Set of 3 white cotton table mats with decorative borders. Item 1 is rectangular, with square material section in centre, rounded decorative interwoven cotton ribbon as a decorative trim. Threads connecting ribbons. Items 2 & 3 identical, circular material mats with zigzagged ribbon and thread edges. all items decorated sparsely with embroidered floral motif.Each item has label reading 'ANDERS'handcraft, needlework, mat, decorative, table

Part of a collection of handcraft and needlework donated by Anne BarryCross stitch embroidery was popular and widely practised during the periods of the 1920's, 1930's and 1940's. It became an art formGreen and white gingham apron, cross stitched in black, yellow, red and orange diamond pattern, with a line of cross stitch at border. One pocket of white with ric-rac edgingcostume, female working

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

This shawl may have been used for Marjorie Burton or earlier. It has been passed down fcrom the Whiteman family through the Burton family. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who made many of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of a handmade item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A square crocheted silk shawl with a lacy pattern. It is cream coloured and has rounded corners.crochet handcraft shawl burton-marjorie

Australian women of the late 19th to mid 20th century focused on the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture. Embroidery and crochet work provided a much needed creative outlet for someSeven pieces of lace of fine cotton possibly dyed or stained. All but one are straight edged. .1 is scalloped.lace handcraft crochet needlework

From the estate of Elsie Cooke. Elsie Cooke lived all her life in Gippsland,. She was born at Brodribb in 1895 and died in 1970, Elsie Cooke lived at Bruthen for a short time and, in 1937, moved to live with her aunt, Miss Jean Munro. Miss Cooke was Librarian at the Mechanics Institute for many years. Kindness and consideration for other were Miss Cooke’s attributes and she endeared herself to all who knew her. She was a loyal member of the Presbyterian Church and a stalwart of the Ladies’ Guild, an energetic worker for the Municipal Auxiliary and a member of the Red Cross. (ref Mary Gilbert) This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Small round hand-crocheted doily of white thread.doily handcraft knitted cook-elsie

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Two small square crocheted doilies. One has a rooster pattern, the other a square symmetrical pattern.doily handcraft crochet

Crochet covers for milk jugs, teacups and bowls were produced to repel the dreaded Australian blow fly. They were typically decorated with Australian flora and fauna and commemorative motifs and sometimes edged with beads, shells and other three dimensional forms, not only for appearance, but also to weigh down the crochet so it would stay safely in place on the jug. The three dimensional parts were stiffened with sugar syrup, or sometimes starch, paraffin or gelatine. The main sources for crochet cover and other needlework designs available to women were in journals, magazines and pattern books. In the first half of the 20th century women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food. Small square milk jug cover that has been hand crocheted with crown, flag and date patterned into centre. It has a red, white and blue beaded fringe.cover milk-jug-cover handcraft tableware

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.A large round hand-sewn linen doily with damask centre and lacework border. White linen. handcrafts doily linen lacework

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Small square-shaped hand crocheted doily. White with linen centre and large crocheted border in diamond patterns.doily handcraft crochet linen

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.A large hand-embroidered calico apron. Picture on front is of a lady picking flowers. Has a pocket on the right hand side. There is a green crocheted border.apron costume-accessories handcrafts needlework

Embroidery and crochet work was an important pastime of Australian women of the late 19th to mid 20th century. Needlework was commonly taught to girls at school and at home.A small white linen sampler with examples of different stitches, buttonholes, buttons, loops, tapes and hemming.sampler linen handcraft

This item is an example of a handcrafted item and reflects the needlework skills of women in the earl 20th century. Crochet work was an affordable way to personalise and add aesthetic value to homes, and examples of embroidered and crocheted pieces could be found in most Australian homes, A crocheted picture of bushland in East Gippsland. It is in white wool and framed in an ornate gold frame.handcraft crochet picture

Trudi Hogeman made this fan from old greeting cards. This is an old way of making fans with blanket stitch around the edges. She was a member of a craft group when she made this object. Trudi Hogeman died in January 2017 and is buried at Marlo. Her daughter is heather Terrell, president of the Orbost Historical Society.This item is an example of a handcrafted item and reflects the needlework skills and hobbies of women at the time.Six teardrop shaped leaves held together by a paper clip to form a fan. It has been blanket stitched around the edges of each leaf. Leaves are made of cardboard photographs possibly cut from greeting cards. All cards have floral images.handcraft hogeman-trudi fan

