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Bendigo Historical Society Inc.
Textile - WALL HANGING: BENDIGO NORTH PRIMARY SCHOOL
Cotton wall hanging made by Grade 3 & 4 students from Bendigo North Primary School. Quilt made of 28 panels (21 cm X 21 cm) each bordered with dark green strips (3 cms) bordering each panel. Backed with wadding. Across the top of the wall hanging are five hanging loops of dark green fabric (3.5 cm X 3.5 cm ). Hand stitched in place.Machine stitched except for top edged that has been hand sewn after padding inserted. Panels are decorated with textas and fabric paint. Children have drawn pictures and written dates of scenes and icons illustrating different icons and times in the history of Bendigo.handcrafts, tapestry, wall hanging -
Bendigo Historical Society Inc.
Textile - WAGGA RUG
Patchwork Wagga Rug Item donated to Carol Holsworth at Specimen Cottage 2014 - 2018. No details taken of donor or ownership of the item. Item made of fabric remnants handstitched together. Includes hessian, cotton fabic and knitted woollen fabric.textiles, domestic, patchwork bed cover - wagga -
Bendigo Historical Society Inc.
Textile - MACKAY COLLECTION: ASSORTED LACE PROJECTS
Mackay collection - Assorted lace projects in various stages of completion including one still attached to frame.handcrafts, lace -
Kilmore Historical Society
Textile - Childs christening dress, Unknown
Christening dress donated by Kilmore familyWhite cotton, short sleeves with drawstrings, gathered waist, broderie anglaise triangular shaped bodice detail, broderie anglaise trim to skirt. Excellent conditition.child, christening -
Bendigo Art Gallery
Textile, Paul YORE, The Rule of Lore, 2021
textile, lgbtqui, australian artist, queer, political, applique, quilt, quilting, banner, activist, activism, bunny, john howard, saddam hussein, george pell, pope, religion, pooh, bart simpson, car, truck, ribbon -
Whitehorse Historical Society Inc.
Textile - Doyley
Square Cream silk doyley, wide silk thread embroiderymanchester, table linen -
Vision Australia
Textile (item) - Object, International Year of Volunteers 2001 quilt, 2001
Patchwork quilt decorated with 51squares including some tactile with a light purple backing covered with pink, green and yellow dragonflys. Hundreds of volunteer signatures flank the border of the quilt. The squares represent the services and centres of various Vision Australia Foundation locations including: Bayswater, Brighton, Kooyong Day Centre, Peer Support and Audio Description and Volunteers. A fabric label is attached to the back with the words 'Quilted and bound for Vision Australia by The Patchworkers and Quilters Guild of Victoria Inc. 2001' signed by the members. The quilt was made for the 'International Year of Volunteers 2001'. Embroidered on the quilt is 'Volunteers unselfishly giving of one's self'.Signatures of volunteers Volunteers unselfishly giving of one's selfvision australia foundation, volunteers -
Ararat Gallery TAMA
Textile, David Green, Two For One, 1982-3
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Wodonga & District Historical Society Inc
Textile - Hand Made Silk Nightdress by Mabel Church c. 1920s
This silk nightdress was made by Mabel Church in the 1920s. Mabel undertook a dress making and tailoring apprenticeship at Whan's Store in High Street, Wodonga. This item has well documented provenance and a known owner. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A mid-length silk nightdress with pink hand stitched embroidery on collar and sleeves.silk, dress making, dress, tailor, apprencticeship, nightdress, 1920s, wodonga, whan's store, albury wodonga -
Australian Lace Guild - Victorian Branch
Textile - Machine Muslin appliqué lace, 1850-1900
Use: Domestic. FashionMachine lace bonnet veil -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection Hand Stitched White Lace Doily c.1920s
The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.White hand stitched lace doily c.1920stextiles, sewing, handiwork, women's history, domestic, craft, family -
Ararat Gallery TAMA
Textile, Ann Greenwood, Untitled (wall hanging)
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Australian Lace Guild - Victorian Branch
Textile - Regency Point lace, Early 19th Century
Use: Domestic. Household trimmingBobbin lace edging. -
Australian Lace Guild - Victorian Branch
Textile - Buckinghamshire Point lace, 19th century
A light weight lace used for costume trimmingBobbin lace flouncing -
Bendigo Historical Society Inc.
Textile - Tray cloth
A cream coloured square silk tray cloth with a 3.5cm machine hemmed border.favaloro, silk tray cloth -
Ararat Gallery TAMA
Textile, Roma Center, Basic Forms In Black and White, 1975
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Whitehorse Historical Society Inc.
Textile - Tray cloth
White tray cloth with white embroidery and draw thread inner border.handcrafts, needlework, manchester, table linen -
Bendigo Historical Society Inc.
