Showing 361 items
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Flagstaff Hill Maritime Museum and Village
Instrument - Musical, Piano, Renardi, c. 1900
This solid, late Victorian era piano is branded Renardi, which is a German name. In the late 19th century thousands of pianos were exported from Germany to Australia. Some, unfortunately, were amongst the cargo of shipwrecks. It seems that the Renardi pianos were not made by a Renardi company but made to order by any of a number of German piano manufacturer and branded for distribution by Australian music stores.This Renardi piano represents an era where musical gatherings were part of domestic entertainment. Pianos were ialso installed in clubs, public halls and hospitality businesses for song nights and concerts were encouraged for community unity.Piano, upright, walnut veneer with floral design on panels. Turned columns, hinged lid and two metal pedals. Branded Renardi, a German name, made c. 1900. "RENARDI"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, musical instrument, upright piano, german, renardi, victorian era, late 19th century, entertainment -
Kiewa Valley Historical Society
Book - Reference Countryside, The Australian Countryside in Pictures, circa 1950s
This book is a "snapshot" in time (1950s) detailing life in Australia covering a time when a "man's word and handshake" were his moral and quasi legal bond, and the now relative defunct saying "smoko" (having a "time out" from work for a cigarette and tea or coffee). The book spans an era where the male was still the "head" of the family even though for a majority of families the women took on the many "male only" roles during the World War II period. This shift in the leadership of the family hierarchy is mentioned, so ever slightly, (not to offend the still predominant macho male image) in both rural and city environments. The effects of the war, and later the push for women's emancipation and equality in both family, social, workplace and political areas of life, since this book was published, is now finally resolved. However there are still some sections of the recent migrate population where this male dominance is causing a few problems.The significance of this book is not only because it was donated by Mrs C. Roper ( from the Roper Family, a pioneer Kiewa Valley and surrounding Region family - originally beef cattle graziers) but also a Kiewa Valley resident and family, experiencing the shift in the social and economical life of post World War II rural Australia. The strong heritage link to this region of many families still residing within its boundaries, is a clear affirmation of the bond that the Kiewa Valley and its Regions have upon family unity. This unity within the rural environment is something that is attracting more and more families from sometimes alienating city life.This printed coloured sketched, or painted paper sleeve of the book is freely wrapped over a dark red hard cover. Into the front of the cover is pressed a standing pose of a farmer with long sleeves rolled up over his elbows. Behind him and to the right are what appears to be three sacks of wheat and next to him is a merino sheep. To the left and down are two dogs one with a fox in its jaws. The book contains 240 pages, 300 illustrations in gravure and 25 pictures in full colour. The inside fly leaf is a colour photograph of a rural scene with dirt road running in the centre and to the left a farm house and a five bay open storage barnOn the tittle page is a signature "C Roper"country life, australian "outback", rural industries, life on the land, swag-man of the bush -
Wycheproof & District Historical Society Inc.
Document - Charter, framed, 1885
Wycheproof Historical Society has the Charlton Independent newspaper report Clip of Friday, November 27,1885 of the Opening of ANA Branch Number 45, Wycheproof, in Supplementary file box,Room 1,also ANA Display folder in Upper Level Room 4,Cabinet 2B Many Australian Natives' Association subscribers' details are found in our collection of old A.N.A. books.These record books give names, occupations,locations and transfer information.The formation of the Wycheproof Branch made this historical data possible. This is an original charter dated 1885 - an old historical document. In 1993 Austalian Natives' Association(ANA)joined forces with Manchester Unity to create Australian Unity. A.N.A. Charter signed by chief President and General secretary; seal of A.N.A. 24-11-1885. Wycheproof Branch Opening Number 45 for Australian Natives' Association. Contents of 24 lines, commercially printed documentation - wooden ornate frame.On back: Donated to the Wycheproof/ Historical Society 6.8. 2008/ by Eddie Molloy.australian natives association, a.n.a., wycheproof, charter, 1885 -
Kiewa Valley Historical Society
Card - Bogong United Church, Celebrating Ten Years of Co-Operation, 1956
