Showing 679 items
matching cotton lace
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Warrnambool and District Historical Society Inc.
Clothing - cream silk blouse, 1939
This blouse was made by Annie Beryl Mathieson from silk material which came originally from China via family relatives. Annie Beryl Mathieson, born in Western Australia in 1910, married John Harman in Nullawarre in 1939 and made the blouse which she wore under a navy costume for her 'going-away' outfit. They lived at Macarthur and Annie Beryl died in 1983. This blouse is of interest as an example of women's fashions in in the late 1930s and of handmade clothing in the same era.This is a cream silk blouse. It is gathered from the bust line with navy cotton embroidery on the upper section and it has a pointed collar with cream lace edging, small puffed sleeves with navy embroidery and an open neckline laced up with a navy cord. annie beryl harman, warrnambool history -
Warrnambool and District Historical Society Inc.
clothing - Apron in Frame, Irene Broughton, 1915
This apron was made in 1915 by Irene Broughton, nee Long. She was born in Warrnambool in 1894 and married Arthur Broughton in 1913. She re married in 1924 Reuben Donnithorne and he died in 1931. Irene died in 1982 and is buried in the Warrnambool cemetery. The apron was left to Irene's niece, Helen Thomson who had the apron framed to preserve it. The apron would not have been in everyday use but a special garment worn when entertaining visitors for afternoon tea.This apron is a fine example of a home made house hold article from the early 20th century. The maker was born in Warrnambool.The apron is made of fine black cotton and edged with a broad lace flounce featuring a flower pattern. It is decorated with two sprays of delicately hand-painted motifs featuring Australian native flowers. The apron is in a wooden frame with a silver metal edging with scrolls on the front edge. The glass is clear and the mount is buff coloured card.vintage accessory, irene broughton warrnambool -
Warrnambool and District Historical Society Inc.
Clothing - Baby's Christening Gown, 1890
This Christening gown belonged to William Edward Housden who was born in Castlemaine in 1890 and died in Warrnambool in 1972. He served in World War One and married Lucy Knowles in 1921. It was on occasions, and still is, a common practice to make a special dress for a baby's Christening or to use a gown that has been handed down over the generations. This is a fine example of a Christening gown made for a baby 130 years ago.This is a Christening gown made of cream cotton. It is high waisted with a gathered skirt and a pintucked bodice with hand embroidered leaves and fine drawn thread work. The draw string waist opens at the back. It has long sleeves with lace and embroidered cuffs. There is lace and draw string tape around the neck. The seams have been machined.william edward housden, christening gowns -
Tennis Australia
Tennis boots, Circa 1895
A pair of cream canvas women's mid-calf boots with a rubber sole and lace-up front. Materials: Rubber, Cotton, Metal, Woodtennis -
Kew Historical Society Inc
Clothing, Lotus, Cotton Slip
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Vintage short cotton slip featuring embroidery and lace. Manufacturer: Lotus. Size 18.women's clothing, underwear, slips -
Kew Historical Society Inc
Clothing, Lotus, Underwear: Cotton Slip
Vintage short cotton slip featuring embroidery and lace. Manufacturer: Lotus. Size 18.women's clothing, underwear, slips -
Kew Historical Society Inc
Clothing - Cream Cotton Nightdress
Long cream coloured cotton nightdress with ‘v’ neckline with the use of commercially produced lace. While the nightdress is of very fine quality it includes small tears to the fabric on the bodice and some old repairs. women's clothing, nightwear, nightdress -
Yarrawonga and Mulwala Pioneer Museum
Folding pusher pram
The pram is light in weight. Made of black vinyl with a metal frame. A handle with wooden grips is used to push the pram from behind. It has four spoked wheels with rubber tyres. The hood can be unlocked and folded down as can the handle which folds over the top of the pram body for ease of transport. The pram contains a soft kapok fitted mattress with white heirloom lace frilled cover and a soft pillow covered with a white cotton pillowcase with a chicken and flowers embroidered on it.None -
Yarrawonga and Mulwala Pioneer Museum
Baby basket with folding frame, H & C, Nursery
Steel framed folding babies basket. The frame painted cream has four swivelled small roller wheels attached. The basket frame can be removed by unscrewing four round knobs and the frame can be folded flat. The basket has a canvas base and sides woven with cotton cord. The basket is fitted with a pink liner with broad lace edges. Ther are two pockets sown onto the inside of the liner. The liner is in poor condition.The Universal Folding Basket. H & C printed on canvas base. -
Friends of Westgarthtown
Corset
Grey corset with boning inside. White lacing and eyelets on back and attachments for suspenders."Sibyl", Cotton Corset, Made in England. Rust-proof throughout.costume, female, clothing, women's, corset, undergarment, underwear, sibyl. -
Friends of Westgarthtown
Dress
Cream coloured long dress with long sleeves and high neck line. Decorated on front and sleeves with lacework. Dress is made of silk and has a belt also made of silk. Petticoat made of cotton underneath.No visible markings.costume, female ceremonial, silk, lace, lacework, wedding, bridesmaid, dress, cream, connie ziebell, janet hubbard, ceremony, marriage. -
Kew Historical Society Inc
Household Textile, Tray Cloth
Embroidered white cotton tray cloth. Rectangular floral design reminiscent of black work filled in with red, blue and yellow flowers and green leaves. Crotched lace through punctured holes. tray cloths, household textiles -
Kew Historical Society Inc
Textile - Household Textile, Tray Cloth, 1930-1950
In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseauWhite cotton rectangular tray cloth embroidered with boronia, wattle, blue flower and two birds.tray cloths, household textiles -
Kew Historical Society Inc
Decorative object - White cotton tray cloth
In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseauWhite cotton tray cloth, embroidered with a spray of flowers. Montmellick work? Commercial Broderie Anglais lace applied.tray cloths, household textiles -
