Legend of the Framed Print "Mourning Soldier"poster, mourning soldier

An illustrated book of christening, bridal and mourning fashions from the sixteenth to twentieth century shown at the National Gallery of Victoria's exhibition of the same name as the book, ie, "Hatches Matches and Dispatches: Christening, Bridal & Mourning Fashions."non-fictionAn illustrated book of christening, bridal and mourning fashions from the sixteenth to twentieth century shown at the National Gallery of Victoria's exhibition of the same name as the book, ie, "Hatches Matches and Dispatches: Christening, Bridal & Mourning Fashions."clark rowena, fashion, ngv collection, bridal, christening

Framed print of a soldier sitting on a rock with many montage of patches representing South Vietnamese Units. Print is of Statue Behind Cementry walls Bien Hoa.Mourning Soldier presented to HMAS Sydney & VLSV Association on 27th May 2018 by Footscray RSL ARVN Veteransprint, mourning soldier, south vietnamese units

Black has for centuries been associated with mourning but it rose to new heights during the Victorian times with Queen Victoria wearing black from the time of her husband’s death in 1861 until her death in 1901. There were different stages of mourning from the severe plain black clothing of the first period to items of decoration or adornment such as this collar with other items such as brooches, hair and dress adornments which were used at the later stages of mourning. This second stage often went for extended periods especially for widows who often remained in mourning until or if they remarried. Other colours such as dark greys and purples were also acceptable as mourning clothes. Such was the practice in England that jet from Whitby was used extensively by the more well to do. Later on black glass was used which was cheaper.An item which relates to customs which were prevalent in the late 19th and early 20th centuryBlack beaded collar with seven lengths of beads coming from a section which joins at the back with a hook and eye. The seed beads are stitched to a dark cotton backing. The neckline is square. It also has a number of larger flatter beads across the yoke and down the centre of each of the seven lengths of beads.warrnambool, mourning collar, black beaded mourning collar, beaded mourning collar,

Mourning Coach Horse-drawn (F. Crouch) with Stawell Railway Station in background.stawell

Framed Colour Photograph of Vietnamese woman crying as she touches a corpse wrapped in a plastic bag.photograph, mourning, vietnamese person

Queen Victoria on 22 January 1901. Mourning stationery for letters, both writing paper and envelopes, was printed with black borders, of varying depths, as a token of bereavement. Black sealing wax, black leather blotters, and jet paperknives were also sometimes used. Foolscap letters on Education Department Melbourne letterhead, relating to Harold Leckie, J. Brangan and William J. Lakeland.victorian education department, ballarat school of mines, theoretical chemistry, metallurgy, harold leckie, joseph j. brangan, willaim j. lakeland

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt. Brighton Historical Society records indicate this bonnet was worn at the death of Archibald's widow, Isabella Black, in 1912. Other records held place Isabella Black's death in 1915. Navy silk velvet mourning bonnet with black silk train, circa 1915. The bonnet’s shape is created by a horseshoe shaped rib that sits across the crown of the head and shapes in to cover and conceal the back of the head. Across the crown, the bonnet features a navy silk velvet bow. The veil is constructed from a very fine black corded silk and hangs to approximately just below the wearer’s bottom. mourning bonnet, barone, seaview, brighton, isabella black

The Ballarat West Fire Brigade was built on the corner of Sturt Street and Raglan (North) Street .Black edged printed notification of the death and funeral of William Peach from S.K. McIvor, Secretary of the Ballarat Fire Brigade Club on 16 November 1903.Ballarat Fire Brigade Club November 16th, 1903 Dear Sir, it is my painful duty to notify you of the death of our late member, WILLIAM PEACH, and to inform you that the funeral procession will leave the Ballarat Fire Brigade Station to-morrow (Tuesday), November 17th, at 4 o'Clock sharp, when your attendance is particularly requested to pay the last tribute to our late lamented Comrade Meet at Station at 3.30 Working coat and Helmet I have the honor to be, Sir, Yours obediently, S.K. McIver, Secretaryballarat west fire brigade, ballarat fire brigade, fire brigade, william peach, s.k. mcivor, mourning, death

Christening, Bridal and Mourning Fashions from 16th century to present day121p A4 Christening , Bridal and Mourning Fashions From16th Century to present dayclothing and dress

A searing first-person account of the misery of war visited upon her family, neighbors and countrymen, caught in senseless, chaotic horror.tet offensive (1968), vietnam war (1961-1975), vietnam war, 1961-1975 -- campaigns -- vietnam -- hue

Softcoverwalsh st library

Guest director Michael Blakemore from LondonPaper programmourning becomes electra: part one, athenaeum theatre, melbourne theatre company, eugene o'neill, michael blakemore

paper programmourning becomes electra: part two, athenaeum theatre, melbourne theatre company, eugene o'neill

emu feathers, white sulphur crested cockatoo feathers, cotton, possum jaw.basket, feathers, indigenous, lisa waup, cockatoo, emu, possom, woven

