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Bendigo Military Museum
Equipment - SADDLE, c. 1915 to 1930
Standard issue saddle used by the Australian Light Horse, artillery and transport units during WW1 and after (between the wars). The Universal Pattern saddles were designed to have interchangeable parts, making them easy to repair.1912 Universal Pattern steel arch brown leather saddle. Tree is made of wood with shredded cotton waste padding attached. Various brass rings are located on the saddle for attaching sundry equipment. No stirrups, stirrup leathers or girth. The leather seat covers the frame between the front and rear metal arches and is attached to them using linen webbing slings. Leather sweat flaps on each side.Stamped on the rear of the seat: 'S (broad up arrow)'australian light horse, military equipment, saddle, transport -
Churchill Island Heritage Farm
Photograph - Photograph of group making tree guards, <1975
Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade. This series of photographs show events and people from the Churchill Island precinct and the enormous amount of collaboration and work that went into the development of the heritage area and making it accessible and interactive for visitors of all ages. Black and white photograph of group of people at Churchill Island making tree guards. White border.Catalogue number in pencil on reversechurchill island, photograph -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century.Pattern; thick square mostly unopainted wooden block with a solid half-cylinder added to the top, which has rounded shoulders. A disc is added to the front, aligned with the curve at the top. The top curve has orange paint and the dial is pink. Three holes are drilled in the back, in a triangular configuration. It is similar in shape to a mantle clock or an early-style radio. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Dutch Australian Heritage Centre Victoria
Boch Delfts Wall Plate, Boch
A fully decorated Boch Delfts wall plate depicting a scene with water, sailing boats, a small dinghy, distant land with village and a glimpse of shore in the foreground. The whole is encircled by a ribbon of blue. The broad outer edge is decorated with leaf and flower patterns.The marks "Boch" and "Delfts" encircled by flower patterns cover a small central area on the back. -
Federation University Art Collection
Painting - Artwork, 'Ring of the Nibellings' by David Noonan, 1989
David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni -
Kiewa Valley Historical Society
VHS Video - Kiewa, Kiewa Compile, Date compiled 25th Nov. 1998
The construction and development of the Kiewa Hydro scheme showing its construction and the people in work and play during its duration. It also shows the development of Mt Beauty and Bogong townships. The films were used as News Reels, Tourist Information and Entertainment.This item provids a snap shot in time (1990) when the Kiewa Valley was still relatively under populated and holiday houses owned by city bound workers was still relatively insignificant. As more and more holiday makers retire to a small but friendly region(Kiewa Valley and Mount Beauty) the increase in visitor numbers will affect the local rural bush scene more and more. The changes that will occur (in time) can be measured against the scenes presented in this video. The additional resources provided by the State Electricity Commission of Victoria of "alpine bush" fire control and management, together with an ongoing educational scheme for school children in learning about what constitutes the Alpine country's unique environment, are a very important offshoot, benefitting to both the communities within the Kiewa Valley and regional Victoria.This VHS tape is stored within its own plastic cover which has a front side Titled "KIEWA in the MAKING". The VHS tape is nestled within a formed inner structure which not only prevents the tape from moving to and fro but also unnecessary intrusion of foreign particles. Titled "Kiewa Compile" with 4 short films titled 1. Kiewa in the Making 2. Kiewa Capers 3. It only seems like yesterday 4. Kiewa.kiewa, hydro electricity, state electricity commission of victoria, construction towns, 1940s 1960s, mt beauty, bogong, falls creek, clover power station, mckay power station, bill sutton, news film, construction workers, early machinery -
National Wool Museum
Sketch
Artist's watercolour sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4102.Artist's watercolour sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4102. Artist's watercolour sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4102.4/4102 Roll 4 M6weaving, carpet -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; an unpainted, rectangular wooden frame with a top and sides, similar to a small rectangular stool. A solid half-cylinder shape was added under the horizontal 'seat' with another smaller half-cylinder attached to it, end-to-end. A string is tied between two metal loops attached to the back. There are two X marks stamped into the back. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.Stamped: "X" "X"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
Tatura Irrigation & Wartime Camps Museum
Template - shoe sole, 1940's
Made by internee at Camp 3, Tatura|Part of set of tools and templates usedd in the making of leather bags, handbags and shoes.Hard card template/pattern for a wooden shoe sole.template, bissinger g, wied g, camp 3, tatura, ww2, trades, shoemaking -
Flagstaff Hill Maritime Museum and Village
Equipment - Pattern, Briggs Brass Foundry, Early 20th century
The wooden patterns are part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; a pair of blocks that form a rectangle with a carved centre hole and disc shape inside. The block is made from laminated pieces of wood with cut corners. Both sides have four drilled holes in a square configuration but in different positions. The cut faces and the space carved into them are painted red; one piece has two dowel pins that fit into two drilled holes on the other. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912 -
National Wool Museum