Kew Historical Society Inc
Textile - Household Textile, Doily, Mid 20th century
It was common for ladies to embroider household textiles in the early 20th century. These could be made from purchased kits or pattern books. They may form part of a trousseau Circular, white cotton doily with applied netted lace and embroidered border. doilys, household textiles -
Kew Historical Society Inc
Decorative object - White cotton tray cloth
In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseauRectangular white cotton tray cloth with worked lace border and cut lace inset tray cloths, household textiles -
Kew Historical Society Inc
Household Textile, Tray Cloth
White embroidered cotton rectangular tray cloth with applied lace edge.tray cloths, household linens, household textiles -
Kew Historical Society Inc
Textile - Household Textile, Pillow Cover, Early 19th Century
Rectangular white cotton cut work pillow cover with applied lacepillow cases, bed linen, household linens, household textiles -
Tatura Irrigation & Wartime Camps Museum
Functional object - Baby carrier, Helene Hoefer, 1940's
Made by Helene Hoefer, nee Sawatzky, for her daughter Trude (now Glenk) and her son Ulrich. Used whilst interned in Camp 3.White cotton, self embossed patterned baby carrier. Wide lace frill around the top and narrow lace on waist coat like front which has 3 button holes and two buttons. 3 button holes and no buttons at the bottom.helene hoefer nee sawatzky, trude glenk nee hoefer, ulrich glenk, baby carrier -
Tatura Irrigation & Wartime Camps Museum
Costume - Puppets Dress, 1940's
Part of a collections of dresses from puppets from the Beinssen familyPink cotton dress overlaid with 3 tiered layers of lace from the bodice. Lace also on edges of neck and sleeves and large diamante on the front. Cardboard hands at ends of sleeves. Gathered at neck.camp 3, tatura, puppetry, dr silke hesse, beinssen family, ww2 camp theatre, ekke beinssen -
Tatura Irrigation & Wartime Camps Museum
Costume - Traditional Dress, 1940's
Used by Templer girls at Camp 3. Usually worn for folk dancing.Made from cheesecloth, this short sleeved dress has an orange cotton bodice, red, blue, yellow and green Alpine flowers embroidered on the bodice. Short puffed sleeves, slightly gathered long cream cotton skirt attached. Dark brown lacing down centre front of bodice. Traditional dress worn for folk dancing.eva kortschak, eva ruff, traditional folk dress, ww2 camp clothing, templers -
Tatura Irrigation & Wartime Camps Museum
Handbag
Made by Johannes Weiss for Frida Sawatsky. Used in Camp 3Brown leather handbag with flap front held down with leather lace looped around leather button. The handle is a leather rope which goes through and over the bottom of the hand bag. Fully lined with green cotton|initials FS on middle of flap in metalFS in brass on front of bag.handbag, camp 3, leather, tatura, sawatsky, frida, weiss, johannes, bulach, gisela, costume, accessory, female, handcrafts, leatherworking -
Australian Racing Museum
Dress
Roselia Isabell Welch was an actress born 16 November 1838, probably in England. Father John Murrell Welch, mother Angela Towsey. Dress has been worn by her descendants.|This decorative day dress was worn by Roselia Welch to the 1872 Melbourne Cup. Roselia made her Cup Day dress by hand - she may have used a published dress pattern but her skill as a needlewoman is evident as the entire surface is decorated with narrow hand beaded black braid applied in a fern-like motif over the blue cotton fabric of the dress creating a lace-like effect.Dress worn by Roselia Isabel Welch to the 1872 Melbourne Cup. White lining inside dress, blue lining inside train. V neck, front hook and eye opening. Handmade hook holes down centre front. Set in sleeves with black piped armhole seams. Fitted bodice with black piped seams Flat front skirt, full bustle area at back with centre back opening. Floor length train. Blue printed label on lining of centre back panel, right side. Upper case letters 'SUP' visible. Brown tape at waist with hook. Two pairs of tapes either side of back opening for bustle. Black lace around neck, sleeve, train and back opening edges. Black cotton loop in centre of train. Inset pockets right side at hip level and very small one left side at waist level. Entire surface of dress decorated with black braid hand stitched in a fern-like pattern. -
National Wool Museum
Uniform - 1992 Barcelona Olympics Men's Tan Shoes, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's tan coloured shoes with appliqued leather design attached to the laces creating a wave-like point on the sides of the shoes.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympics Men's Black Shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's black leather brogue shoe. Leather detail stretches around the bottom of the shoe and the toe as well as around the opening of the shoe and the laces.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Men's shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's brown leather shoe with a different coloured leather around the upper part of the shoe and laces. Only the right shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
Tatura Irrigation & Wartime Camps Museum
Textile - Lace Collar
Hand Tatted Lace Collar, Circa 1870. Design is mainly tiny flowers. Fine Cotton in a very dark cream colour. Although collar is round, it seperates in one place to allow it to be attached to the neckline with ease -
Port Fairy Historical Society Museum and Archives
Clothing - Night dress, c. 1900
not recordedA lovely example of a fine cotton nightdressFull length Scooped neckline short sleeves front bodice made in fine lace nightdresscostume, female, nightdress -
Brighton Historical Society
Clothing - Dress, Evening dress, circa 1860s
A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole -
Brighton Historical Society
Headwear - Bonnet, Late 19th Century
A cotton bonnet belonging to the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. The bonnet edge is finished with a double-layered delicate gathered lace ruffle around all the edges. The bonnet secures under the chin with a delicate tie made of a similar but plain fabric.george ward cole, st ninians, late 1800s, bonnet, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole, brighton