The handkerchief was on display at Flagstaff Hill reception area from 2008-2105 as an example of fine needlework with a lace pattern typical of the early 1900's. During that era the house mistress would often carry two handkerchiefs, one for blowing her nose and one out on show, perhaps in an apron pocket.This handkerchief is an example of fine handmade needlework. It is also an example of women's fashion accessories in the late 19th and early 20th century.White starched silk handkerchief, square shape, very soft fabric edged with 5cm embroidered net lace. Net was embroidered as a strip then joined at corners. The design is backstitched then the lace has been joined to the fabric using blanket stitch. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, silk handkerchief, fine handcraft, needlecraft, ladies' handkerchief, 1900s

A colourful sampler worked in Scotland about 1820 by Ursula Blair, who was only 12 years old. Donated from the estate of Elsie Cooke. Elsie Cooke lived all her life in Gippsland,. She was born at Brodribb in 1895 and died in 1970, Elsie Cooke lived at Bruthen for a short time and, in 1937, moved to live with her aunt, Miss Jean Munro. Miss Cooke was Librarian at the Mechanics Institute for many years. Kindness and consideration for other were Miss Cooke’s attributes and she endeared herself to all who knew her. She was a loyal member of the Presbyterian Church and a stalwart of the Ladies’ Guild, an energetic worker for the Municipal Auxiliary and a member of the Red Cross. The Blair connection is from the Munro family -maternal side.This item shows the needlework skills which were being taught to young girls in preparation for their duties as wives.A colourful sampler showing numbers and letters, a house and garden in plain gold/brown frame. Sampler is in a wooden frame with glass front.sampler handcrafts needlework

Over 150 years old in 1970. Donor,Joe Herman was a blacksmith, painter and signwriter in Orbost. Local footballer. Married Elsie Winchester This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Cloth of fine hand-woven linen. all white with fine hem.linen manchester-table-linen handcrafts weaving

Handkerchiefs have been used by men and women for centuries. They could be made of any bit of cloth, but eventually they became a symbol of social status and wealth. As they became a status symbol, they also became more than just scraps of cloth, and were decorated with lace and embroidery. This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Hand-embroidered silk dress handkerchief. Flowers embroidered on front. Fabric colour is beige.handcraft silk-handkerchief embroidery

This item is an example of the needlework skills of women in early settler families.Hand tapestry pattern for a pair of slippers. on canvas and ready to be cut out. Floral design on crimson background. Light purple canvas.tapestry canvas handcrafts slipper-pattern

This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, One pair of hand embroidered white linen pillow shams. Crocheted edge. Decorated with embroidered flowers in assorted colours.pillow shams bedding manchester handcrafts needlework embroidery

Julia Thomas was daughter of George and Granny Thomas much respected Aboriginal couple of Newmerella. George was a stockman for Jas Stirling. Julia married Henry Eaton, road construction at Gilbert's Gulch.This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Two white knitted pillow shams with pink knitted through front. Lace edging.pillow-shams bedding manchester handcrafts knitting lacemaking

This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Handmade pin cushion with flowered tapestry centre. Tulle covers the whole cushion and has been embroidered. Lace sewn around whole cushion. Backing is satin. Has an assortment of hatpins.pin-cushion tapestry handcrafts needlework hatpins

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Small hand-crocheted serviette ring. White thread with scalloping on outside.serviette-ring manchester table-linen handcrafts crochet

In 1896 Albert Richardsonand his bride, Lettice, came to the mill at Tabbara. Their daughter, Mrs Mary Barclay, was born at Marlo in 1897. Her Scottish great-great grandmother who was born about 1800, kept silk worms. When she was about 12, she collected and spun the silk to later make this shawl.This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.A handmade shawl of beige silk. Edge is fringed.shawl costume-female handcraft silk

This item is an example of a handcrafted item and reflects the needlework skills of women in the early 20th century.Small hand-crafted linen doily with embroidered lace-like edging. Flower embroidery and the word "scones" sewn along bottom.Front - "scones"doily handcrafts needlework linen embroidery

This item is an example of a hand crafted item showing the needlework skills of women in the early 20th century.Two small square handmade doilies. Tattered centres and crochet edging of bells. On white linen.doily handcrafts needlework linen embroidery