Quilt made from pink patchwork curtain cloth, machine stitched and patched at a later date by hand. Part of the Wagga collection.Quilt made from pink patchwork curtain cloth, machine stitched and patched at a later date by hand.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

A silk patchwork quilt in a hexagons pattern originally owned by the Denbigh family of ‘Wimba’. The Denbigh family is recorded as living at ‘Park Villa’ ‘near Kew’ in 1856. John Denbigh was at this stage the superintendent of the local Baptist school. By 1869 they are listed as residing in Cotham Road. John Sharp Denbigh’s death in 1875 resulted in the sale of Wimba. This is an important early English silk hexagons quilt with outstanding technical workmanship, and is well-provenanced.The quilt is constructed in the popular hexagon pattern of silk off-cuts of an earlier period. Hexagon patchwork quilts were typically constructed of individual hexagons, which were formed using paper or card templates. Where these are visible, it would indicate that writing paper was used to form the templates. The quilt is unlined and has a green silk border, added at a later date. Early 19th Century patchwork quilts tended to use cotton to create the hexagons, whereas silk became the preferred medium mid-century. The quilt has been dated to the middle decades of the 19th century due to the colour range, and the exclusion of black silk hexagons. Most of the silk used in the quilt has a sheen, however there is some use of velvet in one or two larger hexagons. The exposed reverse of the quilt includes a large amount of very fine hand stitching.An unlined quilt was typically used as a summer spread. patchwork quilt, hexagon pattern, denbigh family, wimba, cotham road, kew, john denbigh, helen johnston, quilt, patchwork, textiles, migration to australia

Hand made quilt commemorating the Vietnam WarHandmade quilt with hand stitched map of Australia, a cross with metal Vietnam badge and a slouch hat on white cloth boarded by camouflage and green material.In hand stitch - Lest We Forget quilt, vietnam

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

Watsonia North quilter Deb Layt has crafted a quilt in response to the 2014 Martin Place Lindt Cafe siege.News clipping, black text, colour image.deb layt, quilting, watsonia north

Origins are unknown, however it may be possible that since the creator of this quilt has used larger than usual pieces of suiting material, they may have worked as or knew of a tailor for their fabrics.Quilt made of large strips of men's suiting fabric. Machine stitched. Red flannel backing.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

Maker unknown. Given by a Daylesford community member to the Running Stitch Group.Quilt with feather stitching around green squares. Pattern of cricketers, lions and kangaroos on backing.quilting, quilting history, running stitch group, running stitch collection, quilting - history

Commercially made quilt, c.1930s. Maker unknown, found in Ballarat. The Country Women's Association of Victoria had been active during the Depression in promoting the use of wool in domestic items and handcrafts in its "Handcrafts and Home Industries Committee". In 1933 during "Wool Week", a train jointly sponsored by the Wool Board, toured the state demonstrating amongst other crafts, the making of wool quilts and mattresses. Commercially made quilts much like this one marketed as 'Kosy Quilts', were used in these demonstrations.Quilt, plain light blue cotton cover with lambs wool filler. Machine sewn. Evidence of a label can be seen at one corner, however it has been removed.quilting history, textile mills, running stitch group, running stitch collection, ballarat, quilting - history

This quilt was produced by Wooltara (Australia) Pty Ltd for the Sydney Olympic and Paralympic Games in 2000. Over 24,000 similar quilts were distributed throughout the athletes village and given away to athletes, international media and officials.Quilt, wool, single bed size. Quilted cotton cover in various shades of blue, filled with wool. Housed in a white cotton drawstring satchel printed with logos.Wording: SYDNEY 2000 / WOOLMARK; Method: Printed; Location: Frontwoolmark company wooltara (australia) pty ltd, sport, sydney 2000 olympic games, quilt, wooltara, athletes

Square art quilt with tones of brown and cream.reverse side: Pamela Fitzsimons 2004 / SILK + WOOL DYED WITH EUCALYPTUS LEAVES / HAND STITCHED WITH SILK THREADhandicrafts quilting textile, national wool museum, fitzsimons, ms pamela, geelong, victoria, handicrafts, quilting, textile

Mrs Florence Holbrook Giles, mother in law of Gwen Giles, obtained the fabrics for her quilts from her sons' upholstery business in Chelsea, Victoria.Square floral linen and cotton quilt with damask centre lined with raw cotton and filled with kapok. Ruffled edge.quilting history, running stitch group, running stitch collection, giles, mrs florence holbrook giles, mrs gwen, quilting - history

The Otways Quilt is believed to have originated with the Perkins family, landholders in the Beech Forest area. Some of the names or initials on the quilt have been tentatively identified with other farmimg families in the same district.A rectangular quilt hand embroidered in white on 20 square panels, with the names or initlals of settlers in the Otway district, and surrounded with an edging of floral embroidery. It is made of polished cotton backed with cotton sheeting.quilt, beech forest, otway, needlework, perkins

