Clothing. Infant's coffee coloured crocheted lace bonnet. Concentric circles of lace from centre back. Edged on both sides with scalloped lace. Fully lined with coffee coloured net. Two rows of .8 cm blue satin ribbon and two rows of .8 cm pink satin ribbon threaded from side to side. Four pink rosebuds across front edge of bonnet. Rosettes of pink and blue ribbon on each corner above ties of cream coloured silk ribbon.costume, children's, infant's coffee coloured bonnet

Lining is net, attached are rows of cream ribbon and insertion lace. Bonnet has a flap of ribbon and lace folded back over top of bonnet. No ties.lace, bonnets, 1900-20, heirloom

This baby’s bonnet is an example of the lace making and dressmaking skills of the early settler women in the Shire of Moorabbin A hand made lace and net lined baby's bonnetdressmaking, lacework, craftwork, lace, mooabbin, bentleigh, cheltenham, early settlers, pioneers, market gardeners

Cream coloured lace baby bonnet lined with silk. Made up of concentric strips of lace, net and eyetted lace. Front edge has double frill of gathered lace with fold back section (5cms) of two rows of lace with gathered lace edge. Lower edge has crocheted trim with eyelets for ribbon tie.costume, children's, baby bonnet

Use: Domestic. FashionBobbin lace bonnet

Child's clothing accessory owned and worn by a baby in the Piesse family of Kew. Later owned by Margaret Hollis (nee Piesse) of Castlemaine.Baby's lace bonnet.baby wear, bonnets, lace, embroidery

Use: Domestic. FashionMachine lace bonnet veil

Use: Domestic. FashionMachine lace bonnet veil

Fashion Item. Bonnet veils were very fashionable during the 19th century. At this time old lace was highly valued - in this case old Argentan needle lace motifs (mid 18th century) have been reclaimed and appliqued onto machine made cotton net to form this 19th century bonnet veil. Probably home-made.Mid 18th century Argentan needle lace motifs appliqued onto machine-made cotton net.lace veil, bonnet veil.

Pattern for an apron decorated with flowers and a lace edged bonnetCuffie da Cuginaapron pattern, bonnet pattern, flower embroidery, marcela bole

Doll with composition body, no manufacturers mark, dressed in very old lace bonnet and cloth nappie, moveable limbs, sleeping doll with opening blue eyes, has been a ma ma doll, no longer working.toys, dolls, composition

AT THE BACK OF PHOTOGRAPH QUESTIONS ABOUT THE LADY'S IDENTITY.SEPIA PHOTOGRAPH OF LADY WEARING BLACK FROCK AND RIBBON AND LACE BEADED BONNET.BAWDEN PHOTOGRAPHER CLUNESphotography, photographs, early citizens, photograph of lady

Cream silk baby bonnet lace edged and embroidered in creamcostume, infants'

IDENTITY UNKNOWNORIGINAL SEPIA PHOTOGRAPH OF YOUNG CHILD - LEFT HAND RESTING ON TABLE. WEARING LACE TRIMMED BONNET AND LONG WHITE DRESS.local history, photography, photographs, costumes - child

Coffee coloured crocheted baby bonnet. Unfinished. Piece of crocheted lace shaped into bonnet.costume, children's, coffee coloured baby bonnet

Photograph - black and white - ambrotype. Portrait of a female. She is wearing a bonnet, lace around neck and sleeve.person, individual, female portrait, portrait of a female. ambrotype.

Plaster doll (head, arms, feet). Stuffed body. Off-white dress with laced adorned bonnet. Paint on face is faded and cracked. Boots are broken. Blonde coloured hair is matted toys. children, presents, doll, plaster

Bed cap, bonnet- Adult size cotton bonnet - Cotton lace inserts - Georgette type fabricNilclothing, handmade, c 1900's fashion

Handmade black lace and fabric flower bonnet. The flowers are edged in white. The lining is in black net.visiting, outing, dressed up

Memorial card - black board with gold printing, cameo portrait of elderly lady, with bonnet, lace collar. Gold inscription and verse. 'Dearly loved mother of John and William Richardson, and Ellen M. Nettle. Died at Daylesford, January 26, 1900.the Art Engraving, 11 Elizabeth St., Melbourne.person, individual, female

Part of McNamara collectionCream silk baby matinee jacket edged with cream lace. Cream ribbon ties around neckline and wrists. Embroidered basket of flowers on each side. Cream silk bonnet with lace edging.baby clothes, lace, embroidery

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the woman in this mid 19th studio portrait is as yet unidentified. The daguerreotype was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Three quarter length studio portrait of a female member of the Henty family, taken using the daguerreotype photographic process, and encased in a standard daguerreotype frame made of tooled leather, velvet and gilt metal. The woman is dressed in a silk dress, typical of the 1860s, with a lace collar and bonnet. She appears to be holding a locket in her right hand.henty family, australia - early settlers

