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Australian Lace Guild - Victorian Branch
Textile - Mechlin lace, 1750-1800
Use: Domestic: Household trimmingBobbin lace edging -
Glenelg Shire Council Cultural Collection
Print, Bushland, n.d
Art collectionThe print depicts two tree trunks in the foreground surrounded by bushland. The two tree trunks are composed of patches of white, grey, yellow, light brown and dark brown. The trees in the background are composed of a single colour. On the lower left side is a plant with light blue foliage. The work has a painted wooden frame with small white mount and glass.Front: Hunter (brown handwritten, lower right, partically covered by the mount) Back: 1972 (lead pencil, upper left) -
Whitehorse Historical Society Inc.
Textile - Lace Piece, 2022
Lace made by Vicki Jones EvansBlue lace piece, 7 circles, Teneriffe lace and bobbin.lace -
National Wool Museum
Textile - Suitings Quilt
Origins are unknown, however it may be possible that since the creator of this quilt has used larger than usual pieces of suiting material, they may have worked as or knew of a tailor for their fabrics.Quilt made of large strips of men's suiting fabric. Machine stitched. Red flannel backing.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history -
Beechworth RSL Sub-Branch
Print - Commemorative Scroll, Commemorative Scroll Pte. Frederick Hoffman
The Scroll was issued to the Hoffman Family honouring the sacrifice of their brother/son; the item was donated to the Beechworth RSL by Miss Anna HoffmanThe Scroll has been laminated in clear plastic The Memorial Scroll bears the Royal Coat of Arms and a message paying tribute to the soldiers who gave up "their own lives that others might live in freedom". At the bottom in red ink is the soldiers name and battalion numberOn the reverse side in pencil is the underline number 629 (member's service number). underneath the pencil lined is the number 347108 (possibly indicating the registered Scroll Numberscroll -
Uniting Church Archives - Synod of Victoria
Print - Photograph, 28/08/1935
Albert Thomas Holden was born in 1866 at Geelong, died in 1935 and is buried in Boroondara cemetery. From 1883-84 he taught in Kyneton and became a Methodist lay preacher. He graduated with a B.A. from Ormond College in 1888. He entered the Methodist ministry and worked in Burwood and at the Omeo Home Mission. During 1892 he toured Europe and the Middle East with Rev Bickford. In 1898 Holden was an army chaplain and served South Africa. He became Methodist Chaplain General in 1913. In 1904 Holden became Secretary of Methodist Home Missions and traveled throughout Australia. Holden was General Superintendent of the Methodist Church of Australasia from 1929 - 1932 and then President- General. Holden became a Freemason in 1898. [taken from the Australian Dictionary of Biography]Black and white head and shoulders studio portrait print of Albert T. Holden wearing his clerical collar, sourced from supplement to the Spectator 28/08/1936.REV. A. T. HOLDEN, C.B.E., V.D., B.A., D.D., Ex-President-General Methodist Church of Australasia, Born 21st August 1866, Called Home 20th August, 1935."rev albert thomas holden methodist minister, methodist home missions secretary, victorian fourth contingent (imperial bushmen), methodist chaplain general, general superintendent of the methodist church of australasia, grand master of the grand lodge of freemasons of victoria, australian imperial force -
Flagstaff Hill Maritime Museum and Village
Textile - Pillow Case, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
These pillow cases are one of 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 Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is 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.Pair of Pillow Cases, white, (Giles Collection)Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pillow case, giles collection., henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, textile -
Whitehorse Historical Society Inc.
Textile - Supper cloth
White cotton supper cloth with white embroidered with a wide band of drawthread with needle embroidery at corners. Embroidery has raise pattern,handcrafts, needlework, manchester, table linen -
Glenelg Shire Council Cultural Collection
Print - Labels, n.d
Two coloured paper labels for Cock Brand fancy apples. Blue background, red and green apple top right, rooster on yellow box with 'COCK BRAND' in red, on left. Dark blue stripe with yellow stars, packers details in dark blue, beneath stripe. -
Whitehorse Historical Society Inc.
Textile - Doyley
Square white doyley with wide inner border of drawn thread embroiderymanchester, table linen, handcrafts, needlework -
Gippsland Art Gallery
Print, Turner, J.M.W. (after), Stranded Vessel off Yarmouth, c.1859-78
Purchased, 2013Engraving on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Pamela Gaunt, The Shape Of Things To Come, 1988
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Churchill Island Heritage Farm
Textile - Lace Trim
Whether machine made or handmade, this length of trim is dainty and delicate in the true Valenciennes style. Circles surrounding six-petalled flowers with little spiders above and below where the circles meet, it is quite beautiful. The diamond ground is typically Valenciennes as is the pattern of flowers. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace. This trim is also suited to trimming a mob cap.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. Valenciennes lace with floral motifs with six petals enclosed within a circular motif.janet amess lace collection, lace, churchill island, janet, amess -
Kew Historical Society Inc
Textile - Household Textile, Throw, 1910-1950
Used to protect food from flies when laid out for later consumptionSquare white cotton voile throwhousehold textiles -
Gippsland Art Gallery
Print, Howitt, Alfred William (after), Cliff at the Wongungarra River, 1877
Purchased, 1984Lithograph on papergippsland, artwork, permanent collection -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: LINEN TABLECLOTH OR TABLE CENTRE WITH CROCHET TRIM, 1920-30's
Textiles. Cream linen fabric, with a selvidge edge on each side. Three bands of drawn thread work at each end-a centre band 2.5 cm wide, and stitched to form a decorative pattern, and two bands, 1 cm wide-one on either side of the wider band. These are edged with a spoke stitch, which draws the thread into little ''bar shapes" - 3 to each centimetre. A 4.5 cm wide band of fillet crochet and a 20 cm long fringe, edges each end.textiles, domestic, linen tablecloth or table centre -
Kew Historical Society Inc
Print, Pioneer Women's Memorial, 1950s
An item from an and diverse collection, assembled by members of the Christian and Washfold families of Kew.Colour print of the Pioneer Women's Memorial in the Domain, Melbournepioneer women's memorial (melbourne), christian-washfold collection -
Whitehorse Historical Society Inc.
Textile - Doyley
Nine square medallions of tatting.handcrafts, tatting -
Gippsland Art Gallery
Print, Prout, John Skinner (after), The Dandenong Ranges, Victoria, c.1873
Gift of Ted and Gina Gregg, 2012Hand-coloured steel engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Duxbury, Lesley, The Formation of Clouds, 2013
Purchased with the assistance of the Gippsland Art Gallery Society, 2013Inkjet prints on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Raphael (after), Peter and John Healing the Lame Man at the Beautiful Gate of the Temple, 1839
Donated from the estate of Dora Greenwall, 1975Engraving on India papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Sandby, Paul (after), Roche Abbey in Yorkshire, 1780
Purchased, 2013Copper-line engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Fabijanska, Kasia, Two Trees, 2016
Purchased, 2017Etching, aquatint and pigment on papergippsland, artwork, permanent collection -
Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
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. -
Clunes Museum
Textile - TRAY CLOTH, 1939
White hand crocheted sandwich tray cloth"Clunes Centenary 1839 1939" stitched into patternclunes centenary 1939, tray cloth, crochet -
Federation University Art Collection
Print - Artwork, Griffin, Tony, 'Interloper' (unique state) by Tony Griffin, 2009
Tony GRIFFIN Born Melbourne Ballarat-based painter and printmaker Tony Griffin has over forty-years’ experience in the visual arts. He completed a Diploma of Fine Art in 1980 and has recently completed a PhD (Visual Arts) at Federation University. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, woodcut, linocut, printmaking, tony griffin -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Glenelg Shire Council Cultural Collection
Print - Contact Print, 1960-1979
Black and white contact print from glass plate negative. Image is of a group of 8 women and a man, sitting or standing on lawn with a backdrop of trees. Dress is late 19th or early 20th century. -
Horsham Regional Art Gallery
Print, Kevin LINCOLN, Untitled, 1972
Donated through the Australian Government's Cultural Gifts Program by Mia Heriot, 2005monotype, pen and ink on paper -
Kew Historical Society Inc
Textile - Household Textile, Supper Cloth
Embroidered and lace edged white linen supper cloth. household textiles, table linen, lace