This nightgown 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. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.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 practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing

This chemise 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. This chemise is machine sewn by Eliza Towns and she has added pintucks and broderie anglaise lace as a decorative element. A chemise was usually a sleeveless garment made of linen or cotton (so they could be easily washed) and its shape was much like a modern day nightgown. The name comes from the French word for "shirt" or "shift". Women wore chemises next to the skin (under the corset) to keep stains and odors away from the less washable corset and gown.This item is an example of the needlework skills of women in the mid to late 19th century - combining machine stitching with hand embroidery to personlise and embellish an item of clothing. It is also significant as an example of a practical solution to the difficulties of needing to regularly hand wash a bulky outer garment or gown in the Victorian era.A white cotton, short sleeved, knee length chemise. The fabric at the front is gathered on a yoke which is decorated with bands of five pintucks alternating with broderie anglaise lace and embroidered strips lined with pink ribbon. A different broderie anglaise design decorates the sleeve edges, neckline and center broderie anglaise strip. The back of the chemise is gathered on to the neckline. There are two bands of pintucks on each sleeve. The fabric around each armhole has been strengthened with another layer of cotton and a length of cotton has been added (from the left shoulder to the hem) to increase the width of chemise.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, south west victoria, victorian era, victorian era undergarments, chemise, victorian era chemise, undergarments, pintucks, victorian chemise, eliza towns, nhill, wimmera, home sewing, machine sewn, hand made

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Handmade apron created out of a blue and white dress fabric that has a pattern of leaves. The apron is highlighted with red braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pink and white cotton apron highted with blue braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Olive green and white pinafore decorated on the bodice with yellow braid. protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Simple blue and white apron embroidered with a border in cross stitch, the same stitch used to create a repeated pattern of dogs and balls in profile.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pleated pink and white striped cotton apron interspersed with bands of a separate blue and white fabric.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.One of three single piece commercialy produced pinafores, each in a different size.protective clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Navy blue and white pinafore picked out with sections of plain blue fabric on the pocket, waist and bodice.Label: "Taniwha / Quality Will Tell"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pinafore using a fabric coverd with an abstract design in bue, pink and yellow. A plain pink cotton fabric is used to decorate the pocket and the shoulders.Label: "Admiration / All Cotton"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Two typed letters held together with a staple. The first letter has a grey printed letter head which includes a logo of a person with wings holding a heart.[printed] PATCHWORK QUILT TSUSHINquilt, wagga, home, house, housing affordability, design

