened with two strips of velcro. A label is attached to the interior along the seam attaching the velcro. Label reads: “A.G.C.F../VIC. 1983/(broad arrow)/SIZE. 34/8440.S6.035.3816/NO./NAME”dress uniform, airforce, commonwealth government clothing factory, uniform, cummerbund, belt, sash -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Cummerbund golduniform -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Cummerbund maroon officersuniform, 2010, army -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Cummerbund purple. (part of UC041)uniform, 1960, raaf -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Purple Cummerbund for Signals Corpsuniform, 1980, army -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Cummerbund scarlet RAANC (part of UC006)uniform, 2010, army -
Montmorency/Eltham RSL Sub Branch
Accessory - Cummerbund
Red Cummerbund; 2 Velcro strips at each end -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Cummerbund
Cumberbund Blackuniform -
Whitehorse Historical Society Inc.
Clothing - Cummerbund, Tie, Handkerchief, 1970 - 1980
Used by donor in the 1970s.Cummerbund, bow tie and handerkerchief in a machine woven brocade, grey and white in geometrical design. fastenings and clips in dark grey plastic. Velcro strips on inside of cummerbund. Cummerbund is lined with dark charcoal grey rayon. All stored in a silver coloured box with clear plastic lid.on lid--- Bottinellicostume accessories, male -
Whitehorse Historical Society Inc.
Clothing - Embroided Blouse & Cummerbund, Fancy Dress Costume, Unknown
Costume given to Giselda Bannister by her cousin Jacqueline Pugh who had lived in Sabah, East Malaysia. Embroidery, perhaps traditional?Example of traditional Asian embroidery on traditional style blouse (?)Cotton voile blouse with hand embroidery. Cotton cummerbund for use with blouse.Jacqueline Pugh (name tag)fancy dress costume -
Whitehorse Historical Society Inc.
Clothing - Tie, c 1950's
Tie worn by Vernard G. Williams on his marriage to Dorothy Cunnington on 27/09/1958. See suit NA4152Plain grey tie worn at a Wedding with suit NA4152 and pink cummerbund NA4129'Austico'costume, male ceremonial -
Bendigo Military Museum
Uniform - MESS DRESS
Items issued to Francis William (Dinky) DEAN BEM, No's VX93960 2nd AIF, 3742 1RAR. Refer Reg No 124.2 for his service details.Pants, cummerbund, sash, peaked cap and white jacket, belonging to Frank (Dinky) DEAN.uniforms, army, costume, male ceremonial, military history -
Keilor East RSL Sub Branch
Uniform - RAF Squadron Leader Mess Jacket, c. 1939-45
Navy blue RAF Squadron Leader Mess Jacket with 5 Miniature Medals and 2 Cummerbunds with button fasteners.raaf officer, dining in uniform, formal attire -
Whitehorse Historical Society Inc.
Clothing - Cummerbund - Pink, 1957
Worn at the wedding of Dorothy Williams in 1957Pink polyester cummerbund with 'strings' at each end for tying around the waist. Worn by bridesmaid at the wedding of Dorothy Williams.costume accessories, female -
Whitehorse Historical Society Inc.
Photograph, Amey Cook
Amey Cook, unmarried and only daughter of William Cook and Jane nee MaggsSepia mounted photograph on pale green card. Young dark haired female child wearing a pleated suit with short skirt and cummerbund, leaning on a wicker chaircook, amey -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Uniform, Mess Kit, c 1914
Sir Murray William James Bourchier (1881-1937), grazier, soldier and politician, was born on 4 April 1881 at Pootilla, Bungaree, Victoria, eldest son of Edward Bourchier, Geelong-born farmer, and his wife Francis (Fanny), née Cope. In 1878 Edward and his three brothers had taken up four adjoining selections on the Murray River near Tocumwal. Within a few years their properties had expanded considerably: Edward's, near Strathmerton, was called Woodland Park; the other three were known collectively as Boomagong. After a private education in Melbourne, Murray returned to Woodland Park. From 1909 until the outbreak of World War I he commanded a troop of light horse at Numurkah, attending annual camps and courses. Bourchier's military service was distinguished. He enlisted in the Australian Imperial Force in August 1914 and sailed as a lieutenant in the 4th Light Horse Regiment, serving seven months on Gallipoli. After the Sinai campaign in 1916-17, during which he was promoted lieutenant-colonel commanding his regiment, he made the crucial final assault on Beersheba. On 31 October 1917 he led his men, many of them from his own district, at full gallop over two miles into Turkish entrenchments and on for a further two miles (3.2 km) into Beersheba to capture vital wells before the Turks could destroy them. Lacking sabres, the regiment used bayonets held in their hands as shock weapons. For this exploit he was awarded the Distinguished Service Order and earned the sobriquet 'Bourchier of Beersheba'. Eleven months later, after fighting north through Palestine, he commanded a joint force of the 4th and 12th Light Horse regiments (Bourchier Force) in the final advance on Damascus; on entering the city the 4th captured 12,000 Turks and set about relieving their sufferings. Bourchier was three times mentioned in dispatches. He was appointed C.M.G. in June 1919 and his A.I.F. appointment ended in October. In 1921 he was promoted colonel, commanding the 5th Cavalry Brigade, and in 1931 brigadier, in charge of the 2nd Cavalry Division. He returned to Strathmerton but later farmed a property at Katandra, which he named Kuneitra. Source: Australian Dictionary of BiographyMess kit of General Sir Murray Bourchier complete with peaked cap, jacket, cummerbund, shirt, tie, waistcoat, trousers, shoes, AMF lapel badges & badges of rank -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Uniform Complete
Army Mess dress uniform,officer,dress shirt U810c, cuff links U810d, bow tie U810e waist coat U810b, jacket with full Colonel insignia U810a cummerbund U810f , trousers U810g , shoes.uniform, 1970, army -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Uniform Complete
Royal Australaian Army Nursing Service Sergeants Mess Dress(Beret H161, BowtieU879d, Shirt U 879, Cummerbund U879c, Skirt U879a, Shoes U880, Cape U879f, Mess jacketU879b Stockings U879n, Shoes U879euniform, 1990, army -
Bendigo Historical Society Inc.
