This piece of machine made lace was probably made on a Levers machine (invented 1813)Pink machine made lace edging.

Pennant. Black cloth pennant with red tassle trim at bottom. Names, inscribed in white, of players, coach and manager of the 1995 Under 9 team of the Golden City Soccer Club.organization, club / society, sport, pennant, golden city soccer club

Use: Domestic. FashionBobbin lace cap back

A light weight lace used for costume trimmingBobbin lace flouncing

This embroidered white ruffled pillowcase was handmade. 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.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (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 significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future Pillowcase, rectangular in shape with a ruffle edge, white with white floral embroidery. 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, handmade, craft, manchester, linen, haberdashery, needlework, pillowcase

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.

Stormy skies can be memorable with dark and contrasting colours. They often appear menacing and producing apprehension in the air because of the oncoming weather. Fabrics used in this piece are all commercial. I have endeavoured to make the sky angry with stitches. The mesa has some very dark and ominous craggy rifts. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a storm featuring a colour palette of blues and browns.june brown, textile

The Rechabite movement began in Salford England. In 1861 the first Independent order of Rechabites Friendly Society, Salford Unity, was opened in Bendigo to be called “Star of Bendigo” Tent. It was registered as Number 5 making it one of the first in Victoria. They worked with the Total Abstinence Society to organize lectures and social events designed to prove that entertainment and fun could be had without alcohol. They met in the new Temperance Hall in View Street. Independent Order of Rechabites, Salford Unity. Male ceremonial sashes. 8 silk ceremonial collars for the Independent Order of Rechabites, cream silk with red stripes. The number of stripes vary according to rank. Chief Rulers collar x1, Steward x 2, Secretary x 1, Levite x 1 & Supporter x 1 5 collars have a silver wire 7 sequin rosettes at base of "collar V", 3 have silver wire tassels.Some collars have stamped on reverse "Star of Bendigo Tent No 5"i.o.r. (rechabites), salford unity

Cream cotton doyley (doiley) crocheted by either Elsie Nolting (nee Fraser) or her cousin May Rose (nee Bennett) both of Charlton Victoria. The item was made around 1918 as a dedication to the success of the allies in the First World War. Doyley is crocheted in a treble stitch, edged with clear glass beads. Within the crocheting are the words 'Success to the Allies'. Accession 258/14.handcrafts, crochet, d'oyley, world war 1, milk jug cover, doyley.

Purchased at Blackburn Op Shop.Hand crotchet doyley - a koala in a gum tree bough with sprigs of wattle top and bottom. Triangular shape stepped down corners. Tricot stitched edge.handcrafts, crocheting or crochet work

Long stained white cloth pouch with large letters stamped in blue ink ' -S. Police- ' ( a thin blue line on either side of S.Police } with a cardboard reinforceing insert .The back has a faded written number 35 above a stamped number 207civic mementoes, -s. police- '

Trish hand stitched this cross for her husband - ex veteran. It was a birthday present as his birthday was on Remembrance Day.Textile - Cross stitch hand made 'Remembrance Day' picture in colour with 100% cotton and Aida fabric. Light grey, grey and black lettering. Illustration - in colour, poppies with background silhouette of soldier and 4 crosses. Framed - clear varnish on timber, MDF book, glass front.textile, remembrance day

Linen square doily with drawn thread. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, doily, doiley, doyly, doyley, haberdashery, manchester, linen, decorative napkin

Possibly taken off a dress.NAcostume accessories, female, handcrafts, lacemaking

The origin of this pennant is unknown. It is the only one of its kind in the heritage collection. A past student has suggested that it was possibly issued to students in the 1960s as a fundraiser.Navy blue triangular felt pennant with the school logo (yellow and white) and the word 'Strathmore' painted (possibly stencilled) on the front in yellow paint.

Paula HYLAND Paula Hyland graduated with a Diploma of Embroidery at RMIT in 1981. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed portrait in wool sewn on hessian. art, artwork, paula hyland, hyland, textiles

2 fine cotton, white, rectangular doilies with embroidered white flowers with yellow centres and crocheted circles as the border around 3 sides of the doilies and hemmed with running stitch along the fourth side.doilies, table linen, gibson collection

Textiles. A wartime souvenir from Palestine. Peach coloured rayon (?) fabric, with a cream coloured calico back. Embroidered in silk and cotton thread in chain stitch. A palm tree on either side of the front frames a semi-circular shape with the Australian and British flags at the top on either side of the semi-circle. A crown is embroidered at the top in the open section of the circle. Australian Commonwealth Military Forces is embroidered around the semi-circle. Below, is an embroidery of a Mosque, and below this are the words: Mosque of Amar (?). To my dear Sister.Palestine. Australian Commonwealth Military Forces 1941. To my dear Sister. Mosque of Amar(?) Omar(?).textiles, domestic, rayon and cotton cushion

Collector says: I'm intrigued to know why this 1930s & 1940s fashion of blanket - with panels of stripes on each end - only came in the colours of pink, baby blue and mint. Over the years I gathered many 'panel' blankets with labels from over a dozen different mills and yet they are all in these 3 colours only.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 blanket with mint stripes Made Expressly for Mark Foy's Ltd/Sydney/The Laconia Blanket/Guaranteed Odorless and Free From Filling/Made in Australiablanket, blanket fever, wool, laconia mills

The Riding of the Bounds was an annual event that took place in Berwick. It linked back to a centuries-old tradition in sister city Berwick upon Tweed, England. Riders followed a route through local streets and participate in ceremonies along the city's border. The Mayor would wave off riders from the local showgrounds with instructions to inspect the boundary with the neighbouring municipality. Once the ride was complete, the Marshall would report back to the Mayor that the boundaries were secure, and this would herald the commencement of the presentation ceremony. This re-enactment of the Berwick-Upon-Tweed Riding of the Bounds was filled with pomp and ceremony and many of the riders took the opportunity to dress in period costume in recognition of the history of this event. This information is from https://collection.casey.vic.gov.au/Ribbon for City of Berwick Riding the Bounds 199. Printed on white material with red ink. Has the City of Berwick coat of arms at the top of the ribbon.city of berwick, riding the bounds, city of berwick coat of arms, horses, berwick boundaries

Use: Domestic. FashionBobbin lace dress front

The first Warrnambool to Melbourne cycling race was held in October 1895. 24 riders started with only 7 finishing the race. W. Nicol was the winner of the inaugural race. Two months later on 14/12/1895 the race was run in reverse. For the ensuing 43 years it was mainly Melbourne to Warrnambool. Since 1939 it has been run mainly Melbourne to Warrnambool. The prize of this blanket was 2nd prize to E. Ion of Tasmania in October 1949. The prize itself, A Warrnambool Blankets Tartan rug was made at the Warrnambool Woollen Mill in Harris St Warrnambool Early efforts to establish a woollen Mill in Warrnambool commenced with an early mill on the Merri at Woodford in 1874 but the site proved unsuitable and was financially struggling. The decision was made to move plant and and machinery to the old meat preserving factory in South Warrnambool The plant and equipment was sold to Mr Robert Hood of Sherwood on the Hopkins River East Warrnambool who carried on the venture until fire destroyed the building in 1882, The site lay idle until a group of local businessmen raised 40000 pounds to establish the mill in 1910. It continued to trade well through the early and mid 20th century. Dunlop brought the mill in 1968 and there was a slow downturn with numerous owners until it closed in 2000. The site passed into private hands in 2003.Both the Warrnambool Woollen Mill and the Melbourne to Warrnambool Road Race are a significant part of local history. The Melbourne to Warrnambool Cycling road race remains one of the premier sporting events in Australia. It commenced in 1895 Maroon and red block check with black and white check lines on front with plain maroon back. Fringed on two sides. Grey cotton label with The Warrnambool Woollen Mill Co Limited in top Left hand side of label, Victory Rug diagonally in blue Guaranteed All WOOL Made in Australia in bottom RH corner of label. Owner M bottom of label. 1949 Mr. Ernie Ion” handwritten in black pen.warrnambool, warrnambool woollen mill, marcus saltau, w. nicol

This food safe cover is 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 and historical 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.Food safe cover, white with knitted lace on the front and part of the two sides.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, safe cover, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods

Piece black net heavily decorated with black sequins and jet beads.costume accessories, female

Collector says "I love the generous size and thickness of Albany blankets and know someone who collects from this Mill only. The colour shades and combinations Albany used are still so gorgeous. From Western Australia. 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. Please refer to the following worksheet for a full breakdown of the collection." Checked blanket, pink, blue and creamAlbany Woollen Mill/Blanket/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, albany, albany woollen mills

An example of handmade linen.Doily, oval, white with silver-gray floral design, lace edge.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, doily, lace edge, silver gray embroidery, craft, embroidery, crochet

Machine lace