Nippon dolls were made by Noritake in Japan. This example is referred to as a China glazed doll. They were made about 1915. The shoulder plate bisque dolls were usually under 10inches tall.Stuffed doll with ceramic face, decolletage, hands and feet. Dress machine sewn from cream and brown printed material. Arms and legs made from browncolored linen type material. Eyes (blue), eyebrows (brown), hair (black) rouge (pink) and lips (red) painted on. Dress tied at back with pink embroidery cottontoys, dolls, sewing

The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1White polo shirt with the logo "The Celebrated Emu Creek Bush Band" printed centre front in blue and yellow. In the centre of the logo is d drawing of the head of an emu with one eye open and one eye closed. Clothing label identifies the manufacturer - Centavic Clothing, For Embroidery and Screen Printing. Includes Phone and Fax numbers. Size XXL.colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.A hand painted and hand embroidered cream silk needle book. Date unknown. This cushion features a delicate hand painted floral design, enhanced with highlight embroidery. It also features a silk rope binding around its edges and a cream silk bow. It appears to have enclosed something as it has a button and loop to secure it in half.cushion, barone, seaview, brighton

Short sleeve khaki coloured shirt with two button down breast pockets, two plain khaki epaulettes on either shoulder fastened with a khaki coloured plastic button. Six buttons fasten the shirt down the centre front. Patch on left and right shoulders depicts three downward pointing chevrons in brown and white embroidery thread.dress uniform, pants, australian defence force

1960Square, cream linen supper cloth with a multi-coloured, floral embroidery, cross stitch and drawn thread pattern stretching across the entire cloth. It has drawn thread and embroidered edging all around the cloth. There are 6 matching serviettes each with a floral, embroidered pattern in one corner and drawn thread and embroidered edging all around.table linen., household textiles

This handmade women’s nightgown features hand-worked Broderie Anglaise yoke and trim. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. This design of nightgown was worn by females in the 19th century and is still worn today.The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's long straight nightgown, white cotton, with long sleeves gathered at the cuff, stand-up lace collar, and a small catch closure on the bodice's centre opening. Hand-worked Broderie Anglaise yoke and sleeve tips.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, nightie, nightgown, women’s nightwear, sleepwear, night dress, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, nightdress

Clothing. Twelve shaped panels form the body of the jacket, which is dramatically ''shaped in'' at the waistline, and flared out toward the hipline. Four black fabric covered buttons form the closure, with hand-stitched button holes, all ''hidden away'' under an overlay of the beaded velvet, of which the jacket is made. The long sleeves, narrow at the elbow, flair out to an embroidered and beaded cuff, 35 cm in circumference. Sleeves are gathered at the shoulderline, giving fullness, and featuring an elaborate ribbon, cord, and beaded embroidery. The embroidery is repeated around the revere collar, and on the right-hand side of the bodice, and the full length of the back of the garment, and around the hemline, and also trims the opening edge of the left-front bodice. Lined with black silk. It feels as if there is extra to support beaded areas.GEORGE STIRLING & SONS, THE RICHMONDcostume, female, black velvet long sleeved jacket

This is a dress for a young girl aged about twelve. It seems to date from the late 19th century and would have been worn at a wedding or a family celebration. This dress is a fine example of vintage clothing and is a valued display item.The dress is made of fine muslin. It has a round neck with lace edging, the gathered skirt has pin tucks with a spoke stitched wide hem. There is lace insertion at the waist and on each shoulder. On the three quarter sleeves there is lace edging at the cuffs. The bodice has machine made embroidery, spoke stitching and tucks. The back has press studs and hooks and eyes .vintage clothing, warrnambool and district historical society collection

Cream silk child's cape. Hand-crocheted lace edging around side and bottom edges. Hand-crocheted lace insert between two sections of pintucking, edged with embroidery. Main body of cape gathered onto plain yoke. Silk binding around neck. Garment Measures: Width at yoke: 30, Width at hem: 215, H: 50

Sheer embroidered nylon. Silk thread embroidery in a floral pattern. Scalloped edge finishes the lace panel. The original train on the wedding dress was a feature of the wedding gown, falling in tiers as a "waterfall" effect. One tier was later used by Merle to make a christening dress for her first child, Bronwyn. Evidence is still visible of the gathering thread at the top of this panel.costume accessories, female, wedding dress train fabric

Silk embroidered postcards with purple/mauve and pink embroidered flowers. To my dearest Darling' embroidered in light blue & floral. Embroidery forms a small pocket which holds a small card with 'My love is for you' printed in green. On the back is written: 'To May with the Seasons Greetings from Alex xxxx. G. A. Rogers 17/9 M. G. C.Paris Depose. Fabrica -- Francaisecommunication, postal, postcards, malone collection, silk postcard, g. a. rogers, 17/9 m. g. c.

Whitish card with cut out window and an embossed border around the window. The window has fine net material which has ribbon embroidery on it. There are pale blue flowers, a green bow and two pink buds at the top joined by a piece of blue cord in a circle. Card & insert held together by a pink cord. Card is from May Somerset.person, greeting cards, malone collection, malone collection, greeting cards, may somerset

Textiles. A war time souvenir from Palestine. Pale gold silk, embroidered with a depiction of the''Mosque of Aman (?) Souvenir of Palestine, 1942, floral emblems and a bow. A 4cm long silk fringe in gold and reddish colours borders the cushion. Back of the cushion is gold coloured cotton. Machine and hand stitching. Possibly machine embroidery, in a ''chain-stitch'' pattern.Souvenir of palestine 1942. Mosque of Aman (?) (Omar).textiles, domestic, pale gold cushion from palestine.

A Crown Horse brand Home Needle Kit with 48 needles and a threader in a plastic bag. The needles are presented in gold strips attached to a black piece of cardboard.and are labelled as - Darners, Embroidery, Thick Wool Darner, Sharps, Betweens and a Threader. Two needles are missing, - a Bodkin and Mattress. The card has two black horses underneath a black crown at the top.'Crown Horse Home Needle Kit Japan' The types of needles are as listed above.sewing equipment, sewing, sewing needles

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. Tape lace is either a hand made (with a bobbin) or a machine woven tape. The tape is folded into the required design and then fixed and embellished with connecting lace or embroidery stitches of various kinds.Tape lace collar. L 17 cm / W 39 cm / Circumference 98 cmaccessories, tape lace, lace collars

In the early 19th century, infant baptismal gowns worn by male and female infants began to be modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A mid-nineteenth century christening (baptismal) gown, constructed of sturdy white cotton featuring a long skirt, high neck and long sleeves. The gown is constructed by hand, and there is evidence of home-finished needlework, The bodice is loosely pleated with gathering at the high waist, A later cotton tie was attached at the centre waist and commercial lace added to the neckline and cuffs.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

This blazer was worn by John Freckleton at the Ballarat Teachers College in 1949. The Ballarat Teachers' College was established after the Victorian State Government and the State Education Department decided to establish two provincial teachers' colleges, at Ballarat and Bendigo. On 04 May 1926 W.H. Ellwood (Principal), Miss A. Bouchier, and Mr A.B. Jones, welcomed the first enrolment of 61 students to undertake the one year course. In 1927 the College moved to the former Ballarat East Town Hall in Barkly Street, which was remodelled for their use. It closed in December 1931 due to the Great Depression. In 1946 Ballarat Teachers' College reopened and relocated to the Dana Street State School. It was originally planned to open as a women's college, for whom the residence at 130 Victoria Street was purchased, but the decision was made to admit resident men from Ballarat. Mr T.W. Turner was appointed as Principal in 1951 and directed the introduction of a two year course for the Trained Primary Teachers' Certificate. The former one year course was terminated at the end of 1951. In 1958 the College was relocated to a custom built facility at Gillies Street, in close proximity to the Ballarat Botanical Gardens. Numbers increased with the introduction of the Trained Infant Teachers' Certificate course under the guidance of Mary Egan. With the introduction of a three year Diploma Course in 1968 accommodation became cramped. The introduction of the Diploma of Teaching (Primary) led to the Trained Infant Teachers' Certificate being discontinued in 1969, and the end of the Trained Primary Teachers' Certificate in 1969. Secondary Art and Craft students began studies at Ballarat Teachers' College in 1969 under Mr Ted Doney. In 1971 Mr D. Watson was appointed Principal. The State College of Victoria was proclaimed by Order in Council on 24 July 1973, and Ballarat Teachers' College became a constituent college of the State College of Victoria, and was known as State College of Victoria, Ballarat. By 1975 the College moved to Mount Helen as part of the Ballarat College of Advanced Education. Pre service teachers currently undertake their studies on the Mount Helen Campus of Federation University. ("Ruffians Attempted to Carry of the School Tent: A History of State Education in Ballarat", 1974, p73-4.)This unlined, 3 buttoned, royal blue woolen blazer is bound with twill tape in a matching colour. It has a patch pocket on either side near the bottom hem line and a breast patch pocket with an embroidered emblem of the Ballarat Teachers College. Under this emblem is embroidered in stem stitch 'B B' in brown and yellow. The pockets are all bound at the top and the sleeves have a trim binding about 8.5 cm from the cuff. The inside seams are all bound.The fabric label says - Paterson, Powell Pty Ltd Ballarat Attached to the shoulder seam is a tape with a handwritten - Georgeballarat teachers' college, blazer, costume, textiles, uniform, embroidery

This blazer was worn by Helen Veitch in 1948, while a student at the Ballarat Teachers' College in Dana Street. She lived in Ascot Street South and attended the Urquhart Street Primary School. The first class she taught was grades 1&2 at Wedderburn Primary School with 46 students. She also taught at Wendouree West, Wendouree, Urquhart Street and Pleasant Street Primary Schools. She married in 1955 and died in 1979.This royal blue woollen, unlined blazer is bound on all the edges with braid including the tops of the three pockets and 8.5cm from the sleeve edge. The embroidered patch breast pocket has the emblem of the Ballarat Teachers College. It has three buttons at the front. Most of the seams are bound, though some are turned back and stitched down. The back of the top of the pockets are reinforced with cotton fabric.Maker's embroidered patch - Paterson, Powell Pty Ltd, Ballarat White tape with handwritten marking - Veitchblazer, helen veitch, costume, textiles, logo, embroidery