The quilt was made by Maria Ann Knight, born in England in 1829, died in 1908. She was buried in Castlemaine Cemetery. She came to Australia in 1855. Married to Henry Lancelot Goldsmith, born 1826 died 1912 and also buried at Castlemaine Cemetery.Large patchwork quilt, multi-patterned and multi-coloured. Made of large oblong and square pieces.manchester, bath linen, handcrafts, needlework

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This quilt sampler was made before 1900 by Rosina Ellwood. Crazy quilts were fashionable in the late Victorian era. The rise of the trend is attributed to the display of Japanese art and ceramics at the 1876 Philadelphia Centennial Exposition (U.S.A.) that featured asymmetrical designs. Inspired, quilters began sewing pieces of fabric of different sizes and textures together into abstract, asymmetrical patterns. The craze spread from America around the world. Embroidery, ribbon and silk embellishments, and hand stitched applique birds and flowers were popular additions. One magazine estimated that a detailed crazy quilt could take over 1,500 hours to complete. Crazy quilts remained in fashion in metropolitan cities until about 1910, though the style endured for longer in rural areas. This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.A colourful patchwork quilt sampler using mixed fabric types including velvet, cotton, brocade and satin, backed on cardboard.hamilton-smith collection, hamilton-smith, stiching, needlework, sewing, handmade, domestic, quilt, quilts, crazy quilt, crazy quilts, women's history

3 photographs from the Patchwork Gallery in Watsonia taken by Rosie Bray. Photos are captioned: photo 1: "Hard at work. Debra Layt at Quilt shop"; photo 2: "Administration has to be done. Quilt shop - Debra Layt "; photo 3: "Workroom at Quilt shop"3 colour photographs, captions on back.layt family, the patchwork gallery, watsonia, quilting

2 photographs from the Patchwork Gallery in Watsonia taken by Rosie Bray. Photo 1 and 2 are captioned "Quilts at quilt shop 2004".2 colour photographs, captions on back.layt family, the patchwork gallery, watsonia, quilting

The quilt, alternatively known as a wagga due to its improvised nature of creation, was made by Harry Walter Hewitt Wilton (great grandfather of donor), b.1872, d.1950. Harry joined the Essex Regiment and served in the British Military in India, as well as seeing action in the Boer War. Married wife Mary Elizabeth in India in 1895, she was a seamstress. Harry was injured during a battle and made this quilt as part of his rehabilitation. Quilt was made using woolen army singlets. Harry and Mary moved to Victoria, near Orbost, in 1914. Patchwork style quilt with coloured pieces of dyed woolen singlets stitched together over a backing. Features feather stitching between pieces and around border edges. Size of a double bed.wagga, harry walter hewitt wilton

‘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

Event promotion and planning document for the Watsonia Quilt Wander 20046p. programme promotion document, stapledlayt family, quilting, debra layt, the patchwork gallery

The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A brown quilt made from woven samples of woollen striped fabric in browns and olive greens. The pieces are machine stitched together. It has an off-white backing which is machined and hand sewn into place.handicrafts, returned soldiers and sailors mill, wagga, anderson, mr robert anderson, mrs lucy, geelong, victoria

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Iron bed from home of Wandin Sebire, with ticking mattress and pillows and frilled hemstitched pillowslips. Patchwork Quilt mad by Local CWA for Mont De Lancey.White painted single iron bed with silver ornaments on bed head and end. Has wheels on the legs of the bed. Some paint scratched off. Has a colourful patchwork quilt and pillows on it. bedding, beds, quilts

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

The quilt was made by members of seventeen Soroptimist International clubs across Victoria to celebrate the Year 2000. The quilt squares illustrate some of the projects initiated, funded and supported by Victorian Soroptimists as well as illustrations of broader affiliations and responsibilities, including to the UN. Examples include the S.I.A.M. (Soroptimist International Aids Mediation) project by SI Berwick in Northern Thai villages which established industries and health programs for women and girls as viable alternatives to the sex industry. Revegetation of woodlands, wetlands and cleared land by SI Deakin. Donation of toiletries to women's shelters, police lock ups and church emergency centres in the western suburbs of Melbourne by SI Cut Paw Paw. Founded in 1921, Soroptimist International is a global volunteer movement with a network of around 72,000 club members in 121 countries. Advocating for human rights and gender equality, at the heart of Soroptimist International’s advocacy is its work across seven UN Centres, where UN representatives ensure that the voices of women and girls are heard. Memberships work on grassroots projects that help women and girls achieve their individual and collective potential, realise aspirations and have an equal voice in communities worldwide. It has a flourishing Club in Geelong. The quilt was displayed from 2001 until 2023 in Soroptimist Headquarters Victoria at 383 Toorak Road, South Yarra (Soroptimist House) since touring the State of Victoria in 2000. Soroptimist House has been sold with the funds raised to go to furthering the objectives of Soroptimism.Cream patchwork quilt with 31 squares depicting various scenes and motifs. The Soroptimist logo features in the bottom right corner.quilt, women, soroptimist, victoria, community, clubs, human rights, gender equality, united nations

‘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