Textile - BENDIGO EIGHT HOURS COMMITTEE
Cream coloured silk ribbon formerly pinned with blue ribbon 6767.1. Bendigo Ladies Committee printed in gold. Connected with Bendigo 1897 eight hour work day demonstrations. Anniversary of Trade Union formation in Victoria.societies, trade unions, eight hour day -
Geoffrey Kaye Museum of Anaesthetic History
Textile - Academic Bonnet
This academic bonnet belonged to Dr Mary Burnell. Mary Taylor Burnell was born on 21 February 1907, in Norwood, South Australia. She graduated with her MBBS in 1931. In 1932, Burnell served as a resident medical officer at Adelaide Children’s Hospital. By 1934 she was their Honorary Anaesthetist. It was also during this period that Burnell became the first female member of the Australian Society of Anaesthetists. One year later, in 1935, she worked as Secretary for the South Australian Section of the Society. Although resigning from her position at the Children’s Hospital in 1937, Burnell returned in 1942. The outbreak of World War II meant hospital staff and resources were drained. During her work, Burnell lobbied for a Department of Anaesthetics in the Children’s Hospital. Through working at both hospitals, she became aware of the great differences between administering anaesthesia to children and administering it to adults. In 1953 she was elected President of the Australian Society of Anaesthetists. She was the first female to be elected to this position. Two years later in 1955, Burnell was elected as a member of the Board of Faculty of Anaesthetists, Royal Australasian College of Surgeons. In 1966 she was elected Dean of the Faculty of Anaesthetists. Again, she was the first female to be elected to this position. Burnell worked tirelessly to promote the importance of anaesthetics in Australia. Burnell’s contributions to anaesthetics were recognised with Honorary Fellowships to both the Australian Faculty of Anaesthetists and Royal College of Surgeons. Navy blue velvet cloth bonnet with stiffened brim covered in same fabric as bonnet. Around the hat is tied a gold cord with tassels.burnell, mary, academic bonnet, australian society of anaesthetists, faculty of anaesthetists, royal australasian college of surgeons, royal college of surgeons, fellowship -
Federation University Historical Collection
Textile - Tapestry (machined), Japanese Bridge Scene, c1981
Stretched by Val D'AngriColoured scene on silk cloth, stretched over light board that has been covered in calicoJapanese symbols in side margins Serial number 1024-127 in left margin VD'A - 7/81 on back (Val D'Angri)japanese bridge, textiles -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, ca 1910
This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily, round shape, white cotton fabric centre with a crocheted edge of twelve circular shapes. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, doily, embroidery, needlework, crochet, handmade, craft, manchester, linen, haberdashery -
Whitehorse Historical Society Inc.
Textile - Handkerchief
White cotton handkerchief with crochet border and corner.costume accessories, female -
Geelong Gallery
Textile - Let me breathe, JAMES, Kait, 2020
Wool and cotton yarns on printed cotton -
Ararat Gallery TAMA
Textile, Frances Burke, Goanna, c. early 1950s
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 - Doyley
Round white cotton doyley decorated with cut out embroidery. Scalloped edging in button hole stitch.handcrafts, needlework, manchester, table linen -
Bendigo Historical Society Inc.
Textile - ACCESSORIES COLLECTION: LADIES GREY COTTON CROCHETED HANDBAG, 1900's Edwardian
Textiles. Grey cotton crocheted handbag with cream coloured xylonite or celluloid frame. Circular crocheted pattern with scalloped edge. Swivel opening clasp. Plastic chain link handle attached to frame. Lined with pink silk fabric.textiles, domestic, grey cotton crocheted handbag -
Whitehorse Historical Society Inc.
Textile - Pillar Sham
A white rectangle of cotton hemmed and edged with crocheted lace of scallops. The crotchet is on one edge and along 2/3rds of the short sides.manchester, bedding, domestic items, ornaments / decorative -
Churchill Island Heritage Farm
Textile - Lace Piece Border on Net
This machine made net (76cm x 38) is trimmed on the edge with a tamboured design in the style of Limerick lace. Machines were so proficient in copying handmade lace that it is very difficult to tell if the trim is done by hand or by machine. Tambour lace was the earliest form of Limerick lace and was worked in chain stitch onto machine made net using a very fine crochet hook, so fine in fact that some practitioners used a sewing needle with the eye cut out and the pointed end inserted into a wooden handle.The lace industry in Limerick was started by Charles Walker in 1829 Many Irish women who learned the craft worked from home but Walker knew that he would get more consistent and cleaner work if he could oversee the work being done so he built a factory for the women. Limerick lace lost popularity after Walker died in 1842 but was revived in the late 1880s and continued to be made into the 20th century but never reached the heights of the Walker period. If this pattern is machine made it would have been made using a Bonnaz machine which was later called a Cornely machine. Antoine Bonnaz (1836 – 1915), a silk machine engineer, produced the first successful industrial chain stitch machine. His patent was finally acquired by Ercole Cornely in Paris who developed a hook shaped needle that could make a line of chain stitches. Initially these machines were only available in northern France but they were so popular that they were eventually exported to the rest of the world and are still being produced today. This lace edging is quite fine and would only be about a centimetre in width and so would be subtle in effect, perhaps to be used on undergarments or as a fichu for day wear.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was added to and refined over the course of three successive generations of women.Machine made net, trimmed with tamboured design in style of Limerick lace.Note in package "LIMERICK LACE TRIMMINGS"lace, janet amess lace collection, churchill island, amess -
National Wool Museum
Textile - Blanket, 1950s
Note from collector: Godfrey Hirst Diamond blankets from the mid-1950s are always delight to find. Some of these were found in the Geelong area but one came back with me from an op shop road trip around Tasmania, another from the St Pauls op shop in Romsey. I love this pattern and find the lemon and grey colourway particularly special.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double-sized, pink and mint diamond blanket"An All Wool Blanket" /By Godfrey Hirst of Geelong/100% Virgin Woolwool, blanket, blanket fever, godfrey hirst, diamond blanket, geelong -
Gippsland Art Gallery
Textile, Sale Community College, Aftermath, 1984
Donated by the artists, 1984Wool weavinggippsland, artwork, permanent collection