Photograph - ALL SAINTS ATHLETIC CLUB DECORATED CART
Mounted photograph of a decorated pyramid of men and boys on a cart. Dressed in white costumes with white hats, coloured cummerbunds. Two other gents in suits and bowler hats. Large label A.S.A.C. Inscriptions/markings: List of names on back, some illegible. 'All Saints Athletic Club'.cottage, miners -
Kew Historical Society Inc
Clothing - Cerise Silk & Velvet Ball Gown, c.1901
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. This gown is believed to have been owned and worn by a member of the Smart family of 'Turinville', in Barnard Grove, Kew.Two-piece dress comprised of a bodice and floor length skirt made of a soft, lightweight cerise coloured silk fabric. The bodice features a v-shaped rear neck. A wide velvet cummerbund is part of the outfit. Dated to c. 1901. (Measurements: Length 132 x Waist 62-73, Chest 76 cm)australian fashion - 1900s, ball gowns - 1900s, evening dresses, evening wear, women's clothing -
Bendigo Historical Society Inc.
Slide - PETER ELLIS COLLECTION: SLIDE, May 1970 - Jan 1972
Coloured slide transparency. Image is of a male dressed in costume. He is wearing a long white tiered skirt, with a grey and white coat over a red and white top. A white cummerbund is fastened around his waist and a white headdress is on his head. He is posed standing against a wall. On the lower white border of the slide the words Fancy Dress Party Brian Taylor have been handwritten.Kodachrome Transparencyslide, bendigo, bendigo institute of technology -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Bunty Bulmer, 1961
Colour photograph of children Brian, Evelyn and Trevor Hancock dressed for the Lakes Entrance Primary School Junior debutante ball, Evelyn in white sleeveless lace over satin frock with yellow waist band and floral head band, Brian in dark pants, white shirt, scarlet bow tie and cummerbund, Trevor as Master of Ceremonies in dark suit, white shirt and dark bow tie. Lakes Entrance Victoriagenealogy, celebrations, clothing -
Bendigo Historical Society Inc.
Clothing - MAGGIE BARBER COLLECTION: BLACK SILK SKIRT WITH BEADED TRIM, 1880-1890's
Clothing. Full length black silk-satin skirt, with a 4-pleat cummerbund waist sash - 10 cms deep. Two x 10 cm wide ''falls'' of satin, angled at the lower edge fall from the plackett left side, and are 51 cm long and 63 cm long at their peak. Two panels of the skirt fabric, 81 cm long and 23 cm wide are attached from the waistline at the centre front and centre back. Each panel has a beaded floral motif, 13 cmx 9.5 cm beaded with jet beads.costume, female, black silk skirt with beaded trim -
Supreme Court of Victoria Library
Portrait, Robert Dowling, Sir Redmond Barry, 1886
This painting was created by Robert Dowling (1827-1886) in 1885. At this time Dowling was considered Australia's best portraitist. Dowling had been born in England, but migrated to Van Diemen's Land in the early 1830s with his parents. Dowling worked in both Tasmania and Victoria as an artist, before returning to England in 1857. He did not return to Australia until 1884 and received eighteen commissions for portraits. The Barry portrait was commissioned after Barry's death which explains some of the mistakes in the depiction of Barry's robes; the fur cuffs and collar are too large, and the cummerbund is sitting in the wrong place. Sir Redmond Barry is an important figure in Colonial Victorian History, responsible for the establishment and support of some of our finest cultural institutions (the University of Melbourne, the State Library of Victoria, the Supreme Court Library, and aspects of the Museum of Victoria's collection). This is in addition to his role as barrister defending aborigines in the 1840s and his position as a foundation judge of the Supreme Court of Victoria, a position he held for nearly 30 years, presiding over two of the most well known of colonial trials: the Eureka Trials in 1854 and the Kelly trial in 1880.The portrait of Sir Redmond Barry is significant because of the historical importance of Redmond Barry in colonial Victorian history. The painting is also of aesthetic significance as the work of the distinguished portraitist Robert Dowling. Portrait in oils of Sir Redmond Barry. Barry is depicted standing, dressed in red Judicial robes, his hand resting on a chair; behind is a table with books.Signed and dated 1886 (lower left) by Robert Dowling.redmond barry, portraits, judges, robert dowling -
Bendigo Historical Society Inc.