The Bogong United Church began in Bogong Village under a non-resident Methodist in the year 1946 as a measure of convenience. The book was produced for a day of celebration to mark the 10th anniversary of the Church. In 1956 the Bogong United Church met for worship in Bogong, Mongan's Bridge, Mt Beauty and Tawonga and for Fellowship & Service there were 7 different groups mostly meeting in Mt Beauty. Minister at the time was Rev. John Goodluck, resident at 18 Kiewa Crescent, Mt Beauty.The Bogong United Church celebrated 10 years of co-operation with the Methodist and Presbyterian churches and was one of the first churches to do so. It is also significant because it also states the problems the church is facing in 1956: "Dependency on outside support. Inadequacy in state school visits. Extension on Fellowship visitation. Unity with other United Churches. "Let's keep Christmas" campaign and Representation at national convention". The information on this card is of interest to researches / students studying religion. Yellow card, folded in half, with brown writing on all 4 sides. It includes: Back of front cover: 'Theme for the Day'; Back of back cover: It states that "The Church is / Victoria's first successful co-operation / one of three in Victoria / Part of a World Movement / open to all Denominations / Still very young. Also It Began "In Bogong Village In 1946 It Faces ...On the back cover: It lists when Bogong United Church meets for worship and fellowship & service."The Bogong United Church / Gladly Announces / The Tenth Anniversary / of the Methodist and / Presbyterian churches / Co-operation" Dated "Sunday, / September 23rd / 1956"bogong. united church. presbyterian. methodist. mt beauty. tawonga. mongan's bridge. john goodluck. -
Freemasons Victoria - The Geelong Lodge of Unity and Prudence, 5 (801, 545)
Trowel
Used to lay the foundation stone of the Geelong Hospital (Barwon Health) in 1850, and the Kitchener Memorial in 1924.Ceremonial Silver Trowel, with wooden handleUsed to lay the foundation stone of the Geelong Hospital in 1850, and in 1924freemason, freemasons victoria, freemasons geelong, geelong, barwon health, geelong hospital, george faircloth, earl of stradbroke, ceremonial trowel -
Wangaratta RSL Sub Branch
Embroidered Card, c. 1918
Embroidered post card made in France which reads to... W West from Worthy. Embroidered silk postcards became a booming industry during the First World War that was largely driven by women. Many French women embroidered strips of silk in their homes before sending them to a factory to be mounted on card by a largely female production line. Designs endorsing patriotism and unity were popular amongst Allied troops.White rectangular bi-fold card with window mounted embroidery of the colours and flags of different countries in the shape of 1918. Inside is glossy paper with decorative flowers and printed and handwritten messages. Bound with yellow ribbon.Front: "1918 / souvenir from France" (embroidered) "Merry Christmas" (printed) wwi, postcard, embroidered postcard -
Koorie Heritage Trust
Booklet, Aboriginal History Programme, Now and then, 1986
Contents: Part of one's life Lorna Beulah Lovett; Past stories from Lake Condah and Green Vale Rosalie Donker ; My Story Gloria McHenry; My Life Maude Smith; Framlingham Edna Brown ; One of the Missing Kids Lloyd T.F. Clarke; The beginning of unity Francis Hutchins; Lost Years Albert Jackson; Lost Child Found Inez Lovett; Caring and Sharing Maude Pepper; From Coalmine to fighting Wes N. Harald.23 p. : ports. ; 21 cm.Contents: Part of one's life Lorna Beulah Lovett; Past stories from Lake Condah and Green Vale Rosalie Donker ; My Story Gloria McHenry; My Life Maude Smith; Framlingham Edna Brown ; One of the Missing Kids Lloyd T.F. Clarke; The beginning of unity Francis Hutchins; Lost Years Albert Jackson; Lost Child Found Inez Lovett; Caring and Sharing Maude Pepper; From Coalmine to fighting Wes N. Harald.1. aborigines, australian -- victoria. 2. aborigines, australian -- victoria -- history. i. aboriginal history programme (vic.), other: lake condah -- green vale -- framlingham. -
Kew Historical Society Inc
Memorabilia, MUIOOF: Port Phillip District/Yarra Yarra District Honour Board, 1930
The MUIOOF Lodge was located in Union Street, Kew. The Lodge was established in 1863. It was demolished in the early 1990s.The Lodge Board lists the names of representatives of many of Kew's pioneering families. The Board was donated to the Society when the Hall was demolished. MUIOOF Lodge Board - Yarra Yarra District, Loyal Kew Lodge No. 5093 Port Phillip District till 1888 / Yarra Yarra District from 1888 Past Grands [listed] W.Woolard 1864 to A.E. Martin 1990 Maker marks - [Painted on back panel] "Lodge Board - Written by Bro. J. Kleiner, Signwriter 432 Burwood Rd. Glenferrie March 1930".[Engraved on pediment] "G.E. Gosbell, Woodcarver 1955". muioof (kew), yarra yarra district, port phillip district, j. kleiner, manchester unity independent order of oddfellows, w. woollard, d. gray, g. taylor, d. dannock, e.g. backwell, s. conder, j.h. joyce, r. summers, r. clulow, w. morris, f. fanhauser, j. waters, w. butson, a. dalton, t.g. jellis, j. watson, w. howieson, a.h. alexander, w.h. perry, a.r. studd, t. greenhill, w.a. hunt, w. maslen, t. eakins, h. ellis, a. geoffrey, j. priestman, t.e. morrisjamieson, c.h. bryan, g. hinchcliffe, t. foley, a.j. conder, s. clapham, a. cornish, f.j. fauvel, e.m. bond, h. co, j.g m. moller, e. hillier, w. finucane, w.e. bristow, v. geoffrey, a. hill, j.t. studd, h. de c. kellett, a.j whittaker, e. foley, e.f. fordred, p.j. ridgeway, j. barnard, h.a. ingham, h. woollard, j.w. fuller, e. mclean, p.g. pearce, f. walsh, h. fryar, h. salisbury, h. woolard, h.c. cox, a.j. watson, w. holt, f.t. james, e.c. parry, g. lees, h.o. ada,s, g.c. barclay, g.h. mockridge, g. philpott, j. corser, a. lilburn, w.p. wheeler, t.e. morri, r.r. clarke, h.d. sisson, w.r. harle, w.g. gray, j.d. newman, c.w. laidler, e.a. rae, a.a. homes, a. mcconachie, h.f. woollard, p.g. gallop, h.c. nelson, l.n. graebe, e.w. firth, n. rae, r.j. kelly, j. donaldson, f.t. jmes, c. till, t.j. doyle, s.m.f wills, w.l. smith, h. mcallan, h.a. morgan, a. kinns, w.r. adams, c.h. jones, g.h. carter, m. prout, a.w. bishop, k.c. hemmings, e.k. sparls, l.m. harle, j.m. prout, l.e. watts, d.b. adams, f.u. woolard, a. macrae, n.l. gration, d.h. vickers, m.h.m. alister, t.a. till, r.w. bent, j.w. woolard, a.e. woolard, r.h. harle, jean harle, l.o. adams, d.h. lloyd, k.w. harle, d.g. mclean, p.s. pearse, v.l. profitt, f.c. marks, m.h. mcalister, j. newman, e.m. savory, a.f gration, c.g. teasdale, e.k. sparkes, a.j. scott, w.h. savory, t.r. holland, g.t. smith, d. adams, s. rowe, t. bentley, l.e. fegan, m.j. fiander, g.n. bentley, j.l. oakley, h. brierley, b. oakley, m. j. fiander, w. humphries, a. weingardt, c. nunn, d.a. adams, s.p. clark, s. evans, g.n.bentley, s. clugston, d.c. mitchell, a.e. martin, g.n bentley, l.b. murrell, t.b. will, d. murrell -
Churchill Island Heritage Farm
Textile - Lace Trim
This is another machine lace made using a thicker crochet-like thread, quite possibly cotton judging by the texture. The geometric pattern has been made in the style of Torchon lace and it gives the appearance of softness and comfort. This lace is quite narrow (1.1cm) and was not made as an insertion lace but as a trim. It was most likely used as a trim on children’s underclothing and bed linen. It may have been used as a trim on a mob cap for a maid or a less senior member of the household. This machine made lace would have been made on a Barmen machine which was developed in Germany in the 1890s and was capable of making perfect copies of Torchon and other simple bobbin laces.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.Torchon machine lace, coarse crochet like thread. One fairly straight edge with picots. Other edge has clusters of elongated picots at even intervals. Geometric pattern insidechurchill island, lace, janet amess, lace collection, torchon -
Churchill Island Heritage Farm
Textile - Lace Piece
This beautiful piece has been hand embroidered with coloured thread onto a machine made net. The net would most likely have been made on a stocking frame or Heathcoat’s Bobbinet machine and the intricate handwork appears to be a mixture of needle run and tamboured embroidery. Needle run lace is simply outlined in thread and then filled in by darning and other stitches. Tamboured lace is made with a very fine metal or bone crochet hook making chain stitch with the net stretched out over a frame. Limerick lace from Ireland is just such a lace where the stitches used on the machine made net vary considerably. According to Pat Earnshaw, a British lace historian, there was one Limerick lace collar that used 47 different filling stitches. The lace industry in Limerick was started by Charles Walker in 1829 when he brought 20 girls from England to set up a lace making school. 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. This delicate example is from the 1920s and was cut from a larger piece which was most likely attached to an item of sleek underwear. The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island.Machine made net with coloured hand embroidery. Cut from larger piecelace, churchill island, janet amess lace collection, amess, embroidery, tamboured lace, limerick lace -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
Here we have a delicate example of chemical lace which is 7.6cm x 48cm. This is an interesting method of lace making where the lace is embroidered onto a sacrificial fabric which has been treated (initially chemically treated) to dissolve in a chemical solution on completion without damaging the lace. The chemicals used were not environmentally friendly and consequently this method of lace making has developed to use water soluble base fabrics or fabrics which will disintegrate with the application of heat. A remnant of the sacrificial fabric can be seen on the top of this piece. Originally chemical lace was made on a home embroidery machine but is now also known as Schiffli Lace and made on a Schiffli machine. This machine was invented by Isaak Grobli in 1863 using the same principles as the newly invented sewing machine except that the bobbin of the sewing machine was replaced by a shuttle shaped like the hull of a sail boat, hence the name ‘schiffli’ which means ‘little boat’ in Swiss-German. The Schiffli machine uses two threads and makes a stitch similar to a closely spaced zigzag stitch on a domestic sewing machine. Over time the number of needles and shuttles increased until the present day when some machines can be up to 18 metres in length and use over a thousand needles. Previously the pattern was followed by hand using a pantograph arm where the operator followed the design pattern but the development of computer technology has meant that software designed to drive Schiffli machines can now create a wide variety of stitches and lace designs. The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by three generations of Amess women - Jane, Janet and Unity (Bright - donor). Jane was wife of Samuel Amess, first Samuel Amess to own Churchill Island.Length of lace trimPackage contains note: FICCHU c1860/70 (hand made) [not associated with this item]churchill island, lace, janet amess lace collection, amess, trim -
Churchill Island Heritage Farm
Clothing - Trim, Black Beaded
At 11cm in width, this lavishly embroidered lace would have been used as a trim or an insertion piece for evening wear, perhaps as a trim on the bodice of an off the shoulder evening gown. It comprises two layers: a strong base possibly machine made and a fine top layer luxuriously embossed with sequins and bugle beads which was possibly done by hand. It appears to have been made using matte black silk which was known as grenadine and used on the Pusher machine which could only make the pattern and the net. The outline had to be put in by hand. Nottingham stopped making Pusher lace in the early 20th century but it continued to be made in France.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. length of black beaded trim with two layers: machine made lace with hand-stitched overlay of sequins and jet cylindrical beads in abstract designs.Packaged with note: "Black beaded trimming (hand beaded)".janet amess lace collection, churchill island, lace, sequined, amess, trim -
Churchill Island Heritage Farm
Clothing - Black Lace Front
This lace front is another example of Pusher lace using matte black silk called grenadine. The head opening has yet to be cut out and the panel itself was most likely made for a specific garment possibly in a contrasting paler colour to show off the leafy pattern The Pusher machine is a variation of Heathcoat’s Bobbinet machine and was so called for the rods which pushed the carriages through the machine. There appears to be an outline on the leaves which would have had to be worked either by hand or by embroidery machine.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Rectangular section of lace with intricate leaf design and a matte circular section. Designs are reinforced with multiple layers of stitching.Packaged with note: "Black lace "Front" with neckline hole"churchill island, lace, janet amess lace collection, amess, machine -
Churchill Island Heritage Farm
Clothing - Mob Cap, Budoir
A mob cap was worn over the hair when indoors working and a hat could be placed over it when going outdoors. It was quite reasonable to receive visitors while wearing a mob cap. This cap has been labelled as a ‘boudoir’ cap to be worn over curlers or to keep a lady’s hair in place overnight. It is made of cotton and has beautiful torchon lace inserts with the same lace trim around the edge. This torchon lace is a handmade bobbin lace using soft cotton thread.in a simple design of filled diamonds alternating with spiders. These caps were worn by women in Georgian times and called a ‘bonnet’. The term ‘mobcap’ may have come from the Dutch or French languages but the name was cemented during the French Revolution when most of the revolutionary women were wearing these caps. During the Victorian era they were mostly worn by servants or nurses.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. white cotton mob cap, with central lace section in the form of a crossPackaged with note: "White cotton handmade lace mob cap"lace, lace collection, churchill island -
Churchill Island Heritage Farm
Clothing - Bonnet, Baby
This baby bonnet is made of strips or braids of machine made torchon lace crocheted together by hand and the bonnet is lined with silk fabric. There are crocheted rosettes in place which are placed to attach the ribbons. The thread used is possibly rayon which was used from 1915, but is very difficult to distinguish from silk. The Barmen machine would have been used to create the lace strips. It was developed from a braiding machine in the 1890s in Barmen which is now part of Wuppertal in Germany. This machine makes a near perfect copy of torchon lace which it creates in cylindrical form and by strategic removal of threads is flattened into the braid strip.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Strips of machine made torchon lace in a bonnet, lined with silk, and crocheted rosettes for attachments to two lengths of silk for ties.Packaged with note; "Hand crocheted silk lined baby's bonnet" crochet, churchill island, janet amess lace collection, baby, bonnet, amess, clothing -
Churchill Island Heritage Farm
Clothing - Bonnet, Baby
This beautiful little baby bonnet is made of strips of machine made lace sewn together and attached to what appears to be a muslin cap. The lace is torchon and would have been made on a Barmen machine. It was developed from a braiding machine in the 1890s in Barmen which is now part of Wuppertal in Germany. This machine makes a near perfect copy of torchon lace which it creates in cylindrical form and by strategic removal of threads is flattened into the braid strip. These machines could only make one strip at a time and were limited to 120 threads so people used creative ways to display this type of lace. There are purple and white ribbons attached and a damaged embroidery thread around the top of the lace.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Machine made lace bonnet, with lilac ribbon and a slightly frayed blue embroidered thread.lace, churchill island, janet amess lace collection, baby, bonnet, amess, clothing -
Churchill Island Heritage Farm
Clothing - Lace Neck Piece
This fine lace neck piece has been applied to the neckline of a garment meeting at the front and was designed to lay flat . 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.Neck piece with triangular scallopslace, churchill island, janet amess lace collection, neck, piece, garment, clothing, amess -
Churchill Island Heritage Farm
Clothing - Lace Collar
A five petal machine made lace collar, this item would be attached to the neckline of a garment and appears to be designed to lay flat although a little starch applied could make it stand up like petals around the neck. The Folk Art style rose between two rosebuds design is simple and outlined in fine black thread as are the scalloped edges of each collar petal The design being embroidered on to net leads one to believe that this was made on a Cornely machine. The Cornely machine had a great impact on the embroidery industry. It developed from hand tambouring and contemporary inventions in the field of sewing machines and was the first single-needle embroidery machine. It was easy to use, could be used in the home or a small workroom and as the mechanism developed it became difficult to distinguish machine from hand sewn. 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.Cream lace collar with black edging. Rosette pattern and some scalloping around selvage edge. Machine made lacelace, churchill island, janet amess lace collection, amess, collar, garment, clothing, machine -
Churchill Island Heritage Farm
Clothing - French Buttons, Crochet
These are handmade crocheted buttons on the original card which indicates that they are from France. French crochet buttons and Irish crochet motifs were learned by watching another person. Then the onlooker specialized in that button or motif repeating it many hundreds of times. These buttons could be used to fasten underwear, jackets or gloves among other things. Crochet developed as a craft from the early 1800s and this development was accelerated by the industrial revolution. Crochet hooks were made from metal, the use of cotton as a suitable and cheap crochet thread came into being after the invention of mercerization (1844); women learned to read leading to patterns being developed and the publication of women’s magazines such as Godeys Lady’s Book (1830), Harpers Bazaar (1867) and DMC Guide to Needlework (1886). 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.Hand made French crochet buttons on original card crochet, lace, churchill island, janet amess lace collection, buttons, french, handmade -
Churchill Island Heritage Farm
Clothing - Lace Trim
This is a beautiful example of Irish crochet lace edging featuring the Clones knot which gives the picot appearance on the bars. Clones knots are made by twisting the crochet hook backwards and forwards many times and working into the same stitch then pulling a loop through and fastening it at the beginning of the knot. Irish crochet comes in many forms and at first glance this lace looks like a bobbin made torchon lace. It is very fine and the thread used is most likely a No. 60 cotton or finer. Being handmade this lace would have been quite expensive and the owner would have wanted it to be seen.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.length of handmade lace, with reinforced edges and a repeating, abstract motif reminiscent of buds.churchill island, lace, janet amess lace collection, amess -
Churchill Island Heritage Farm
Clothing - Lace Piece
This length of machine made lace could only be made on either the Raschel or the Leavers machine, however the Raschel only produced an hexagonal ground, therefore we must lean towards the Leavers machine. The pattern in the piece is a copy of a bobbin lace with a plaited octagonal ground. The Leavers machine could reproduce all sorts of grounds, it was very versatile and operated from the mid 19th century until the present day. This lace is quite fine and would look lovely as a trim on a fichu or 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.length of machine lace with repeating 'spoked wheel' designs, trimmed on one side with a scalloped edgechurchill island, lace, janet amess lace collection, amess, machine -
Churchill Island Heritage Farm
Textile - Lace Trim
This is a machine made length of lace which has been executed in the Cluny style. Cluny lace is a bobbin style lace which is worked in a continuous piece and is heavily plaited in geometric designs. It is believed to have originated from copies of designs in the Musee de Cluny in Paris. There is a company in Ilkeston in the United Kingdom called The Cluny Lace Company which is still making both Cluny and Valenciennes lace using Leavers machines. The Mason family started making lace in the 1760s at the start of the Industrial Revolution. For two centuries the five generations of the family have paid close attention to detail and have brought the company to the forefront of new technology. Many of the lace patterns still used today were designed and draughted by Frank Maltby Mason and Francis Bowler Mason, the sixth and seventh generations of the family. They have developed a data bank of designs over this time and by combining the best of old traditions with new technology the firm is able to produce a wide range of exquisite designs of Leavers Cluny style lace allovers, edgings and insertions. This lovely insertion would be well suited to decorate a mob cap or on bed linen and nightwear.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Length of machine made Cluny-style lace trim with repeating diamond pattern on the border, and a central geometric/floral motifchurchill island, lace, janet amess lace collection, machine, amess, cluny -
Churchill Island Heritage Farm
Textile - Lace Trim
This piece is a filet lace with a hand darned pattern on machine net and embroidered for ribbon to be threaded through the reverse to highlight the design. It is also known as beading lace which is most commonly used in lingerie. Filet lace is a form of decorative knotted netting and as such can be presumed to have derived from fishnet and is similarly made using a shuttle-needle and a gauge stick or rod although this one has been made on a machine. In 1812, the first net-making machine was invented and was in commercial use by 1820. There are pre-made nets available on the market today but there are different types of net, some made especially for filet. The hand darning would have been made by anchoring the netting and using a long blunt needle and thread. Wider pieces of filet with hand embroidery were commonly used to trim clerical vestments.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 respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Filet hand darned pattern on machine net in repeating noughts and crosses geometric motifs.lace, churchill island, janet amess lace collection, amess -
Churchill Island Heritage Farm
Textile - Lace Trim
A hand crocheted lace, this fine example could also be called a single galloon lace due to the scalloped edge. In lace making the word ‘galloon’ refers to a braid or lace with one or two scalloped edges. These trims were sometimes made of metallic thread and used to trim military uniforms and the word comes from the French “galonner” meaning ‘to trim with braid’. Owing to the structure of the outer edge it could also be referred to as beaded lace as there is space for fine ribbon to be threaded through the stitches. This length of hand crocheted lace would have been a delicate adornment for trimming a fichu or for lingerie and children’s clothing. 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. Hand crochet ivory lace trim with a scalloped selvedge and even diagonal patternlace, churchill island, janet amess lace collection, amess, handmade, crotchet -
Churchill Island Heritage Farm
Textile - Lace Piece
