Vanity mirrors have been used for centuries as a common bathroom item. They can be large framed mirrors with ornately decorated frames or small pocket sized ones to assist in personal grooming on the go. Magnification of the mirror on one side enabled easier application of makeup. Mirrors such as this one became popular in the 1970s. This item is representative of women's accessories in the early years of the Twentieth century.A two-sided vanity mirror on a swivel stand. One side is a magnifying mirror. The mirrors are mounted in a silver alloy frame and a porcelain base. The base includes to recesses for storing small items featuring a floral design and silver edging.vanity mirror, women's accessories

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. Vanity Fair A Novel without a Hero Author: W M Thackeray Edited by George Saintsbury Publisher: Henry Frowde, Oxford University Press Date: 1864Label on spine cover with typed text PAT FIC THA Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Pastedown front endpaper has sticker from Corangamite Regional Library Servicewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, vanity fair, w m thackeray, george saintsbury

Geoffrey (Geoff) Brooke was newspaper columnist, radio commentator, magazine writer and television broadcaster. He wrote a regular column for The Argus titled 'Your night out'. He opened his own restaurant, Geoff Brookes Steak Cave, in 1965. Later in his life he was a resident of Wellington Street, Kew. He died in 2003, aged 86.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Sheet music for the song Vanity, featuring a cover photograph of the Australian 'radio star' Geoff Brooke. Brooke, a resident of Wellington Street (Kew), was a close friend of the singer Robin Vanser (aka Robin Kelly The item forms part of the Vandersluys-Kelly Collection of performance memorabilia donated by her to the Kew Historical Society in 2018.geoffrey (geoff) brooke, performing arts - 20th century

Oil on canvasSigned and dated l.r oil "F Mesaric 06"

Ill, p.623.fictionThis classic story of two nineteenth-century social climbers is the basis for countless films and TV series, and one of the UK's "Best-Loved Novels." Before the Real Housewives, there were Becky Sharp and Amelia Sedley. Ruthless and cunning, Becky may have been born in a lower class, but now that she's graduated from school, she's ready to climb up to a better life-and do whatever it takes to get there. Her friend Emmy, however, is the opposite. She may have mastered music, dancing, and embroidery like any young woman of her class, but she utterly lacks a backbone. Together these friends navigate the perils of Regency society as they search for love and happiness. Social battles are waged against the backdrop of the Napoleonic Wars, and when the smoke finally clears, there's no telling who will come out victorious.england - fiction, romantic fiction

Nadine Christensen completed a Master of Arts in Painting at the Victorian College of the Arts in 1997. Her innovative practice encompasses painting, installation and drawing and has comprised an ongoing investigation into natural phenomena. She draws on diverse sources including design and illustration, architecture, new and arcane technologies, science fiction, animation, tall stories and curiosities to engage the changing possibilities and conditions of light and perception. Christensen’s work also explores the desire to map and understand our environment as well as the role of narrative and story-telling in the unfolding of information throughout contemporary culture. Christensen’s two related works, Three Piles, 2015 and Untitled (Vanity), 2016, are highly refined paintings featuring “still life” arrangements positioned across landscapes and abstract motifs. Combining complex montage, trompe l’oeil and textural effects they investigate heightened colour and pattern, forming compositions that occupy the juncture between the real and the imagined. Drawing on a vast range of personal, scientific, and popular sources they appear as speculative meditations on environment and place. stonnington contemporary art collection, nadine christensen, painting, abstract, landscape, trompe l'oeil

Vanity Fair Fashion Magazine - March 1959 Dress, shoes, make-up advertisements Fashion career advertisementsVanity Fair Fashion Magazine March 1959 Price 1s. 6d. Australian & New Zealand Published by The National Magazine Co. Ltd in London.For the younger, smarter Women1959 fashion for women, vanity fair magazine

