Invoices for the purchase of female clothing (jumpers) from Bendigo retailers during 1975 - 77Assorted invoices for purchases for female clothing from Bendigo Retailers: The Beehive, McCalmans, Monaghan's and The Bendigo Fashion House. The invoices are purchased and made out in the name of Mrs. J. Jennings of 34 Day Street, Bendigo. The purchases were made 1975 - 77. 11076.3 includes four clothing tags for Crestknit and Slade jumpers; circa 1975. associated with the invoices as above.bendigo

Photograph - Black and white young female dressed in Victorian clothing - taken at F.H. Coldrey (late Wherrett ) Post Office Portrait Rooms Barker Street Castlemaine -Established 1855.photograph, person, female, f.h. coldrey (late wherrett ) post office portrait rooms barker street castlemaine -established 1855

This amber satin evening outfit was worn by Mrs. Isabella Mitchell (nee Russell, 1840 – 1929) at the wedding of her brother Alexander (c.1846–1938) and Eliza (nee Moore c.1854–1939). The jacket and skirt attach to each other at the waist by joining the metal rings that are around the base of the jacket and to the metal hooks that are on the waistband of the skirt. The outfit was donated with its own mannequin and fits it perfectly. In the colonial days, outer clothing was rarely, if ever, washed, due to the expense of fabrics and difficulty in careful laundering. Clever methods were employed to reduce the occurrence of soiling. The mannequin included with the donation would also help keep the outfit in good shape as well as being used for ensuring a flattering fit. FAMILIES’ HISTORY The families connected with this wedding for which this outfit was worn are from Warrnambool’s colonial days. Isabella and Alexander’s parents, Robert Russell and Elizabeth (nee Mitchell) were both born in 1808 and married about 1830. They were from farming families in Northern Ireland where they raised their seven children there before migrating to Australia in the early colonial days, around 1857. Their graves are in the Tower Hill cemetery. Alexander’s wife Eliza (nee Moore, born in 1854) was also from Northern Ireland and migrated to Australia in 1858 with her parents, Thomas and Nancy Moore, in the last voyage of the sailing ship “Chance”. Isabella (Bella) talked with her grand-daughter Ruby Akers about her memories of Alexander and Eliza’s wedding and other events in her life. Ruby recorded these memories in a letter. She says “They were married in the Warrnambool Congregational Church by a pioneer minister, the Reverend Uriah Coombs. The bride wore a pale blue silk wedding gown which was made by herself. Bella was Matron of Honora and Ian McCasker was best man. In those days the transport to the church was usually a carriage – similar to a cab – and a pair of white ponies. They would have the reception at home and then go for a drive afterwards and at night there would be a dance. They did all the catering themselves … Eliza carried on farming in the Dennington, Yarpturk and Purnim districts until they moved to Camperdown around 1905…” Ruby’s letter later mentions “[Isabella] could recall seeing a blackfellows’ corroboree being performed near where the Dennington Bridge now stands. It was rather a terrifying experience, they seemed in a warlike mood and one never knew what they would do next. One lubra came running to granny crying, Hide me, bad man kill me. She was bleeding from a wound in the head. Probably the result of a blow from a waddy. My mother [Margaret Jane McLaughlan nee Mitchell], coming home from school, often met blackfellows walking ahead with spears and boomerang, the two lubras – he usually had two – following in the rear, carrying the children or any burdens they had.“ Margaret would probably have been in primary school in the 1800s when she saw these things. Alexander and Eliza had ten children. One of their daughters, Margaret Jane, was born in Warrnambool in 1879. She married William McCullagh and they had eleven children. Margaret made headlines in the Warrnambool newspapers for celebrating her 100th birthday. She had lived in the district for 60 years before moving to Melbourne. Alexander passed away at the age of 92, and Eliza passed away six months later aged 85. Their graves are in the Colac cemetery. Isabella married Ralph Mitchell and their daughter Margaret Jane married John McLauchlan in 1891. Margaret and John’s daughter, Ruby Elizabeth, Jane married Fredrick Akers in 1938. Fredrick was born in England and was a Boer War veteran and served in the British Army. He migrated to Queensland, Australia, in 1913 and he joined the Australian Army to fight in World War I. In 1935 he moved to Warrnambool where he served in the Volunteer Defence Corps 1938-1945. Both Ruby and Fredrick are buried in the Tower Hill Cemetery.Together, the evening outfit and the mannequin are examples of female fashion of the mid to late 1900s. They are also significant for their association with the colonial pioneer families of Australia, Victoria and Warrnambool. The outfit and mannequin are significant for their connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The evening outfit and its mannequin are significant for its connection with colonial families and their contact with the indigenous culture of the district and the contact between the native and European people. This ladies’ evening outfit is made from amber coloured satin fabric. It comprises a short-waisted, long-sleeved jacket and long skirt and it has its own neck-to-floor wooden mannequin on a pedestal. The outfit was worn by Mrs. Isabella Mitchell (nee Russell) as the Matron of Honour at the wedding of her brother Alexander Russell and his fiancé Eliza Moore in Warrnambool, 29th April 1874. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, evening outfit, wedding outfit, bridesmaid’ outfit, matron of honour outfit, clothing female, clothing late 19th century, clothing wedding late 19th century, clothing bridesmaid late 19th century, clothing antique, clothing ladies, women’s clothing, women’s fashion, alexander russell, eliza russell, eliza moore, isabella mitchell, bella mitchell, bella russell, isabella russell, ralph russell, ian mccusker, ruby akers, fredrick william akers, ruby mclauchlan, margaret jane mclaughlan nee mitchell, margaret jane mclaughlan centenarian, william mclaughlan, robert russell, elizabeth russell nee mitchell, irish immigrants, warrnambool volunteer defence corps 1938-1945, antique satin outfit, warrnambool wedding 1874, congregational church warrnambool, reverend uriah coombs, dennington farmer, yarpturk farmer, purnim district farmer, camperdown resident 1905, dennington bridge, indigenous corroboree in dennington, corroboree in warrnambool, 1880s corroboree in warrnambool, lubra and baby, indigenous corroboree in warrnambool

Part of Birmingham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Bed caps were worn in the 1800s to keep the head warm. However, in the early 1900s silk caps became popular to protect hairstyles . They were though to improve the health of hair.Cream silk cap, edged with cream lace with green embroidery. Gathered at crown.clothing, night cap, 1900s, headwear, women's headwear, women, female clothing

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

This dress was possibly manufactured by a local seamstress in the period circa early 1900.The quality of the dress suggests that the lady who wore it was from middle to upper range of the socio-economic structure within the Kiewa ValleyHistorically this item dating in the early 1900s was made by a very competent seamstress (lack of manufacturer's label). It demonstrates that the conditions of relative isolation within the Kiewa Valley was not extreme and that local manufacture of clothing items were available and at a very high level of quality. This item demonstrates that the hand made era was alive and an essential part of community/social adhesion within the valley.Beige knitted dress, sleeveless ladies pin weaved running from waist to bottom. Fine pin weave from bust to waist. Two mother of pearl buttons fastening opening front neck 11cm from neck to upper breastno manufacturer's label suggesting manufacturer was a very talented local seamstress costume, woollen, knitted, dress, female clothing

This garment was made by Edith (?) Cowell (Mrs Jim Richardson, nee Cowell) and has been donated by her daughter Esma Richardson.This item is an example of the needlework skills of women in the early 20th century.A full length white cotton night-dress with long sleeves. It has lace around the shoulders and across the chest, broderie anglais collar and cuffs. A ribbon is threaded through the lace at the neckline and cuffs. The bodice also has small pleats or pin-tucks at the front and clear buttons. Pinned to the left shoulder is a blue certificate indicating from the Bombala Exhibition Society of 1913.The certificate from the Bombala Exhibition Society indicates that Alice Cowell won first prize in the 1913 show for having made this night-dress.night-dress bombala-exhibition female-clothing

