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Australian Lace Guild - Victorian Branch
Textile - Brussels mixed lace, 1875-1900
Use: Domestic. Fashion Bobbin and needle lace collar -
Bendigo Historical Society Inc.
Textile - MAGGIE BARBER COLLECTION: VERY FINE NET NEEDLE WEAVING EMBROIDERED DOYLEY, Early 1900's
Textiles. Oval in shape, with a scalloped edge trimmed with a fine picot edged braid. The floral ''needle weaving'' embroidery comprises two petalled flowers, with raised bulliow stitch embroidered centres. Leaves and buds on either side of the flowers are also fine examples of needle weaving. Eight tiny buds complete the centrepiece.textiles, domestic, needle weaving embroidered doyley -
Bendigo Art Gallery
Sculpture, Ettore Cadorin, Venus Tying her Sandal, 1914
Inscribed on back of marble base "E. CADORIN..." Not dated -
Flagstaff Hill Maritime Museum and Village
Textile - Bedspread, Vera and Aurelia Giles, Late 19th to Early 20th Century
There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Bedspread, white and has been eaten by a dog down one side.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods -
Australian Lace Guild - Victorian Branch
Textile - Tatting lace
Use: DomesticTatted lace motif -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Charles Douglas Richardson, The penitent, 1918
marblesculpture, figure, cross, charles douglas richardson, cd richardson, c douglas richardson, marble, penitent, sorrow -
National Wool Museum
Textile - Soroptimist Project Quilt, Soroptimist International, 2000
The quilt was made by members of seventeen Soroptimist International clubs across Victoria to celebrate the Year 2000. The quilt squares illustrate some of the projects initiated, funded and supported by Victorian Soroptimists as well as illustrations of broader affiliations and responsibilities, including to the UN. Examples include the S.I.A.M. (Soroptimist International Aids Mediation) project by SI Berwick in Northern Thai villages which established industries and health programs for women and girls as viable alternatives to the sex industry. Revegetation of woodlands, wetlands and cleared land by SI Deakin. Donation of toiletries to women's shelters, police lock ups and church emergency centres in the western suburbs of Melbourne by SI Cut Paw Paw. Founded in 1921, Soroptimist International is a global volunteer movement with a network of around 72,000 club members in 121 countries. Advocating for human rights and gender equality, at the heart of Soroptimist International’s advocacy is its work across seven UN Centres, where UN representatives ensure that the voices of women and girls are heard. Memberships work on grassroots projects that help women and girls achieve their individual and collective potential, realise aspirations and have an equal voice in communities worldwide. It has a flourishing Club in Geelong. The quilt was displayed from 2001 until 2023 in Soroptimist Headquarters Victoria at 383 Toorak Road, South Yarra (Soroptimist House) since touring the State of Victoria in 2000. Soroptimist House has been sold with the funds raised to go to furthering the objectives of Soroptimism.Cream patchwork quilt with 31 squares depicting various scenes and motifs. The Soroptimist logo features in the bottom right corner.quilt, women, soroptimist, victoria, community, clubs, human rights, gender equality, united nations -
Ararat Gallery TAMA
Textile, Frances Burke, Rose, 1947
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Whitehorse Historical Society Inc.
Textile - Cosy cover, not known
Worked and used by Mrs Jean AshcroftWhite linen butterfly shaped cloth, folded to form tea cosy cover. Cover is embroidered with eyelet and cut work. Edge is finished with scalloped buttonhole work.nilmanchester, table linen -
Federation University Historical Collection
Sculpture, Molded sandstone head
Small molded sandstone headkeith rash, sculpture, sandstone, head, molded -
Tatura Irrigation & Wartime Camps Museum
Sculpture - Wood Carving, Wild Pony
Kurt Lewinski was a Dunera boy. Formerly a refugee of England 1938, originally from Berlin. Transported to Australia in 1940.Hand carved pony made of teak and polished. The pony has its head down grazing.KL 1974 Teaklewinski, sculpture, woodwork, dunera, 8th employment co -
Gippsland Art Gallery
Sculpture, Woollard, John, Green Turned Red Gum Bowl, c.1991-94 c
Donated by the artist, 2017Forest Red Gumgippsland, artwork, permanent collection -
Australian Lace Guild - Victorian Branch
Textile - Torchon Lace, Late 19th or early 20th Century
Use: Domestic. Household trimmingBobbin lace edging. Sample -
Stawell Historical Society Inc
Textile - Costume and Accessories, c1920
Red Velvet Tea Cosy with Ornate Beading. Glass Beads Silver and White. Rose and white Braid trim. Kapok padding.stawell clothing material -
Whitehorse Historical Society Inc.