Valda Arrowsmith purchased this tea cosy and donated it to the society.Cream linen tea cosy with scalloped edge. Both sides are embroidered in different colours and design. One side has a horseshoe in gold silk thread and green leaves entwined in green silk thread. Scallops in green silk thread The other side has a cross, worked in drawn thread. The scallops are worked in gold silk with embroidered flowers in the centre of each. Both sides are hemmed with drawn thread.manchester, table linen, domestic items, food & drink consumption, handcrafts, embroidery

Smoker's cap c 1889. Made by Jane Tyark (Mulder), grandmother of Isobel McNamara for her stepfather John Doran to keep his head warm as "he had little hair".Smoker's cap - black velvet, embroidered, padded & lined in pink satin.Nilsmoker's cap, velvet, embroidery, jane tyark, john doran, heather mcnamara

Hand embroidered doyley with hand crocheted edge.embroidery, crochet, ireland, irish, doily, doilie

This item is part of a larger collection donated to the Kew Historical Society by Anna French. The collection includes personal items from the donor's family, as well as items given to the donor and her mother by a family friend, Lucy Merritt (Jean) Hornby. The item is from that part of the collection inherited or assembled by Jean Hornby. The collection is significant given Jean Hornby's mother's descent from Robert Hornby (1854-1935) and Eva Merritt (1865-1959); her mother the chid of a family who settled in Kew in the 1850s, this providing a chain of provenance for items dating to the mid-nineteenth century, when her maternal forebears arrived in Melbourne. Other items represent Jean Hornby's contribution to her local and wider community.The items as created are representative and fine examples of late Victorian and or Edwardian needlework. While many such items were copies of published patterns, these may be original designs. Two mantle or pelmet decorations, with hand embroidered arum lilies on delustred satin backed onto canvas. One pelmet is slightly longer than the other, but each has the same number of bobbles on the trim. hornby family, families -- kew (vic.), jean hornby, soft furnishings, decorative arts, embroidery

The 20th Light Horse was raised as part of the reorganised Citizen Military Forces (Militia) following the end of WWI. It had Headquarters at Seymour Victoria and sub-units along the Goulburn Valley. The guidon, emblazoned with the South African and WWI battle honours, was presented in 1927. The 20th Light Horse served overseas during WWII being the only Light Horse unit to do so and received the battle honour South West Pacific 1944-45. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 20th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 20th Light Horse badge surrounded by wattle wreath with purple and gold rectangular colour patch under. XX in top left corner and battle honours on either side of centre motif."South Africa 1899-1902, Gallipoli 1915, Palestine 1917-18, Anzac, Egypt 1915-17, South West Pacific 1944-45"guidons, flags, embroidery, citizen military forces, heraldry, light horse regiments

This postcard was found in the old wool shed in Mannibadar that was owned by Roy Nicol. The property was bought in 1942 from Theophilus Gribble (affectionately known as Topo). It was found when sorting out for sale to current owner James Draffin. It is thought the original name of the property was "Bonnie Hills", as a board with that name is part of the roof structure.Embroidered postcard showing a bird with flowers and the words "TO MY DEAR MOTHER & FATHER" sewn on in red thread."Fondest love Gunner Theo Gribble Feb 5th 1918".postcard, theophilus gribble, gunner theo gribble, feburary 5th 1918, embroidery, ww1

In the 17th century young girls were taught embroidery as a necessary skill for marriage, this also helped them make very beautiful handbags. By the late 18th century, fashions in Europe were moving towards a slender shape and women wanted purses that would not be bulky or untidy in appearance, so reticules were designed. Reticules were made of fine fabrics like silk and velvet, with wrist strapA lady's beige, beaded, silk lined, evening bag with press stud fastenerevening wear, purses, personal effects, handbags, fashion, needlework, craftwork, dressmaking, moorabbin, brighton, early settlers, pioneers, cheltenham

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Tenerife lace (calado canario) is one of the traditional industries of the Canary Islands off the coast of West Africa. It uses drawn work embroidery.Canary Island Tenerife lace blouse. The blouse is decorated with bands of drawn thread lace of two widths at the waist line. There are two bands of wide lace featuring two circular motifs and two simple narrow bands. The neckline is decorated with two bands of the wide lace and three bands of the narrow lace. There is a single button opening at both sides of the necklinefashion and textiles collection - kew historical society, lace, women's clothing, blouse, tenerife lace

Celebrating the International Year of the Volunteer, Vision Australia Foundation wished to acknowledge the volunteers and day program members who inputted ideas into the design of the centre's banner. Special thanks to the following for their contribution to the stitching, painting, tapestry, applique and embroidery: Margit Arends, Alice Austin, Judith Edwards, Pamela Harris, Shirley Reid, Margaret Isaacs, Gwenda Johnson, Helen Malone, Catherine Newton and Mary Tams.1 cream sheet with grey and black writingvision australia foundation, volunteers