The hand mirror is part of a vanity set owned by a woman who lived in the Harbour Master's house at Warrnambool in the late 1800s and early 1900s. The set was possibly a wedding gift from her mother-in-law, Caroline Edwards, a local business woman who was an importer of 'china and fancy goods' along with her husband Thomas Myers Edwards. The Edwards owned Staffordshire House a business in Timor St (and later Liebig St) from 1876. The hand mirror is an example of a valued possession of women at the time and could signify social standing. It was also a functional accessory used on a daily basis.The item is significant socially as an example of accessories available to and used by women in the late 1800s and early 1900s. Historically, it is linked to a local import business ‘Staffordshire House’ in Liebig St Warrnambool, where it most likely came from. A pewter (or possibly silver-plated) hand mirror that is part of a vanity set. It features a beautiful ornate moulded rose/flower design on the back, handle and front edge of mirrorflagstaff hill, warrnambool, flagstaff hill maritime museum and village, maritime village, maritime museum, shipwreck coast, great ocean road, vanity set, hand mirror, pewter, silver plate, toilet set, harbours master's house, staffordshire house

The vanity set was owned by a local woman who lived in the Harbour Master's house at Warrnambool after it was decommissioned. The set was possibly a wedding gift from her mother-in-law, Caroline Edwards, a local business woman who was an importer of 'china and fancy goods' along with her husband Thomas Myers Edwards. The Edwards owned Staffordshire House, a business in Timor St (and later Liebig St) from 1876. The vanity set is an example of a valued possession of women at the time and could signify social standing. It was also a functional accessory used on a daily basis.The item is significant socially as an example of accessories available to and used by women in the late 1800s and early 1900s. Historically, it is linked to a local import business ‘Staffordshire House’ in Timor and later Liebig St Warrnambool, where it most likely came from. A pewter (or possibly silver-plated) three-piece vanity set that includes a hand mirror, hair brush and comb. All pieces feature a beautiful ornate moulded rose/flower design on the back, handles and edge of the comb. The hair brush no longer has bristles and is purely ornamental. The comb teeth and hair brush insert are most likely made of celluloid.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, maritime village, maritime museum, shipwreck coast, great ocean road, vanity set, hand mirror, brush, comb, pewter, celluloid, silver plate, toilet set, harbours master's house, staffordshire house, hair brush, hairbrush

The hair brush is part of a vanity set owned by a woman who lived in the Harbour Master's house at Warrnambool in the late 1800s and early 1900s. The set was possibly a wedding gift from her mother-in-law, Caroline Edwards, a local business woman who was an importer of 'china and fancy goods' along with her husband Thomas Myers Edwards. The Edwards owned Staffordshire House a business in Timor St (and later Liebig St) from 1876. The hair brush is an example of a valued possession of women at the time and could signify social standing. It was also a functional accessory used on a daily basis.The item is significant socially as an example of accessories available to and used by women in the late 1800s and early 1900s. Historically, it is linked to a local import business ‘Staffordshire House’ in Liebig St Warrnambool, where it most likely came from. A pewter (or possibly silver-plated) hair brush that is part of a vanity set. It features a beautiful ornate moulded rose/flower design on the back and handle of the hair brush. The hair brush insert is most likely made of celluloid, it no longer has bristles and is purely ornamental. flagstaff hill, warrnambool, flagstaff hill maritime museum and village, maritime village, maritime museum, shipwreck coast, great ocean road, vanity set, pewter, silver plate, toilet set, harbours master's house, staffordshire house, hair brush, hairbrush, brush, celluloid

This is typical newspaper advertising supplement during WW2Haper's Incorporating Vanity Fair Poster May 19441 Summer Fashions Two Shillings & Sixpence

Lady Sunbeam portable hair dryer, walkabout with cream vinyl vanity case with blue lining & accessories.Sunbeam Corp Ltd model AHD-62-Vpersonal effects, hairdressing, hair dryer

Page from Vanity Fair featuring lithograph entitled 'TENNIS'. Materials: Paper, Ink, Cardboard, Glass, Metal, Woodtennis