Textile - Tea pot Cover
Tea pot would have had a thick tea cosy and this piece over the top as decoration.White tea pot cover - semi-circle in shape. hand made tatting and drawthread edging. Three cut out embroidery patterns with leaves embroidered around them on one side and one example of the sam pattern enlarged on the other side.handcrafts, needlework, manchester, table linen -
Gippsland Art Gallery
Sculpture, Hosking, Marian, Silver Plate, 1993
Donated by John Leslie OBE, 1997Metal, Silver, 925 Silver, Monelgippsland, artwork, permanent collection -
Whitehorse Historical Society Inc.
Textile - Decorated Cover
Black cover with embroidered flowers . Lined with blue material. Bound with black cord looped on two front corners. Probably used to cover a small item.handcrafts, needlework -
National Wool Museum
Textile - Manor House Carpet Sample, Brintons Carpets, Geelong, c.1988
This carpet design sample is the first handmade test sample of the “Manor House” pattern carpet prepared for Geelong Wool Museum. Carpet design sample and wool yarn colour samples in card presentation folder. Folder is blue with gold printed text. Front [printed]: Brintons carpets / woven for two centuries / COLOUR AND DESIGN / PRESENTATIONweaving, carpet, manor house carpet, national wool museum, design, loom, brintons, geelong -
Whitehorse Historical Society Inc.
Textile - Doyley
Ecru coloured crochet doyley with 11 medallions joined with hand crochet lace. 11cm diameter linen centre. One row of feather stitch around edge of linen.handcrafts, crocheting or crochet work, manchester, table linen -
Clunes Museum
Textile - TABLE CENTRE
DONATED TO MUSEUM. DONOR UNKNOWN.CREAM CURTAIN MATRIAL - BOUND WITH GREEN BIAS BINDING HAND EMBROIDERED IN TWO SHADES GREENhandcraft, needlework, curtain material -
Gippsland Art Gallery
Sculpture, Smith, R.M, Green Turned Bowl, 1987
Donated by the artist, 1987Peppercorngippsland, artwork, permanent collection -
Bendigo Historical Society Inc.
Textile - SIDE TABLE CLOTH, Mid 1900's - 2000's
Cream linen fabric, rectangular in shape. One log edge is finished with a 16 cm wide band of lace. This lace has been.machine made, and attached to the linen with a zig-zag machine stitch. The woven pattern in the lace is geometric in style. The other three sides are edged with 1.5 cm wide, woven lace in a scalloped design. Long-edge lace is 15.5 cms wide.manchester, table linen, side-table cloth -
Ararat Gallery TAMA
Textile, Julie Montgarrett, From where you are you can hear her dreaming, 1987
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Bialik College
Textile - Fabric swatches for library redevelopment, 2009-2010
Fabric samples and options for library redevelopment, Ron Unger Architects with Genevieve Johnstone Interior Design, 2009-2010. Includes furniture fabrics and internal finishes samples. Please contact [email protected] to request access to this record.2000s, buildings -
Australian Lace Guild - Victorian Branch
Textile - Brussels mixed lace, Late 19th Century
Although this piece was probably made between 1870 and 1900 the motif designs are copying 18th Century designs. Would have been used as costume trimming.Bobbin lace motifs with needle made ground and fillings. Edging. -
Bendigo Historical Society Inc.