Book, Knitting, Lincoln Trio Knits Leaflet no. 414
One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This leaflet was produced by Lincoln Mills and contains a pattern for a womans knitted cardigan.Lincoln Trio Knits / 1'6 / LEAFLET No. 414 / THIS PATTERN KNITS 5, 8 & 12 PLY / IN 4 SIZES / LINCOLN KNITTING WOOLS - THE BEST BUY IN ANY PLYhandicrafts - history knitting, lincoln mills (australia) limited, handicrafts - history, knitting -
Trafalgar Holden Museum
Tool - Dress makers scissors, Circa 1900
scissors used in equine accessory manufacture during the Circa 1900 periodtextile tool acquired by Holden and Frost Circa 1910Metal dress making scissors used in equine accessory makingSheffieldscissors, steel -
National Wool Museum
Sketch
Sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4180. Artist's paint sketch.Sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4180. Artist's paint sketch. Sketch from which carpet manufacturing pattern is graphed out. Genoese (Axminster) 4/4180. Artist's paint sketch.4/4180 Genoese MS recolored lighter ground burgundy goldweaving, carpet -
Vision Australia
Photograph - Image, Cane workshop pictures from RVIB Annual Reports, circa 1900
Basket weaving and brush making was a source of income for those who worked in the workshops at RVIB and other institutions in New South Wales and Queensland. A diverse range products could be produced with cane, such as cane chairs, cots, washing baskets and trolleys, and the Institution sought to highlight these in the annual report. Over time the demand for, and supply of, cane changed - particularly during World War 2 when Asian sources were under attack or destroyed. At home, other materials such as plastics as well as the ability to import cheaper pre-produced products further reduced the demand for workshop pieces. RVIB eventually closed down it's workshop production of materials in 2009 with the sale of the warehouse in High Street, Prahran and the movement of staff to Macaulay Road, Kensington.6 scanned images of basket making from RVIB annual reportsroyal victorian institute for the blind, employment -
Bendigo Historical Society Inc.
Document - Knitting Patterns
Women at home were encouraged to knit "comforts" for servicemen. In WW2 this was not as successful as during WW1 because a) women had a wider range of wartime jobs that limited their time for knitting and b.) Knitting wool was rationed. The Comforts Fund produced its own pattern book that included patters for various socks, stockings, pullovers, scarves, balaclavas suitable for all branches of the armed services.Knitting for Soldiers Knitting Patterns. Fifteen page booklet, supplement to the Australian Home Journal; contains knitting patterns for soldiers WW2. Black and white illustrations. Incudes patterns for socks, gloves, mittens, pullover and head wear.lydia chancellor collection, history, knitting, ww2, australian home journal -
Whitehorse Historical Society Inc.
Document - Dress Patterns, 1970s
Style Patterns used by Donor, made up and worn. McCall's - made slacks only and worn by donor.Four Dress Patterns from the 1970s. McCall's Dress Patterns Number one is STYLE 2553 from 1970. Number two is STYLE 1957 from C1970. Number three STYLE 1945 is from C1975 and Number four Style is McCall's 7887 from C1978.STYLE 2553.1957.1945.McCall's 7887handcrafts, dressmaking, domestic items, sewing -
National Wool Museum
Book, Knitting, Patons and Baldwins' Specialty Knitting Book no. 61
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for childrens clothes.Knitting pattern book, 24pp. Cover printed in brown tones with colour highlights and includes a photo of a young girl wearing a knitted red beret and knitted red coat. Contains photos and patterns for knitted childrens clothes.No. 61 / 6D. / "P&B" / BRAND / PATONS & BALDWINS' / SPECIALTY / Knitting / Book / "P&B" / BRANDknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history -
National Wool Museum
Book, Knitting, The Wool Collection - K-Mart
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. This free pattern was given away by K-Mart, the department store, in 1984 when large knitted jumpers were particularly fashionable.The / Wool Collection / FREE / PATTERN / FROM K-MART / Quality always makes its mark. / PURE NEW WOOLknitting handicrafts - history, k-mart, knitting, handicrafts - history -
National Wool Museum
Book - Speciality Knitting Book no. 49, Patons and Baldwins, 1930s
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for womens garments.Knitting pattern book, 24pp. Cover printed in colour with a photo of a woman wearing a light yellow cardigan heavily embroidered with colour flowers. She is standing in front of a rose bush. Contains knitting patterns and photos of womens garments.PATONS / AND / BALDWINS' / No. 49 / "P&B" / BRAND / SPECIALTY / Knitting Book / "P&B" / BRAND / TEN ULTRA - SMART MODELS . . . SIXPENCEknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history, fashion, clothing -
Mont De Lancey
Glass cup
From the home of Mr. & Mrs. Francis HendersonSmall etched glass cup with handle.Floral pattern.cups -
Kiewa Valley Historical Society
Shoes - Slippers
sourced from local resident of Kiewa Valley Mr David Barton. As theses shoes are from Turkey and from the period of the early 1900s they may have been bought back from that country as a souvenir after WWI. Members of the Barton family went to WWI . Manufacture of slippers circa 1920s and represents early Turkish style .These slippers are considered rare due to the intricate workmanship in leather. They have historical and good Provence significance due to being donated by a local man who possibly bought them back from WWI . Two brown slippers, left and right foot. Leather soles and gold patterned (circle and fish like) embroidered uppers. A long, 13cm leather strip upward curled, extension fastened at tip of sole. Back of heel extended to a pointPatterned front toe,side arch and heel. Markings may represent water ,four fish and fish traps -
Mont De Lancey
Clothing - Leather Boots, Wandin Thomas Sebire JP
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 -
Whitehorse Historical Society Inc.