This bonnet is part of a collection of clothing donated to the Brighton Historical Society by Dr William and Helen Wells. It is believed to have belonged to William's grandmother Winifred Marshall (nee Hayball, 1886-1971). William's family has had a long association with Brighton, dating back to the town's earliest days in 1843 when his ancestors Robert and Eliza Hayball, who had emigrated to Melbourne two years prior, established a wattle-and-daub hut in what is now New Street, close to Tovell Street. Robert established a business as a timber merchant on the opposite side of New Street. His sons, Robert, William and Edwin took over the firm following his retirement, trading as the Hayball Bros. Hayball Court, which runs off New Street, is named after the family. Robert's son William (1855-1926) married Jessie Robertson and had four children. Their eldest, Winifred Grace Hayball (1886-1971), married Andrew Hollingsworth Marshall at the Black Street Congregational Church in 1907. They subsequently lived in Hill Street, Hawthorn, before moving into a house designed by Andrew and Winifred's brother Robert at 39 Bay Street, Brighton in 1915. Their daughter, Dorothy Marshall (1910-2000) married Robert George (Argie) Wells in 1937 at Wesley College Chapel. They lived in East Malvern until 1947, when they moved into a newly built home in Hawthorn Road, East Brighton, where they lived for the rest of their lives. Their son, William Wells (b. 1939) married Helen Pickering in 1968 and the couple have lived together in Brighton ever since.Pale pink silk bonnet (sleeping or house cap) with cream lace edging. The bonnet is embellished with oval-shaped embroidered appliqué on either side, featuring floral design in white and pale yellow, blue and green. A cream silk ribbon and a row of pale blue and green rosettes run along the top edge between the two appliquéd segments. A length of elastic is sewn through the bottom edge.wells family, winifred grace hayball, winifred grace marshall, bonnet, 1900s

Clothing. Infant's cream coloured satin silk bonnet. Embroidered sheaf of flowers on the back of the crown. Back edge trimmed with one cm lace. Front edge of bonnet has two triangular fold back tabs edged with lace. A pleated fabric frill is stitched across the top of the bonnet underneath the stitched down tabs.The front edge of the bonnet is trimmed with a double frill of white silk fabric. A fabric bow is attached at each front corner above satin silk ties (38 cms X 5 cms). Fully lined with silk fabric gathered into centre back. Circular piece of fabric stitched over gathering point.costume, children's, infant's baby bonnet

Doll maker Kammer and Reinhard bisque doll heads and bodies were designed by them, but most heads were manufactured by Simon & Halbig which is why heads bear both marks.Kammer and Reinhardt porcelain and cloth baby doll mould number 116A circa 1912. She has a porcelain head, forearms and lower legs and feet. The rest of her body is a stuffed material calico. Her legs are jointed at the knees. She is dressed in a long sleeved, extended christening like robe of cream broderie anglaise. The robe has decorative pintucking and lace on the bodice, sleeves, cuffs and skirt with a contrasting broderie anglaise hem. Part of a lace insert has become unstitched at the front. Underneath is a full petticoat of white cotton with pintucking and lace with a white broderie anglaise hem. Another full length petticoat of cream linen trimmed with lace is also underneath. She has a cream knitted singlet and knickers with cream knitted bootees. She has short blonde matted hair and wears a lace trimmed broderie anglaise bonnet with satin ribbons to match her robe.Initials K and R either side of a Star of David and the words Simon and Halbig below with the mould no 116/Atoys, dolls, porcelain

Due to relative long distance to haberdashery stores majority of children's garments were hand made by a local talented seamstress or mother/relative. This bonnet is very similar is style and fashion to other children's clothing in KVHS collection which indicates this was made during the early 1900's. This has good historical significance because it shows the fashions during the early 1900's which baby bonnets were made by women of the Kiewa Valley. This item also has good interpretive capacity as it adds to the other babies clothing in the KVHS collection and therefore increases the interpretive capacity for the children's clothesCream muslin with 1 cm wide lace around the face and neck. Pin tucks threaded with fine string and 2 tape ties 13 cm long. Also string used to gather the neck edge.baby. bonnet. christening. clothing. infant.

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 velvet bonnet hat is believed to have belonged to Ellen Dowsett (1858-1953), who lived in Maidstone, Victoria in the late nineteenth century. It was donated by an Emerald resident who received it from Ellen's daughter, Ruby May Selina Wallace. The hat was likely worn between 1880 and 1910, and is an adorned, likely handmade example of the bonnet hats that remained popular at that time. This bag is an example of handmade fashion from late 19th century Australia.A black velvet bonnet hat. The front is adorned with a black velvet bow, complemented by a small section of lace and a petal-like velvet section reaching upwards. The rear features two black velvet ribbons, made to tie together below the wearer's chin and secure the hat on the wearer's head. Other layers of velvet decorate the top of the hat. The inner lining uses a different black fabric and is unadorned.No inscriptionsclothing, fashion, hats, 19th century