This ring belonged to Captain William Henry Bacchus who was one of the first British colonists to establish a farming property on Wurundjeri and Wadawurrung First Nations people lands 55 kilometers west of Melbourne. The land occupied by Bacchus in 1838 came to be known by the early colonists as Bacchus’s Marsh before later changing officially to Bacchus Marsh. The ring is believed to have been made to commemorate the death of Captain Bacchus’s father Wm (William) Bacchus in Somerset, England in 1788.This ring has significance because it is an object associated with a significant historical person in the history of the region of Bacchus Marsh. It is a rare, probably unique example of an 18th century mourning ring connected to the local community. It also has aesthetic value as an object and is in excellent condition.Gold ring with blue and black coloured inlay. Contains writing on the outsideWM Bacchus Esq OB: 10th JUNE 1788 Æ: 38 bacchus family, rings, william henry bacchus 1782-1849

Helen Pallikaros’ multidisciplinary practice aims to engage on an emotional level, exploring feminist themes drawn from the domestic realm and the internal psychological state. A focus of her practice is to use the body for the external mapping of internal conflicts and psychological landscape. She sources forms and images to create a visual dialogue that explores the interconnection between the human emotive conditions and primal origins. The space between the private and public self is explored via the application/negation of the trappings of identity and gender.australian art, photography, feminism, gender, female artist

Foolscap handwritten letter with black edge marking mourning for Queen Victoria. Department of Mines & Water Supply Melbourne 28th Feb. 1901 Sir, I have the honor to forward herewith duplicate copies of conrtact forms re contract G.M. IV - one copy together with the specifications to be signed and returned to this office. The drawing underneat separate cove is also to be signed by the contractor and then sent back to me. I have the honor ro be, Sir, Your most obedt Servant. P. Cohen for Secretary for Mines and Water Supplydepartme of mines and water supply, p. cohen, contract, ballarat school of mines, mourning, letterhead, queen victoria mourning

School of Mines Ballarat is a predecessor of Federation University Letter from Thr Registrar, The School of Mines Ballarat to Post Master General's Department with black border for mourning the death of King Edward VIIschool of mines ballarat, post master general's department, mourning, justinian oxenham

Foolscap letter on Victorian Education Department letterhead. It is bordered in black as it was sent during the mourning period for Queen Victoria. The letter refers to Ballarat School of Mines student in Theoretical Chemistry, Victor Nichol.victor nichol, mourning, chemistry, ballarat school of mines

Queen Victoria on 22 January 1901. Mourning stationery for letters, both writing paper and envelopes, was printed with black borders, of varying depths, as a token of bereavement. Black sealing wax, black leather blotters, and jet paperknives were also sometimes used. Foolscap letter on Education Department Melbourne letterhead, with a black edging signifying mourning for Queen Victoria. The correspondence concerns Ballarat School of Mines leading Teacher T.S. Hart and the Technical Schools Conference. victorian education department, ballarat school of mines, technical schools conference, t.s. hart, thomas hart

A Letter of condolence sent to Lily (Elizabeth Ann Jones) for the death of her Mother, Mary Ann Jones, who died on 18 January 1903, from her school friend Jane Clark. Following Queen Victoria’s example, it became customary for families to go through elaborate rituals to commemorate their dead. This included wearing mourning clothes, having a lavish (and expensive) funeral, curtailing social behaviour for a set period of time, and erecting an ornate monument on the grave. . Relatives and friends were expected to give handwritten Condolence Cards and Letters, preferably by hand when visiting the bereaved. The different periods of mourning dictated by society were expected to reflect the natural period of grief. In recent years some traditions have given way to less strict practices, though many customs and traditions continue to be followed. Condolence Cards and Letters are still expected for relatives and close friends. These can be individually composed and handwritten or purchased from a Greeting Card Manufacturer. The letter shows Tucker Road as being in East Brighton. Due to the confusion caused by so many 'Brightons' in the area of Henry Dendy's Special Survey of 1841 this area was renamed Bentleigh after Sir Thomas Bent. The Clark family and the Jones family were early settlers in Moorabbin ShireWhite paper with a black border used for a hand written condolence letter sent by Mrs Jane Clark in 1903 during the mourning period for the mother of her school-friend Lily, (Elizabeth Ann Jones).market gardners, pioneers, early settlers, mooorabbin, brighton, east brighton, bentleigh, correspondence, writing equipment, pen and ink, clarke jane, clarke janet, mourning customs, bereavement, condolence letters,

Queen Victoria on 22 January 1901. Mourning stationery for letters, both writing paper and envelopes, was printed with black borders, of varying depths, as a token of bereavement. Black sealing wax, black leather blotters, and jet paperknives were also sometimes used. Two foolscap letters, one with a black edging signifying mourning for Queen Victoria. .1) A letter from the Secretary of the Education Department Melbourn to the Ballarat School of Mines No 10. It is a covering letter for the Art and Science Inspectors' reports. .2) The Science Inspector's report on the Ballarat School of Mines, with the Art Inspector's report at the lower section of the page. victorian education department, ballarat school of mines, inspectors reports, queen victoria mourning, mounrning stationary, art inspector's report, science inspector's report, freehand drawing

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

letter to Mr MartellHandwritten letter in ink, with black mourning boarderwalton, martell, frederick martell

Collar badge Mothers & Sweetheart Mourning Strippersonal item, ww1, army

A plain black mourning cloth and two pieces of satin ribbon - one purple and one black. These were used by the former City of Nunawading Council as drapery during official mourning periods.civic mementoes, memorials, manchester, furnishings

Victorian black mourning fan with ebony struts and handmade lace inserts with sequins.fans, folding fans, mourning fans

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip