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Bendigo Military Museum
Headwear - CAP, PEAKED, Herbert Johnson, 1951
Cap, khaki cotton fabric with peaked front with leather front strap attached at sides with brass AMF studs, leather head band sewn inside with tan silk lining, 4 small vents at back.“1951 - Size 7 - Made in England - D & D” Inside head band: “38th Inf 3 -- - 164. - Watton”uniforms - military - army, costume - male headwear, passchendaele barracks trust -
Bendigo Military Museum
Leisure object - TEDDY BEAR, Possibly 1960’s
Hand made teddy bear made out of two colours of cotton, metal buttons for eyes & nose both machine & Hand sewn. It has tufts of loose thread appled here & there over all surface.teddy bears, leisure -
Glenelg Shire Council Cultural Collection
Functional object - Film Developing Envelope, n.d
Displayed at History HouseP & B Film Developing Service Envelope Paper envelope with green graphic and text, with line drawing of a camera in rounded in lower right. Sewn with green thread down sides. Folded to form pouch and cover.Front: H 3711/WET TF/537/8/13.6 (pencil, in boxed areas on front).camera, photography, film developing -
Merbein RSL Sub Branch
Satchel Leather, (estimated); World-War-One
This Satchel has a wallet carried by Sgt Robert J Oscroft who served with the 12th lighthorse on Gallipoli,was wounded and returned to the 12th lighthorse about 12 months later.Brown leather satchel with 2 buckels metal, and 2 complimentry leather straps with 5 holes each. Attatched at back 2 leather straps for belt. On flap is some stamped inscription. Satchel is machine sewn.Inscription on satchel flap/made by metal punch/ illedgable/world war one, gallipoli, money, webbing, leather satchel, buckles, belt, army issue, robert james oscroft, 12th light horse -
Flagstaff Hill Maritime Museum and Village
Clothing - Christening Gown, c. 1850's
This white christening gown was possibly worn by the donor, Mrs. W.N. Barnard.This 18500s christening gown is representative of gowns worn for this ceremony in the 1850s.Child's long, white christening gown, capped sleeves. Hand sewn, inserted panel in bodice and skirt, embroidered and eyelets. Circa 1850's. Possibly worn by Mrs W.N. Barnard when she was christened.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w n barnard of portland victoria, robert barnard son of w n barnard, christening gown, 1850's christening gown, religious apparel, w n barnard -
Bendigo Historical Society Inc.
Clothing - BABY CLOTHES COLLECTION: BABY BONNET, Early 1940's
Cream coloured hand knitted woollen baby bonnet with cream satin ribbon ties. All over pattern.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby bonnet -
Stratford and District Historical Society
Bedspread, Bower, Archibald James, 1915-c.1920
Archibald James Bower enlisted in World War I in November 1915, and was killed in action in France in August 1916. Before he left Australia, he drew designs on linen for his mother, Harriet Bower nee Harper, to embroider a quilt - mainly flowers, butterflies and moths. Mrs Bower finished the quilt, which was then used for many years by her grandson, Archibald William Luxford. He went to sleep every night, knowing the designs were drawn by the uncle he had never known, after whom he had been named.This quilt has historic significance as a memorial to a soldier lost in World War I. It is important as a tangible reminder of loss in war, and an example of how memorials to those lost in war take many forms. It has aestetic significance as an example of needlework that is original in design, with an impressive range of different stitches used to execute the design. It has spiritual significance to the Luxford family and the Munro community (even though Archie Bower was from Sale and the quilt moved later to Munro), as the quilt that Arch Luxford, a prominent member of the community, often spoke about as one his most important possessions. He was born after the death of his uncle, and named in memory of him. He grew up sleeping under the quilt, and knowing the story of his loss in World War I.A bedspread made principally of three sections of white linen sewn together with panels of crochet, with a deep linen edging and crochet edging. There are moths, butterflies and flowers embroidered on all sections in white cotton, as a form of candlewicking.world war 1914-1918, craft, needlework -
Stawell Historical Society Inc
Clothing - Costume and Accessories
Childes Frock Crochet & Cotton Materials. Open at back. Hand made crochet round hemline and pin tucks machine sewn. Crochet insertion around the waist. Also vertice insert in Bodice. Sleeve trim. stawell clothing material -
Whitehorse Historical Society Inc.
Clothing - Camisole
Fine white cotton camisole with crochet cotton lace at neck and sleeves. (Torchon Lace). Front held together by tape tie at neck. Three press studs sewn over original button holes in placket.costume, female underwear -
Kew Historical Society Inc
Clothing - Embroidered Chemisette, 1900-1910
Coffee coloured chemisette with lace. Machine sewn with two layers of netting applied by hand. Pink and green bullion knots worked on top net layer which is of machine made lace already embroidered and assembledlace, women's clothing, australian fashion -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Gum Blossom and Bottle Brush in Dilly Bag Cloak (Women Basket Making and Sharing Knowledge), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Kunawarrar Ngaramili (Black Swan Dancer) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Murnong Daisy Cloak (Women Gathering Food) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Traditional Diamond Design, Pick and Gold Cloak (protection and survival of our men and women), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Purple Orchid Cloak (Indigenous orchid season), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
Mont De Lancey
Table runner, circa 1920
A popular hand-craft of the period.Brown, suede table runner with a hand-painted red, green and blue leaf and berry design. Two halvesof the runner are sewn together diagonally with brown leather strap and there is a 20 cm. fringe at both ends.table runners, table linen. -
Melbourne Tram Museum
Clothing - Uniform tie - The Met, Austico, 1983
For use by The Met staff, from mid 1983. The Met was created from the amalgamation of various Transport authorities in July 1983. See reference.Demonstrates uniform ties of The MetUniform tie - dark blue cloth with green and yellow stripes, polyester fabric, cut and sewn to give a tie for "The Met" staff. Has a black retainer band on rear with cleaning instructions with the name of the manufacturer - Austico.trams, the met, uniforms, ties, clothing -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, skirt, Late 19th to early-20th centuries
This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt -
Bendigo Military Museum
Uniform - PARKA AND SCARF, unknown
This is a military, very cold environment jacket. Suspect Korean War vintage, possibly British or Aust. made. 1. This is a green jacket, 100% lined with fur. It has a raised fur lined neck. It has two pockets on lower front. The pockets have an inner neck (5 cms). Pockets held shut with buttons. The front is held shut with a metal zip and big buttons. The buttons are 28mm diameter, light brown. The wrists have draw straps to seal out cold. Ref: The lining inside:- Rear section fully sewn in, in the two front panels, the bottom edges are not sewn in. 2. Scarf. Woollen, Khaki, thick. Written on front left jacket chest is name - PEARSE.cold weather coat, korean war, passchendaele barracks trust -
Frankston RSL Sub Branch
Cap, Forage
A standard issue RAAF blue Other Ranks' woollen forage cap with oxidised brass RAAF badge on left hand side. The two buttons at the front are made of black plastic. The cap is lined with black cotton fabric. The crown opening has been sewn up with large black running stitches in heavy black thread. A rectangular shaped white cotton maker's label that bears various markings indicating size, year of manufacture, etc. is sewn inside the left hand side of the cap. A label attached inside the cap has the following: "V 330, 1944, MADE IN AUSTRALIA, SIZE 7" and the D^D marking with the letters "A F". The cap is also marked with the name "FRASER" and the service number "RAAF A36508"raaf, air force, australia, world war 2, ww2, airmen, aircrew, kings crown badge, -
Bendigo Military Museum
Uniform - SHIRT, RAAF, 1943
Part of Flight Lieutenant Ian A. 'Joe' Lyons MBE Collection. See Catalogue No. 5374P for details of his service record.Men's grey collarless RAAF uniform shirt with half closure two button front. Long sleeves with button cuff. Three buttonholes in neck for studs and attached collar. Manufacturer's label sewn onto inside of the neck. On manufacture's label: 'V51, Made in Australia, 1943, Size 15'. Stamped below manufacturer's label in blue: 'H (upwards arrow) E'.uniform, raaf, ian a. 'joe' lyons -
Bendigo Military Museum
Equipment - KIT BAG, Australian Army, c1939-45
This is a standard issue, Australian Army Kit bag (referred to as a "Sausage Bag". It is made out of canvas, colour brown. It has numerous brass eyelets around the opening. Inside is a flap of similar canvas sewn to one side.On the base in white paint VX123648. The surname "Stevens" is blotted out by a 12 cm Square shipping label. It is partially destroyed. Surname Stevens . Inscriptions - on side in ink is name and NR. V59635 CPL Stevens N.C.ww2, army, kit bag -
Glenelg Shire Council Cultural Collection
Painting - Painting on cloth - Tongan Tapa Cloth, n.d
Clircular tapa cloth painted and sewn to a round wooden frame. View of a village painted on front of cloth, depicting a pole and wire fence with palnts at base, and palm trees and bushland in the background. The huts have thatched roofs.Front: Tonga Friendly Islands (lower centre, black dye) -
Glenelg Shire Council Cultural Collection
Souvenir - Pennant - Centenary, Portland, Connecticut, September 20th, 1941, 1941
Red felt pennant with painted lettering and a roundel depicting an early settlement by edge of a harbour with a sailing ship in it. Left edge is bound with white felt, and two red felt tags and sewn at top and bottom of white edging.Front: "CENTENARY / PORTLAND. CONN/ FIRST HOUSE IN PORTLAND, 1690" (in roundel). SEPT. 20TH, 1941 (white paint on centre of pennant). -
Glenelg Shire Council Cultural Collection
Costume - Sash, n.d
Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Displayed in jewellers box (3370.3 & 3370.4).Long narrow green-gold sash woven in satin-like textile with an overt weave pattern. Long silver-gold tassels on each end (approximately 9 cms), sewn into sash with 3 rows of silver thread. -
Glenelg Shire Council Cultural Collection
Costume - Sash, n.d
Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Displayed in jewellers box (3370.3 & 3370.4).Long narrow green-gold sash woven in satin-like textile with an overt weave pattern. Long silver-gold tassels on each end (approximately 9 cms), sewn into sash with 3 rows of silver thread. -
Flagstaff Hill Maritime Museum and Village
Clothing - Apron, c. 1912
This child's white batiste apron was worn by Robert Barnard, son of Mrs W N Barnard of Portland, when he was a young child, circa 1912.This child's apron is representative of ladies fashion of the 1910s.Child's white batiste apron. Hand sewn, inserted front panel, ties to fasten, open back, sleeveless, ruffled hem. Circa 1912. Worn by Robert Barnard son of Mrs W N Barnard of Portland. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, robert barnard, child’s batiste apron c. 1912, child’s clothing c 1912, protective clothing -
Bendigo Historical Society Inc.
Clothing - CREAM COLOURED COTTON SLEEVELESS NIGHTDRESS
Clothing. Nightdress. Cream coloured cotton sleeveless nightdress. Front opening with two buttons. Lace yolk at front with strips of lace sewn together. Pink ribbon trim across front at base, linen lace edge.costume, female, night gown -
Bendigo Historical Society Inc.
Clothing - BABY CLOTHES COLLECTION: BABY BOOTIES, 1940s
Hand knitted cream coloured woollen baby booties. Cream ribbon ties. Garter stitch on foot. Patterned upper.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby booties -
National Vietnam Veterans Museum (NVVM)
Flag, North Vietnam Flag
Whilst cataloguing this North Vietnamese Flag Mike Welles (donor of this item) and he told us the story on the flag that he donated. Mike said that he took this flag from a body or a bandit who got in the way of bullets. In 1966 Mike Wells was Operations Advisor from 1966 - 1967 at PhuocSilk Viet Cong flag for placement over the body of North Vietnamese soldier. Flag is blood stained. Top half is aqua, bottom half red, with a yellow star sewn in at the centre.Mike Wells was part of the AATTV team'Welles' is a name imprinted on hem.north vietnam flag, flag, aattv, mike wells, australian army training team vietnam (aattv)