Container - Bottle
Number D301 does not correspond with book. Nos. 895.1&2, 896.1&2 and 897 have the same pattern etched in glass and could be a set.Two glass bottles with glass stoppers. Leaf pattern etched in glass. Used for vinegar and oil at the tabledomestic items, containers -
8th/13th Victorian Mounted Rifles Regimental Collection
Weapon - Lee Metford bayonet
This style bayonet was used by British and Imperial troops in the Boer War and concurrently with the 1907 pattern during World War 1 (1914-1918). Used by Victorian colonial troops.Rare example of nineteenth century British bayonet.British 1888 pattern bayonet for magazine Lee Metford and Magazine Lee Enfield rifles with scabbard" EFD " and " 88E " under crownbayonet, boer war, metford, vmr -
Tatura Irrigation & Wartime Camps Museum
Book - patterns, 1940's
Compiled by interneews in Camp 1, Tatura and used there in the making of hand woven garmentsExercise graph book of weaving patterns executed in pencil. Words written in German. In plastic coverDie Weberebooks, technical -
Bendigo Historical Society Inc.
Craft - Box of craft material
Enid Beatrice Gilchrist (1917-2007) was a fashion designer best know for her development of self-drafting dressmaking patterns. Her patterns were first printed in "The Argus" in Melbourne in 1946 and were soon collected into books for the home sewer.A small cardboard box containing various two books and various baby wear transfers. The books are: "Clothes for your baby, designing, cutting and making" by Enid Gilchrist and "Baby book for mother, baby and child" Also in the box ten transfers, some in folders, some loose. Aileen and john Ellison Collection."Transfers" on lid of the boxbaby clothes, dressmaking, transfers -
National Wool Museum
Socks
Pair of grey woollen socks, green and white diamond pattern, c1930's and 1940's, possibly manufactured by Scallywags.Pair of grey woollen socks, green and white diamond pattern, c1930's and 1940's, possibly manufactured by Scallywags.textile industry knitting, scallywags industries, textile industry, knitting -
National Wool Museum
Book, Pattern, Fashion and Knitting Patterns no. 7
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It is an English periodical from Nov. 1965 containing knitting and sewing patterns for womens garments.FASHION and KNITTING / Patterns / NUMBER 7 / 2'6 / Wonderful / cut-out offers / A fur hat / for 26s. / Presents / to make / Sewing / and / knitting / fashionsknitting handicrafts - history sewing fashion, knitting, handicrafts - history, sewing, fashion -
8th/13th Victorian Mounted Rifles Regimental Collection
Weapon - Bayonet
British 1907 pattern bayonet and .303 Lee Enfield rifle was standard issue to the armies of many Commonwealth countries including Australia, in World War One (1914-1918), World War Two (1939-1945), and Korean War (1950-1953). In Australia it was replaced by the 7.62mm Self-loading rifle (SLR) in 1960.British 1907 pattern bayonet with leather scabbard with metal fittings. XOA and L 43 under 1907 with Slazenger on handleworld war one, weapon, bayonet, british, lee enfield -
Mont De Lancey
Functional object - Child's Silver Mug, Derby Silver Company, Unknown
In 1872 the Derby Silver Company began production in Derby, Connecticut U.S.A. The company made bathroom-related items, clocks, tableware, flatware, candlesticks and more objects made of silver, silver plate and more. In 1898 the company became a division of the International Silver Company with headquarters in Meriden.CT. It closed down in 1933.A small child's silver plated antique Derby Silver Company cup with a large embossed floral pattern on one side. At the top of the rim is a fine dotted pattern all around it. It has an ornate decorative handle. Underneath is the Makers Mark in a circle with an anchor and crown. Above this circle is stamped: Made in U.S. America.A floral pattern is embossed on one side. On the bootom us stamped : ' Made in U.S America' above a circle Makers Mark 'Derby Silver Company with an anchor and a crown. 1 1/2'silverware, silver plate, mugs, christening mugs