White shoes for wedding outfit. Worn by donorWhite heeled shoes - 'white calf-pearl' in cream coloured box 'Brioni" size 10 Vanity Last 14 size 10 $129.As aboveweddings, shoes

Page from Vanity Fair Supplement, section 'MEN OF THE DAY NO.2273', featuring a colour lithograph entitled 'IN HIS LIGHTER MOMENTS'. UV glass. Materials: Paper, Ink, Wood, Cardboard, Glasstennis

The clothes brush was donated along with a vanity set owned by a local woman who lived in the Harbour Master's house at Warrnambool at the turn of the 19th century. The clothes brush and vanity set were possibly a wedding gift from her mother-in-law, a local business woman who was an importer of 'china and fancy goods'. The item is significant socially as an example of accessories available to, and used by, women in the late 1800s and early 1900s. Historically, it is linked to a local import business ‘Staffordshire House’ in Timor and later Liebig St, Warrnambool, where it most likely came from. The top of the clothes brush has an ornate dragon design constructed from pressed metal (possibly tin or chrome). The natural bristles of the brush have been glued together in small clumps and placed in holes in a wooden base. The wooden base is held within the metal top using small nails.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, metal, pressed metal, tin, chrome, natural bristles, staffordshire house, harbour master’s house

Framed page from Vanity Fair magazine with illustration of male tennis player in white tennis attire, standing behind net, ready to receive ball. Caption reads 'Thrice Champion'. Date at top right. Materials: Wood, Paper, Ink, Glasstennis

This brush & comb set was used by Mrs Rooks who lived in Mt. Beauty between 19 and 2 . It is typical of the sets that adorned dressing tables in the 1950s and 1960s. Could be part of a larger vanity set. Handle on brush indicates it is a ladies brush and not a mans. Today these types of items are becoming more collectible .Historic, & social asignificance. As it is the only one in our collection it also has good interpretive capacity as it shows the types dresser sets or vanity set used for womens personal attirement during the 1950's. Pig bristle hair brush with ovate head, narrow neck and smaller ovate handle. Cream [butter coloured] xylanite [ lined pattern] . Wide toothed matching comb.ladies, brush, comb, set, dressing-table

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vida May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vida and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district. Vida May Wing was born in Richmond in 1882. A noted teacher of plain, fancy and step dancing, during the first two decades of the twentieth century she held annual fancy dancing and floral balls, where her pupils were the performers. In 1916, she married Hubert Charles McDonald. She died in 1959.Upright, embossed celluloid, silk iined vanity dresser box which belonged to Vida May McDonald (nee Wing). The sides of the box are covered with purple figured velvet while the lids are covered with embossed celluloid. The case has a number of panels which open to reveal its pink silk lined interior which was once fitted out with mirrors, combs, brushes, and makeup jars. Nilvida may wing, vida may mcdonald, beauty cases, makeup boxes

The comb is part of a vanity set owned by a woman who lived in the Harbour Master's house at Warrnambool in the late 1800s and early 1900s. The set was possibly a wedding gift from her mother-in-law, Caroline Edwards, a local business woman who was an importer of 'china and fancy goods' along with her husband Thomas Myers Edwards. The Edwards owned Staffordshire House a business in Timor St (and later Liebig St) from 1876. The comb is an example of a valued possession of women at the time and could signify social standing. It was also a functional accessory used on a daily basis.The item is significant socially as an example of accessories available to and used by women in the late 1800s and early 1900s. Historically, it is linked to a local import business ‘Staffordshire House’ in Liebig St Warrnambool, where it most likely came from. A ladies hair comb which features an ornate flower design on the pewter (or possibly silver-plated) edge. The comb teeth are most likely made of celluloid.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, maritime village, maritime museum, shipwreck coast, great ocean road, vanity set, pewter, silver plate, toilet set, harbours master's house, staffordshire house, celluloid, comb

