The dress was kept for many years in the wardrobe of the mother of the donor who had lived in Irymple Avenue, Kew. The donor believes that the dress probably belonged to her great-grandmother, Lilian Ballantine who lived at 31 Harp Road, East Kew. If this belief is correct, the dress would have been passed down a number of generations of the family. [Lilian Armstrong Ballantine (nee Power) 1887-1969 > Mary McCartney McQueen (nee Ballantine) 1912-94 > ? Kerr (nee McQueen) > Donor ] ADDITIONAL NOTES ABOUT BALLANTINE FAMILY - Archibald Ballantine lived at 31 Harp Road, East Kew from c.1926. (In 1924 he is listed as living at no.35). His probate records identify him being a monumental mason, formerly of 335 Park Street, Princess Hill. He died in 1947 aged 65. His funeral service was at the Presbyterian Church in Normanby Road. His wife, Lilian Armstrong Ballantine (nee Power) stayed in the house till her death in 1968, aged 79. Both are buried in the Baptist section of the Kew Cemetery. If we assume that Lilian was born in 1889, she would have been 11 years old in 1900 and 21 years old in 1910. Archibald and Lillian's children were Mary McCartney, Alexander Ian, Francis (Frank), (Ena) Winsome and Margaret Isobel. Archibald came from a family of monumental masons as he is named in 1919, as the son of Alexander Ballantine ('Ardbraccan', Park Street West, Brunswick), a monumental sculptor. On that occasion Archibald of 235 Park St, Nth Carlton, is also described as a monumental sculptor. Alexander's wife Margaret Bruce (nee Cabena) died in 1921. Ardbraccan in County Meath, Ireland was obviously a name that the family took with them from house to house as there is a reference to the birth of their daughter in 1888, which states that they are living at Ardbraccan, Cardigan Street, Carlton. I think that there is also a reference to one of Archibald and Lilian's sons marrying in Dublin.

TEMPORARY DESCRIPTION - Pale blue muslin and silk single-piece dress possibly owned by Lilian Ballantine of 31 Harp Road, East Kew. The dress has lace and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers. Bordering the v-neckline is a deeper blue guipure lace. There is a silk flower on the right side of the skirt. The dress has a narrow band of silk at the waist. The dress has an attached silk underskirt which is attached by thread in places to the outer muslin layer. In some cases the (possibly added later) guipure lace has separated from the garment. There are also a few minor tears. The garment has minor old stains but is otherwise in good condition.

women's clothing, dresses, edwardian dresses, lilian ballantine, australian fashion - 1900s

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.

An early studio portrait of Edith Mary Weir (nee Betteridge) & George Weir c. 18/11/1891. The family story is that the photograph was taken by Yeomen photographers, of Burke St East, Melbourne about the time of their wedding prior to sailing on a ketch to Strachan, Tasmania.

Print copy of an oval studio portrait of George Weir and Edith Mary Betteridge. In the portrait, George is seated while Edith stands to his right, holding a cockade fan.

weir collection, george weir, horace rigby weir, george rigby weir, john rigby weir, edith rigby weir, edith mary weir (nee betteridge)

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.

Important group family photograph, taken in Broken Hill, of Edith Mary Weir and her children. Another aspect of the photograph is that it is revealing about fashion and the tastes of the period.

Studio portrait of Edith Mary Weir and her five children, taken by a photographer of the Sykes Studio in Broken Hill, New South Wales. The members of the family are from left to right: John Rigby Weir (1910-1971), Edith Mary Weir (nee Betteridge), Cecil Rigby Weir (1904-1983), Horace Rigby Weir (1907-1988), George Rigby Weir (1901-1927), and Edith Rigby Weir (1899-1981). [John Rigby Weir was the donor's father].

Stykes Studio / Broken Hill

weir collection, george weir, horace rigby weir, george rigby weir, john rigby weir, edith rigby weir, edith mary weir (nee betteridge), sykes studio -- broken hill

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.

Important group family photograph, taken in Broken Hill, of the two Weir parents and their children. Another aspect of the photograph is that it is revealing about fashion and the tastes of the period.

Studio portrait of George and Edith Weir and their five children, taken by a photographer of the Sykes Studio in Broken Hill, New South Wales. The members of the family are from left to right: Cecil Rigby Weir (1904-1983), Edith Mary Weir (nee Betteridge) (1867-1948), Edith Rigby Weir (1899-1981), John Rigby Weir (1910-1971), George Weir (1866-1937), Horace Rigby Weir (1907-1988), and George Rigby Weir (1901-1927). [John Rigby Weir was the father of the donor]

weir collection, george weir, horace rigby weir, george rigby weir, john rigby weir, edith rigby weir, edith mary weir (nee betteridge), sykes studio -- broken hill

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.

Linen table cloth with printed images of birds of Australia with a two-tone green border

lisa sylvan, household linen, table cloths, australiana, australian birds

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen hand towel and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.

Cream linen hand towel, bordered at each end with bands of mustrad yellow linen. The towel is embroidered with a picture of a woman in period dress collecting flowers from a garden.

lisa sylvan, household linen, supper cloths, fancy work

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.

Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.

One of three single piece commercialy produced pinafores, each in a different size.

protective clothing, costume accessories, lisa sylvan, pinafores

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.

Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.

Navy blue and white pinafore picked out with sections of plain blue fabric on the pocket, waist and bodice.

protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores