These hand shears were used for sheep shearing. They appear to be dual purpose sheep or topiary shears. They would have been used on a rural property in early Orbost. This item is an example of a hand tool used commonly before the widespread use of power tools.A pair of metal hand shears with a circular loop handle. On blade - Red Reaper Hand Shears 219 Ward & Payne 303 SHEFFIELD ENGLANDtool hand-shears

Wooden Grave Marker with detail of the carved hand with a heart in the middle.A Black and White close up photograph of the wooden grave marker of William Jago August 1860's. Heart carved in hand Ritual belonging to the Lodge 1.O.O.F..Wooden Grave Marker with a Heart carved into a hand.stawell cemetery

On display label: “Hand Painted Shell. Made in the islands WW2. Donated by N Hubble.Hand painted shell souvenir with palm trees, mountain. Shell mounted on timber stand, diamond shape.On timber base - hand inscribed - “N/Horvic Hubble/1947/WW2”military history, souvenirs, islands

This banner belonged to Wilhelm Eckels, a wool buyer in Sydney , NSW, when war broke out. He was interned in Camp 1, aged 22 years. Red cloth banner with hand stitched green tassels on one end. Hand painted Comedy and Tragedy symbol and writingas abovewilhelm eckels, wool buyer, rod eckels

Donor believes items were completed by her great aunts Lydia, Rosa, Olivia and Isabelle Pollard when the sisters were young girls. They were completed in Country Durham, England. The items have been passed down through the family by the girls mother or aunt.Two handmade embroidered laundry bags. 6575.1 Red flowers with green leaves and white foliage embroidered on a cream cotton front, back of bag is undecorated. Hand and machine stitching evident. 6575.2 Gold flowers, green leaves and some white foliage. Four rings attached with gold and cream stitching on top of bag for hanging.A L 4 embroidered in top left hand corner of 6575.1 in yellow thread. A L embroidered at top L H corner of 6575.2 in red thread.late victorian needlework, handmade embroidery, lingerie bag, garment bags, cleary

Pair of women's beige coloured 'Sueded Calfskin' gloves size 6 1/2. Decoratively pierced and stitched with cross stitch along back of wrist, labels in both gloves inside cuff.Left hand label '6 1/2' / 'Made in Western Germany'costume accessories, female

Watermelon pink hat made from faux fur fabric. The band is a wide lighter pink ribbon tied at the back and hand stitched to the crown. Synthetic fabric lining inside. Hand stitching presents as the hat being hand made from a purchased hat base.hat, millinery

This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, and nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together and neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.A pair of handmade, adult brown leather work boots, with brown leather laces, decorative stitching, metal eyelets and are stitched with waxed thread. The soles are covered with hob nails in a decorative pattern. They have metal caps on the heels. bootlaces, boots, footwear, clothing

This quilt was purchased from an op shop in Clifton Hill, Vic. by Lois Densham, a quilter and former member of the Running Stitch group who has an interest in historic Australian quilts. The quilt has been displayed in NSW, where it was part of an exhibition of Historic Australian Quilts curated by Annette Gero and held at Old Government House, Paramatta between 5 June and 22 August 2000. Initially purchased in Clifton Hill, it originally came from a source in Highton, Geelong. It is a double bed sized quilt in the classic 'crazy' style with extensive use of herringbone and feather stitching.The pieced style of the quilt, made from squares of patchwork is similar to the style of quilts made by members of the Country Women's Association (CWA). The women sometimes made a quilt as a group activity and Lois suggested that the quilt may have been made by this group.Quilt, rectangular. Made with crazy patchwork in twelve large blocks. The blocks at each corner are fairly regular, whereas the others are full of random pieces. The patches are oversewn with hand embroidered feather stitch in different colours. In the centre there is a block with a maroon cross. Many of the pieces have central 'sprigs' of green embroidery in bullion stitch. The quilt is backed with a blue and green striped fabric.quilting patchwork, running stitch group national trust of australia (nsw), running stitch collection, densham, ms lois, geelong, quilting, patchwork, cwa

Hand knitted by Frances WarrenFancy stitch (chain) Pink wool cardigan. Adult sizehandcrafts, knitting

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills needed by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream flannel sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), darned patches, inserted patches, pleats, buttonholes, buttons, a gusset, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L.L. / ?? Yr 1897flagstaff hill maritime museum and village, great ocean road, warrnambool, sewing, plain sewing, sewing sampler, plain sewing sampler, darning sampler, hand sewing, textiles, susan henry oam, vedmore foundation, sewing techniques

Clothing. Wrist length, dark cream, machine stitched leather gloves. Machine stitching-two rows, gives the effect of pin-tucks, are sewn in a diagonal direction from the outer wrist, across the back of the hand. The shorter outer stitching, 4 cm long has two 6mm long leather stitches, at right angle to the machine stitching. The second diagonal stitching runs around the top of the glove, and 9.5 cms across the back of the hand. It is offset with three 6 mm stitches at right angles. There is a 3 cm long, bound slit at the outer side top of the gloves.costume accessories, female, dark cream wrist length leather gloves

According to an accompanying from donor, these school papers were used bt H.Tuck at Vermont State School -1918.This 'book' appears to be a series of journals or magazines bound together with a home made twisted cloth spine and hand stitched. Photo of peach blossom on front cover of issue for October, no. 141. Gothic Script Title. (see also History and Other Information)Several red ink scribbles similar to map markings on top left hand corner.books, school/educational

The scarf became a real fashion accessory by the early 19th century for both men and women. By the middle of the 20th century, scarves became one of the most versatile clothing accessories for both men and women. Men often wore them as an evening accessory.This item reflects the type of clothing worn by men as evening accessories in the late 19th to early 20th century. It also has aesthetic appeal as a handcrafted item.A hand knitted man's silk scarf. It is knitted in moss stitch and is fringed at both ends.silk handcraft men's-accessory scarf

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.2 pairs of handmade, adult brown leather boots, with decorative stitching, eyelets and stitched with waxed thread. Soles covered with hob nails in a decorative pattern. 1 handmade child's brown leather boot, with decorative stitching, metal eyelets, heel has patterned nails.bootlaces, boots

The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin container painted yellow with printed crosses and circles,. The lid is labelled "Robur Cross Stitch Company" and "R" imprinted in the centre although the lid is badly corroded. ‘Cross – Stitch’ (printed green in small crosses and circles) followed by ‘Nett Weight ¾ lb. (printed beige in crosses and circles). Pure Blended Tea. Robur Tea Co Ltd’ flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, robur tea co ltd, tea, tea caddy, tin, tin plating, food containers

Pair of suede mid-length beige or fawn women's size 6 3/4 gloves with 3 stitched darts along back of hands. Gloves are joined near openings with length of white cotton. Labels and printed markings inside both gloves.Inside right hand glove : 'Made in France / 6 3/4 / (in cursive) Suedelav' Inside left hand glove : 'Leather / Made in France' '207' on paper label : 'V4/86L/ipx/39/6'costume accessories, female

White naval cap with blue tally-band around it and bow on side. Stitching at the front of blue band - words ‘HMAS Australia’. Two holes on either sides of cap for string to go through. Blue ribbon attached to inside. Also piece of string attached to inner cap. HMAS Australia in yellow stitching on blue tally-band at front of cap. 8 GD Inscribed in pen on inside material.

Part of Ansett Airways hostess/stewardess uniform of 1940's era. Complements the collection of air flight crew attire.Navy hostess side cap with a cloth embroidered badge stitched on the left hand side. Badge 'AA' with map of Australia below and surrounded feathers. Lined. Double stitch Gusset on the crown. Stitching on brim which is folded onto crown.ansett airways, hostess, flight attendants, stewardess, uniform, navy, side cap

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug

White cotton cutwork child's dress, hand stitched. Back opening with drawstring neck and waist.children's clothing, embroidery, cutwork, 19th century, lace

The leather bag is a Pay Cash Bag. It was used to transfer cash between the the railway stations of Grassdale and Merino.This Pay Cash Bag is an example of the connection between people in the remote areas of Victoria. The railway system was used to transfer people, goods and cash between districts in western Victoria. Pay Cash Bag; a rectangular leather bag with rounded bottom corners, stitched, with brass peg for securing opening. Has stitched leather rectangle nameplate with hand written inscription.Handwritten; “GRASSDALE PAY CASH BAG” “To be returned to MERINO when empty”flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cash bag, merino railway station, rural banking, finances, grassdale railway station

A school sampler from the 1930's, demonstrating a mastery of numerable sewing skills: Buttonholes- both bound;6 bound buttonholes. Button loop fastening 17 rouleau loops. Seams: Plain flat seam, machine stitched-part neatened by hand, and part neatened by machine. An overlapped flat seam-machine stitched. Fasteners: Press-studs (3) Buttons (4) shanked and f;flat. Metal hook-and-eyes (3), one eye hand stitched, all attached in buttonhole stitch. Pockets: (2) Machine stitched. Collar: (1) Rounded ''Peter Pan"" collar, with bound placket opening, one pearl button, and hand stitched loop. Facings (3). One square, one round, one Vshaped. Pintucks: 4 machine stitched pintucks.textiles, domestic, school needlework sampler 1930's

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Handmade Waxed Thread attached to pig bristles, for boot stitching .bootmaking tools, thread waxers, threads