Antique celluloid "French Ivory" bedroom mirror and brush sets became popular mass-market luxury items in the late 19th and early 20th centuries. Celluloid, invented in the 1860s, was the world's first successful thermoplastic. Manufacturers marketed it as "French Ivory," "Ivorine," or "Ivory Pyralin" to mimic genuine elephant ivory at an affordable price point. While lavish dressing table or "toilet sets" emerged during the Victorian period, production peaked between the 1900s and the 1930s. These items belonged to Edna Parker's mother Mrs Beatrice Rouget in the early 1900's. Seven antique pieces of an art deco bedroom vanity set made from celluloid or Ivory Celluloid to appear ivory like. The pieces include: 1. A short shoehorn with a hole at the end to hang it. 2. A narrow clothes brush with natural bristles. 3. Two hair combs, one with a curved handle the other a celluloid straight dual toothed comb, has a manufacturing stamp on the back. 4. Two hand mirrors, one oval, the other round - both have bevelled edges. 5 . A flat tray with curved shaped raised edging to hold the pieces.The celluloid dual toothed straight comb has: 'Made in England' There is an 'elephant' outline between the words 'Made in' and 'England'. The clothes brush has 'England' stamped on one side.bedroom equipment, art deco vanity sets, dressing table sets, mirrors, combs

Founded in Ballarat, Victoria in 1888 by Eleanor Lucas, by the mid-20th century, the Lucas Clothing Factory employed hundreds of local workers (popularly known as the "Lucas Girls"). The company was a pioneer in Australian textiles, producing the country's very first knitted nylon tricot and manufacturing luxury Vanity Fair lingerie under license for the domestic market. As Lucas shifted from utility wear and intimate apparel into upscale daytime and evening wear during the 1940s and 1950s, they launched specialised fashion lines. The Jill Heriote line was created as their signature high-end ready-to-wear and cocktail range. The line became widely celebrated for its elite tailoring, structure, and use of both premium local and imported fabrics Designers working under this line, such as Eve Ogilvie, translated sophisticated European aesthetic trends directly to the Australian market.This garment represents a pinnacle of mid-century regional Australian fashion manufacturing. Operating from Ballarat, Victoria, E. Lucas & Co. utilised elite local designers to compete directly with imported European couture houses. The gown showcases the firm’s pioneering expertise in fine, permanent textile pleating, applied here to luxury pure silk rather than everyday synthetics.This bias-cut silk and lace cocktail dress sold under the label 'Jill Heriote' for the House of Lucas, Ballarat, features a narrow waist and a dramatically flared skirt. The overdress is constructed from intricate, black imitation Valenciennes machine-made lace. It layers over a cream silk taffeta underdress that shows through the openwork and extends structurally past the hemline. The bodice is designed with shoulder straps leading into a sweetheart neckline. Its form-fitting structure showcases panels of finely pleated black silk, creating texture across the bust. Below, the full skirt alternates between sheer black lace segments and contrasting horizontal bands of smooth black silk.Label" 'LUCAS / Jill Heriote / in pure silk fabric'jill heriote, house of lucas -- ballarat (vic.), fashion -- 1950s, cocktail dresses, manufacturing -- ballarat

H.D. Lee (Aust) was established in 1973 as a joint venture between Yakka Pty Ltd and Vanity Fair. In 1973 it decided to move to Albury-Wodonga, encouraged by government decentralisation assistance, lower overheads and the central location of the region. H.D. Lee opened a temporary pilot factory with 12 staff in Kiewa Street, Albury, in January 1974 while a new 50,000 sq. ft. factory for 400 staff was built on council land in West Wodonga. This was erected by local builders Zauner Construction, completed in late 1974 and began operations in April 1975. The factory became Australia’s second largest jeans manufacturer and employment in Wodonga at times exceeded 400 staff. In 1991 Yakka, which already owned 50 per cent of the H.D. Lee shares, bought out the rest. It quickly moved to reduce staff and transferred the administration to Broadmeadows. By 1997, the workforce had fallen to 110, and production of Lee and Faberge jeans, jackets and shorts gave way mostly to industrial wear.This item is significant because it documents an important industry and employer in Wodonga in the 1970s.A newspaper article explaining the H. D. Lee business in Wodonga.h. d. lee, decentralisation victoria