Sepia studio photograph of young woman in long embroidered dress standing beside chair. Swept-back hairdo with large bow? At back. Heavy (studio) curtain on Rhys. Mounted on cream board. Inscriptions: on front - Jno. Wells, Photo Artist.person, individual, female portrait, portrait, female, clothing, fashion, costume

Sepia photograph of a standing lady. Inscriptions: on front - 'To dear Tom and Jane with Bessie's love, Feb 1915'. 'Monteath, Melb.'.Monteath, Melbourneperson, individual, female portrait, female, clothing, costume, fashion, individual

Grey corset with boning inside. White lacing and eyelets on back and attachments for suspenders."Sibyl", Cotton Corset, Made in England. Rust-proof throughout.costume, female, clothing, women's, corset, undergarment, underwear, sibyl.

BLACK CAPE BELONGING TO MRS. CATHERINE KELLY - FROM CARGERIE AND SKYE - SCOTLAND. GRANDMOTHER OF MRS. KIT SWANTONOF BALLARAT.BLACK VELVET BEADED CAPE - SILK LINED, SILK TRIM.NILlocal history, costume, female, womens clothing

White cotton short sleeve short top. Button up front with extensive crochet work and pink lace detailing.No visible markingscostume, female, top, clothing, white, cotton, crochet, lace.

White cotton short sleeve short top. Button up front with extensive crochet work.No visible markingscostume, female, top, clothing, white, cotton, crochet, lace.

White cotton night gown, long, with crochet trim on sleeves and around square neckline. Sleeves short (above elbow).No visible markingscostume, female, nightgown, clothing, white, crochet, cotton

This handmade blouse with its matching belt was donated along with a note that says, "This jacket was owned by Marion Leishman who married Captain Eadie. They lived in Warrnambool and are buried at Tower Hill Cemetery." The spelling on the headstone is "Edie" rather than "Eadie". Marion Leishman Edie was born in 1835 and died on August 7, 1914. She married Captain Richard Wilson C Edie in 1865. Capt. Edie drowned at sea on 16th June 1883 aged 49 years. Marion Leishman Edie died on 7th August 1914 aged 79 years. Her sister Alison Keishman Sprod, died in 1863, aged 25 years, and is also buried in the same grave at Tower Hill. The fine satin blouse and matching belt is an example of clothing worn by women in the mid-to-late 19th century. It demonstrates the beautiful and talented skills applied to handmade garments. The decoration indicates that the blouse or jacket was worn for a special occasion.Blouse of black satin, decorated with lace and sequins. Long sleeves are puffed at the shoulder fitted at the lower arm and cuff. The belt has sequins and tassels. Black lace is added around the neck and bodice, fastened at the front with hook and eye.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, costume, blouse, belt, female adult, clothing, fashion, satin, lace, wonem's clothing, marion leishman, captain eadie, tower hill cemetery, marion eadie, jacket, black satin jacket, sequins, marion edie, richard wilson c edie, drowned at sea, marion leishman edie, handmade, black jacket, sequined satin jacket

Black and white copy: image shows man dressed in female clothing, carrying chamber pot, wearing blonde wig. Text accompanying : from Fred Smith 3.11.2000, snapshot (photo) B & W., male in costume for Bendigo Easter Fair, 1946. Bon Beves ( Bon ) d 2.12.1999. In memoriam in B. Adv. 2.12.2000. Wife Elvie 'had a dress shop in Mitchell Street' Marion Heeps 1.12.2000.person, individual, ivor 'bon' beves, easter fair, ivor beves

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0287hat pin, female head apparel, clothing accessories