ES 56 Nymph Following the successful introduction of the ES 52 Kookaburra two-seater in mid-1954, Edmund Schneider Ltd designed a higher performance single seat sailplane of similar construction and with similar handling qualities. It was designated the ES 56 and became known as the ES56 “Nymph”. The ES56 Nymph was a success in that it delivered the anticipated performance and was found to have satisfactory flying characteristics. However, only the prototype (“Nymph -I”) and three production examples (“Nymph-II”) were built. Schneiders made some changes to the design before building the production version. The wing chord at the tip on the prototype measured 650 mm. This was reduced to 500 mm for subsequent builds. The explanation is that provision was made in the original design for the possible lengthening of the tapered wing to 13 metres. However, apparently it was decided to retain the 11.900 metre span which allowed the tip chord to be reduced slightly. Other changes included the installation of scissor type air brakes in the wing instead of simple hinged flap spoilers and the addition of a landing wheel behind the skid on the fuselage. On one of the Nymph-II a dorsal was added on top of the fuselage forward of the vertical fin when repairs were made rectifying damage incurred as a result of an accident at Benalla on 31 March 1963. Even before these ES56 gliders were finished, Edmund Schneider Ltd decided to offer a less expensive single seat design to cater in particular for newly solo pilots, the ES57 Kingfisher. With the Kingfisher, Schneiders reverted to a traditional airfoil (Gott 549) for the wing instead of the laminar flow section that was chosen for the Nymph in the pursuit of performance. As such, the Kingfisher was more appropriately characterised as a single seat version of the Kookaburra in comparison to the Nymph. Schneiders continued for a time to offer the ES56 Nymph as a high-performance sailplane. However, its place in the market was soon overtaken by imported designs with superior performance, such as the Schleicher KA6, which Schneiders also imported and built under license. Nymph-I was test flown in December 1955 and entered by Harry Schneider into the gliding championships held at Waikerie from 5th to 16th of that month. Harry finished 12th in the individual placing out of a field of approximately 24. The capabilities of the Nymph were further demonstrated by Harry Schneider in January 1956 with a Gold C flight of 193 miles from Gawler in South Australia to Walpeup in Victoria. Nymph-I was acquired by the Port Pirie Gliding Club in South Australia. It has been saved and restored and is a regular feature at vintage glider rallies in Victoria and New South Wales. See Museum Newsletter No 35 Winter Edition 2017 pages 3 -6, for that story. The Nymph-II production models were delivered by Edmund Schneider Ltd in October 1956 to the Gliding Club of Victoria, the Victorian Motorless Flight Group and the Royal Australian Navy Gliding Association. The VMFG flew its Nymph in the First National Gliding Championships at Tocumwal, NSW, in December 1956 and all three were flown at the Second National Gliding Championships at Benalla in 29th December 1958 to 8th January 1959, delivering competitive performances based on handicap. Nymph-I Serial Number 17 Original owner – Port Pirie Gliding Club, S.A. Registered VH-GHG on 20 August 1957 Re-registered VH-GHA on 11 October 2016 Currently Raywood, Victoria Believed airworthy Nymph-II Serial Number 20 Original owner – R.A.N. Gliding Association Registered VH-GDX on 20 May 1957 Currently Locksley, Victoria. In storage Nymph-II Serial Number 21 Original owner – Gliding Club of Victoria Registered VH-GHU on 27 August 1957 Currently Bendick Murrell, N.S.W. In storage Nymph-II Serial Number 22 Original owner – Victorian Motorless Flight Group Registered VH-GFE on 5 March 1957 Currently Bacchus Marsh, Victoria Under restoration for display. The Museum’s exhibit is the ES56, serial number 22, registered as VH-GFE. The glider was flown by the VMFG in Victoria until approximately September 1968. GFA records show that it was transferred to Queensland in 1968, and it passed through several owners until the mid-1970s. Information received indicates that it was flown by the Leichardt Soaring Club at Mount Isa in the (late?) 1960s. The history from then is not presently known except to say that it has been kept in dry storage for many years. It is not known when the glider was last flown. What is Significant? The Schneider ES 56 Nymph single seat sailplane, serial number 22, designed and built in 1955-1956, by Edmund Schneider Ltd in Adelaide. It was delivered to its original owner, the Victorian Motorless Flight Group, in October 1956, and registered as VH-GFE on 5 March 1957. How it is Significant? The ES56 Nymph is of historical, aesthetic, scientific and research, and social significance to the Australian gliding community. Why it is Significant? The ES56 is of historical significance as it was designed and built by Edmund and Harry Schneider. The Schneiders immigrated to Australia after the end of the second world war bringing with them considerable expertise in relation to glider design and construction. Over the following decades they maintained a close association with the Gliding Federation of Australia and the gliding clubs and through their glider production made a major contribution to the sport. The ES56 is part of that story. The ES56 in its design and construction exhibits the glider construction technology of the time, which principally consisted of lightweight wooden framework skinned with ply and doped fabric. It exbibits design innovation, notably the use of a laminar flow wing profile in pursuit of better glide performance. Also, considerable attention was given to simplifying the structure in order to keeping cost and the weight low. The ES56 played a useful role at gliding clubs where it was operated, especially the late 1950s and early 1960s and is remembered well by pilots who flew her. The glider is in the course of restoration and provides an insight into the skills and workmanship that were involved in design, building and maintenance of these wooden aircraft. It is of aesthetic and scientific and research significance. Glider airframe of a traditional wood and fabric covered constructionNoneglider, sailplane, edmund schneider, harry schneider, es56, nymph, es57, kingfisher, victorian motorless flight group, gliding club of victoria, ran gliding association, port pirie gliding club, leichardt soaring club.