H.D. Lee (Aust) was established in 1973 as a joint venture between Yakka Pty Ltd and Vanity Fair. In 1973 it decided to move to Albury-Wodonga, encouraged by government decentralisation assistance, lower overheads and the central location of the region. H.D. Lee opened a temporary pilot factory with 12 staff in Kiewa Street, Albury, in January 1974 while a new 50,000 sq. ft. factory for 400 staff was built on council land in West Wodonga. This was erected by local builders Zauner Construction, completed in late 1974 and began operations in April 1975. The factory became Australia’s second largest jeans manufacturer and employment in Wodonga at times exceeded 400 staff. In 1991 Yakka, which already owned 50 per cent of the H.D. Lee shares, bought out the rest. It quickly moved to reduce staff and transferred the administration to Broadmeadows. By 1997, the workforce had fallen to 110, and production of Lee and Faberge jeans, jackets and shorts gave way mostly to industrial wear.These coasters represent an industry which was a major employer in Wodonga. The establishment of H. D. Lee (Aust) was a direct result of Australian government's policy of decentralisation in the 1970s. A blue box containing 6 coasters to commemorate 10 years of H.D. Lee operations in Australia. Coasters are gold and include the Lee company logo. The box also includes information regarding the background of the manufacturer, Paul-Stephen Daly.On top half of coaster "H.D. LEE (AUST) PTY LTD /10 YEARS/ 1973-1983" Between lines of stars "Lee the ultimate jean"h.d. lee, wodonga, decentralisation, paul-stephen daly

The Adventures of Philip Author: William Makepeace Thackeray Publisher: Henry Frowde Oxford University Press Date: 1908fictionThe Adventures of Philip on His Way Through the World was originally serialised in The Cornhill Magazine from 1861 to 1863 and is Thackeray's final completed novel. The story is heavily semi autobiographical, reflecting Thackeray's own youth, early struggles, and financial losses. The narrative follows Philip Firmin, a passionate, blustering, but fundamentally good hearted young man. He stands to inherit a comfortable fortune from his late mother. However, Philip is completely betrayed by his own father, the aristocratic and deceitful Dr Brandon Firmin. The doctor secretly squanders, swindles, and speculates away his son's entire inheritance, leaving Philip financially ruined. Forced to make his own way in the world, Philip moves to Paris to work as a struggling journalist. He falls in love and marries Charlotte Baynes, despite having almost no income. The novel becomes an intense critique of Victorian societal expectations, exploring the crushing anxiety of genteel poverty, the snobbery of wealthy relatives, and Philip's struggle to maintain his pride and integrity while desperately trying to support his growing family.shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the virginians-, william makepeace thackeray

Hard cover book. Wild Geese Calling Author: Stewart Edward White Publisher: Hodder Stoughton Date: Further Information: Brown Cloth hardcover with title lettering to spine in black hand written on a stuck on piece of paper. The spine also has a Library label with an inscription at bottom of spine.A 1941 Fox film was adapted from White’s 1940 novel, which is set during the Alaska Gold Rush. A reviewer who read the novel describes a cowboy, John Murdock, who wins an Oregon schoolteacher, Sarah ‘Sally’ Slowcum, in a single day in 1895. Their restlessness takes them from a Cascades lumber camp to Seattle and then, by sailboat, to south-east Alaska, where they finally settle. The film version is described differently: John marries a dance-hall girl named Sally and learns she once loved his best friend, Blackie. This suggests the film changed the heroine, so readers should check the book itself if the storyline matters. The author’s foreword is a defence of the American pioneer. It answers critics who, at the time, debunked pioneers as escapists who fled civilisation.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, wild geese calling, stewart edward white, 1941 film