Black and white photocopy of newspaper photograph. Mezzanine floor with balustrade around open area to lower floor. Small rooms along each side. Open metal curved beams under translucent roof. Two females facing camera, one female in doorway. Inscriptions: Printed under image 'two office girls take a break from work on the mezzanine floor of Allan's Arcade, a noteworthy Victorian era'. At top of plate 'page 52 - Supplement to the Bendigo Advertiser, Wednesday, September 24, 1986'.Bendigo Advertiser photographer?place, arcade, allan's arcade, bendigo, business, supplement, office, individual, female, person, workers, clothing, costume, clothes, fashion

Women's clothing: pink boned corset. Garment is patterned with flower motif. Suspenders attached to bottom of corset. Corset is laced up the back through eyelets. Item donated by Mrs. J. Mannix, 54 Bannister Street, Bendigo. On inside of garment 'Beauty's Contour, 148, Type ABD U.B.'female, corset, women's clothing, corset

Clothing: Women's pyjamas. Pink silk like material, short sleeved top trimmed at square neckline ,sleeves and bottom with lace. Pants are long legged with lace trim at bottom. No identifying label on garment. Possibly Hanro ? Item 11004 transferred to Box 41 Clothing Box and renumbered 11400.223.nonefemale, pyjamas, women's clothing, nightwear, pyjamas

White cotton long women's nightgown with long sleeves. Crochet detail along the collar and front.No visible markingscostume, female, cotton, crochet, clothing, nightgown, sleepwear, white.

Biography, cardboard cover with black print on yellow background. Front cover has 2 black & white portrait photos, a male in uniform & a female in civilian clothing. Also a small photo of poppies with the words 'At Peace in Flanders'. Back cover has black print comments & a colour photograph of a wreath. 220 pages, cut, illustrated with black & white photos.Title page in handwritten blue ballpoint ink: To Shirley and David with best wishes Brenda S.C 2014books - biography, military history - army

We have no information about who is in this photograph or precisely when or where it was taken. As the children are holding a sports trophies, a flag and a basketball, it seems likely that the photo was taken at the Linton Recreation Reserve after a sports day. The female teacher's style of clothing suggest the 1940s or 1950s. The male teacher may be Mr Harry Sutherland, who was Head Teacher from 1947-1953.Black and white print of photograph showing pupils and teachers in a bush setting, with a trophy, basketball, shield and flag.linton state school no. 880, sports days, sports trophies

Photographed in the early 1900s, this black and white photograph depicts 25 members of the Mayday Hills Hospital Staff. Six men sit in front of the group (Mr Imhose stands fourth from the left in front row), upon the ground and behind them, in bright white clothing, sit eight female nurses upon a long bench (one of these nurses is identified on the rear as Miss A.J. Ross). Behind these women stand 10 men. The men are all wearing dark clothing and several have 'Kepi' style hats. The staff photograph was captured by Frazer and Vallance Photographers Melbourne. This image was originally combined with 1997.2491 but these images have since been torn apart and catalogued separately. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on photographic paper mounted on cardHandwriting reads: "Mental Hospital / Beechworth / Miss A. J. Ross / about 82 in 1944".mental asylum, beechworth, mayday hills, mayday hills hospital, victoria, mental health, history of mental illness, treatment of metal illness, asylum, hospital for mentally unwell, miss a.j. ross, nurse, staff, doctors

Photographed in the early 1900s, this black and white photograph depicts 25 members of the Mayday Hills Hospital Staff. Five men sit in front of the group, upon the ground and behind them, in bright white clothing, sit eight female nurses upon a long bench (one of these nurses is identified on the rear as Miss A.J. Ross). Behind these women stand 12 men. The men are all wearing dark clothing and several have 'Kepi' style hats. The staff photograph was captured by Frazer and Vallance Photographers Melbourne. This image was originally combined with 1997.2490 but these images have since been torn apart and catalogued separately. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on photographic paper mounted on cardFrazer & Vallance Photographers Melbournemental asylum, beechworth