Textile - Polo Shirt
The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1White polo shirt with the logo "The Celebrated Emu Creek Bush Band" printed centre front in blue and yellow. In the centre of the logo is d drawing of the head of an emu with one eye open and one eye closed. Clothing label identifies the manufacturer - Centavic Clothing, For Embroidery and Screen Printing. Includes Phone and Fax numbers. Size XXL.colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Lenton Parr, Darien, 1999
powder coated steelsculpture, lenton parr, darien -
Australian Lace Guild - Victorian Branch
Textile - Machine made lace
Machine made lace "Chemical" oval lace motif. Cotton thread embroidered onto a base fabric which is later dissolved away. -
City of Ballarat
Sculpture - Public Artwork, George Allen, Mother Earth by George Allen, 1952
Mother Earth was created by modernist era sculptor George Allen. It is located in the western median strip at the intersection of Sturt and Raglan Streets. Made from Hawksbury stone on a granite base, the sculptor has created a female figure as the centrepiece, with two reliefs figures at the front and rear depicting a miner and a farmer. The work was created in commemoration of Mr Frank Pinkerton, an esteemed local lawyer in Ballarat. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949. The statue is a significant work of one of Victoria's leading sculptors of the mid twentieth century, and controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculpture.Mother Earth was classified as regionally significant by the National Trust in 2003. The statement of significance below ha been provided by the National Trust, Victoria: The Pinkerton Statue by George Allen is of a simplified female figure which symbolises 'Earth', with smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is carved in Hawkesbury Freestone and mounted on a granite plinth. It is located in a prominent position in central Ballarat. The statue in commemoration of Mr. Frank Pinkerton, an esteemed local lawyer, erected in Ballarat in 1952 is significant for aesthetic and social reasons at a Regional level. The statue is a significant example of the work of one of Victoria's leading sculptors of the mid twentieth century, and the controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculptures. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949 against a large group of his peers. Following this. Allen was again successful in another major competition to design the National War Memorial for the Forecourt of the Shrine of Remembrance in Melbourne in 1951. Allen chose to work in a 'symbolic' manner using simplified forms with little detail, and relying on the strength of composition, 'boldness of statement' and the consideration of material for impact. Because of its lack of realism the Pinkerton Statue engendered much controversy, particularly within the popular press at the time, although it was generally appreciated in artistic circles. Allen had travelled extensively in Europe in the late 1930's, but his work mainly reflected influences from early modem sculptors in the United Kingdom such as Frank Dobson and Eric Gill. The Pinkerton Statue was the first example of modem sculpture to be erected in Ballarat and is an excellent example Allen's own work and the changing artistic culture of the period. Allen himself said that it reflected the "spirit of the time". A large Hawkesbury Freestone statue of a female figure and smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is mounted on a granite plinth.CENTRAL FIGURE EARTH EMERGING FROM RELIEF FIGURES REPRESENTING THE INDUSTRIES OF MINING AND AGRICULTURE.pinkerton, mother earth -
Churchill Island Heritage Farm
Textile - Lace Fragment
This piece is a fragment of machine made net which would be used for needle embroidery. The first machine to produce a twisted net that would not unravel when cut was John Heathcoat’s Bobbin net or Twisted net machine invented in 1808. It was a twisted net that so closely resembled the handmade bobbin net that the two could scarcely be told apart. Heathcoat’s bobbinet machine is so ingeniously designed that the ones used today have suffered little alteration. The gauge of the mesh is calculated by the number of bobbins working per square inch of the machine’s width with the coarsest net being 4 point (or 4 bobbins per square inch) and the finest at 16 point.(cf the Leavers machine at 30 point) Assuming the paper clip to be approximately one inch long this fragment would appear to be towards the finest net that Heathcoat’s machine could produce.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Machine net for base of embroidery.janet amess lace collection, lace, churchill island, amess, fragment, machine, net, embroidery