This lace appears to be a beautiful product of the Leavers lace making machine. It is Valenciennes in style which is a bobbin lace characterized by the diamond shaped net. Unlike comparable Mechlin lace it does not have a gimp thread outlining the pattern. Valenciennes lace originated in France but perhaps due to religious persecution later moved to Ypres in Belgium and was very popular in the 18th century. It was simpler to produce than Mechlin lace and was never used on expensive garments but reserved for bed linen, lingerie and the fichu. By the 19th century it was made by machine which made it cheaper and even more accessible.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 made Valenciennes lace with a floral design on a fine mesh background, and one scalloped edge.lace, churchill island, janet amess lace collection, amess, machine -
Churchill Island Heritage Farm
Textile - Lace Trim
This delicate lace is hand crocheted with fine scallops each adorned with three picots. The top of the lace has been made to take a fine ribbon trim threaded through making it come under the heading of the beaded laces. This lace is so fine that it would most likely be used on table linen, kerchiefs or baby’s clothes.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. Hand crochet length of lace trim with scalloped edge and three picots.churchill island, lace, janet amess lace collection, amess, crotchet, handmade -
Churchill Island Heritage Farm
Textile - Lace Trim
This length of hand crochet lace has been made with a beaded edging which could have ribbon inserted and with treble and half treble stitches making half scallops which are reminiscent of a sea shell design. Although very fine, this could have been made by someone with very basic crochet skills and would most likely be used on table linen, underclothing and children’s clothes.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. Hand crochet length of lace trim with very delicate scalloped edge.janet amess lace collection, lace, churchill island, amess, crotchet, handmade -
Churchill Island Heritage Farm
Textile - Lace Trim
This is quite a fine and dainty trim which appears to have been made with a fine linen thread or cotton combined with another fibre, possibly silk or rayon. It has been made by machine in the Valenciennes style as one can see from the diamond shaped ground. Handmade Valenciennes bobbin lace was very costly and time consuming to produce. One pair of ruffles costing £160 would take a lace maker ten months of fifteen hour days to create. Valenciennes was a lace making town on the French- Flemish border and 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. Valenciennes lace 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 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. Due to its lightness and neatness Valenciennes was favoured although very expensive. Centres in both France and Belgium were soon producing a neat copy. This specimen is one of the wide variety of machine imitations which were made, some so exact as to be almost undetectable. The best was the Barmen form which used linen thread. Only one width could be made at a time so it was much more expensive than that made on the large Leavers machine. 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. Length of lace trim of Valenciennes lace with diamond shape ground.janet amess lace collection, lace, churchill island, trim, machine -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
This piece has been labelled by the Lacemakers Guild as ‘Imitation Valenciennes’which leads one to assume that it is machine made and created to look like a handmade Valenciennes trim Valenciennes was a lace making town on the French- Flemish border and 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. Valenciennes lace 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). It 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 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. Due to its lightness and neatness Valenciennes was favoured although very expensive. Centres in both France and Belgium were soon producing a neat copy and this section is one of the wide variety of machine imitations which were made, some so exact as to be almost undetectable. The best was the Barmen form which used linen thread. Only one width could be made at a time so it was much more expensive than that made on the large Leavers machineChurchill 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. Imitation Valenciennes length of white lace trim.janet amess lace collection, lace, churchill island, amess, machine -
Churchill Island Heritage Farm
Textile - Lace Piece
This piece is a beautifully preserved machine made copy of Valenciennes style lace as can be seen from the diamond shaped ground. This would have been made on the Barmen machine which was developed in the 1890s in Germany from a braiding machine. Its bobbins imitate the movements of the bobbins of the hand-made lace maker and it makes perfect copies of the simpler hand-made laces. It can only make one width at a time and does not have the pattern potential of the Leavers machine. 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.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 made Valenciennes lace with diamond groundjanet amess lace collection, lace, churchill island, machine