Photograph - THE RIGHT REVEREND JOHN DOUSE LANGLEY, 1920
Black and white photograph (copy on poly paper) of John Douse Langley, Bishop of Bendigo 1907-1920. Print: image only of upper torso of white-haired, bare-headed man, 3/4 profile, wispy curled sideburns, very light wispy beard, dog collar, soft velvet?, high buttoned coat (top button fastened), cummerbund? Under coat. Inscriptions on back: 'Rt. Rev. John Douse Langley, 2nd Bishop of Bendigo, 1907-1920. (Brother of the late Bishop; H.A. Langley). This in blue ballpoint ink Inclusion in envelope: 'The second Anglican Bishop of Bendigo, the Right Reverend John Douse Langley.. He served from 1907-1920. John Langley was the brother of the first Bishop, Henry Archdall Langley. Bendigo Historical Society Inc. This insert is machine printed.Bendigo Advertiserperson, individual, portrait male -
Bendigo Historical Society Inc.
Clothing - BLACK SILK-SATIN DRESS W/LACE,CUFFS,COLLAR,AND BODICE, BEADING, 1930's
Clothing. Black silk-satin fabric, mid-calf length dress, gathered from the waistline. A black, pleated cummerbund encircles the waist, fastening at the left side with three metal hooks, and hand stitched loops. Long set in sleeveshave a fine piping around the arm holes, and have a hand stitched neatening to finish. Shoulder seams are also piped. A long, narrow collar of lace, bound in 2.5 cm satin edging, attaches almost to the waistline-finishing just 9 cm above the waist. A 'bib front' attached at the right side to the bodice lining, attached to the eaistline, and closing on the left hand shoulder side, with metal hooks, and hand stitched loops. Bodice closes over the top with a metal press-stud. Front bodice has three tiny pleats on each shoulder seam and gathers into the waistline seam. Fine georgette fabric, backed with fine net fabric, is with tiny glass beads, and forms the top of the 'bib front'. Fine beading of tiny beads outlines the high round neck. Larger glass beads and silky lace trim the lower 'bib front'. The lg sleeves are gathered lightly at the shoulder, which isoutlined with fine piping. Cut as a straight piece of fabric, a rectangular 'wing effect' at the wrist, is lightly gathered into a 13 cm deep lace cuff, fastening with two metal hooks, and hand-stitched eyes. Sleeves are lined with fine fabric.costume, female, black silk satin dress -
Bendigo Historical Society Inc.
Clothing - FAVALORO COLLECTION: WEDDING DRESS, 1900 - 1920
Clothing. Cream coloured lace silk wedding dress. Dress made from fine silk fabric with self stripe, fully lined with cream coloured linen. High round neckline with stand up lace collar(6cm). Bodice at front has crossover from shoulder to waist, forming deep Vshape at centre front with net insert below the collar. Net insert has vertical pin tucks. Bodice front and back has cream coloured lace overlay that extends over the shoulders to halfway down the 3/4 length sleeves. Hem of sleeves trimmed with embroidered lace with geometric pattern. Cummer bund of pleated silk fabric (7cm) is attached around waistband. Floor length skirt is gathered into the waistband.Front of skirt has straight lace panelsoverlay (37cmX 90 cm) including 20 cm flounce at lower edge, attached at waistline. Back of skirt has gathered lace overlay attached at waistline extending across side seams and over the edge of front lace panel. Centre back opening fastened with eighteen metal hooks and eyes from collar to waist and six metal press-studs below the waist. Cummerbund fastened with three metal hooks and eyes. A fabric insert at centre back fastened with press-studs. Collar has five pieces of stiffening plastic. Bodice has three bone casings across front above waistline, and four across the back. Cotton tape band (66 cm X 3cm) attached inside bodice at front with hook and eye fasteing.Printed on inside waistband, ''AMALIA SALXANO FARRONE'' NAPOLI ''MODE +CON----'' VIA EGIZIACA A PIZZO FALCONE 93''. Printed inside LHS sleeve at arm pit ''SAXONIA 48X''.costume, female, cream coloured wedding dress -
Brighton Historical Society
Clothing - Dress, Evening dress, circa 1890 (bodice), circa 1840 (skirt)
The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion