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Bendigo Historical Society Inc.
Clothing - MERLE BUSH COLLECTION: SILK NIGHTIE
Clothing. Cream coloured silk nightie-full length. All over embossed pattern of chevrons and flowers. V neck at front and back. Sleeveless with ties at shoulders (34cm). Floral embroidery around front V neckline.9cm X 9cm heart shaped pocket on LHS front at hip line. 80cm X 1.8cm ties attached to side seams at waist level. Triangular inserts in skirt front and back to create flared skirt. Old box 573costume, female, silk nightie -
Kew Historical Society Inc
Clothing - Silk and Lace Two Piece Day Dress, 1900s
An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Pale blue shot silk dress, comprised of a separate pale blue silk bodice and a wide flaring skirt of the same fabric. The bodice features silk embroidery in the same colour as the dress and wide bands of brown lace at the neck, on the front of the bodice and on the sleeves. Blue silk fabric tabs extend across the lace at the front with gold buttons at either end. The bodice has an attached blue silk belt. As part of the ensemble, there are also pale blue silk stockings, of the period. edith mary weir (nee betteridge), women's clothing, dresses, fashion -- 1900s, weir collection -
Bendigo Historical Society Inc.
Clothing - MAGGIE BARBER COLLECTION: CREAM SILK AND TULLE VICTORIAN EMBROIDERED BODICE, Layte 1800's - early 1900
Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection Handmade Broderie Anglaise Doily c.1920s
The Wodonga Historical Society collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This doily is one of several domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. It was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. 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 handmade white broderie anglaise doily c.1920sneedlework, textiles, sewing, handiwork, women's history, domestic, craft, family -
Warrnambool and District Historical Society Inc.
Handkerchiefs, 1950s
These handkerchiefs come from the estate of Ena Heazlewood. Mary Josephine (Ena) Todd was born in Warrnambool in 1920 and worked as a hairdresser at Josephine’s Salon in Warrnambool. In 1942 she married a Warrnambool man, Jack Heazlewood, who was stoker on the H.M.A.S. Sydney at the time. They later lived in Sydney. These items are of interest as examples of the handkerchiefs found in a woman’s collection mid last century and as mementoes of a former Warrnambool resident, Ena Heazlewood. These are seven handkerchiefs. .1 A silk handkerchief with a white centre and a green dot pattern border .2 A white silk handkerchief with an embroidered spray of pink flowers and green stems in one corner .3 A white silk handkerchief with multi-coloured embroidery in one corner .4 & .5 Two white silk handkerchiefs with a multi-coloured embroidered letter ‘E’ in one corner and a fluted embroidered edge. .6 & .7 Two pink nylon handkerchiefs with a fluted edge and an overall impressed pattern of pink flowers and green stems .6 & .7 Nylon Made in Japanvintage women’s accessories, todd & heazlewood families, warrnambool, history of warrnambool -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Souvenir - Scarf, framed, 1916
Sgt Roy Arthur Heuston Taggart, 4th Australian Light Horse Regiment, Grazier of Hawthorn, born 4 Sep 1888, enlisted 19 July 1915, 12th Reinforcements. Awarded Distinguished Conduct Medal for outstanding services during Flanders operations.Historic item by original member of 4ALHRectangular embroidery in glass fronted wooden frame. Background is colour patch of the 4th Australian Light Horse Regiment, diagonally divided with upper left section white and lower part red. The Australian Coat of Arms (in red) is at the upper left. Embroidered in red at top centre: "4th Light Horse Regiment 1st Division Egypt 1916". In gold thread at bottom right: Aust Army rising sun badge. . It is edged with white tassels at top and left and gold tassels at right and lower edge.Embroidered in gold thread : "From Roy"embroidery, 4th light horse, roy taggart, scarf as gift to family -
Bendigo Historical Society Inc.
Photograph - PORTRAIT OF A LADY
Small, oval head and shoulder portrait of a lady. She is wearing a dark dress with buttons down the front and embroidery each side of the buttons. She has a large lace high collar which extends down the front on her dress. It has a large brooch pinned to it. She is also wearing a lace hat with a flower spray in it over her wavy hair. On the cream back is the name and address of the photographer, a Coat of Arms and some decorative work. The photographer's name is also printed on the front. All printing is a brownish colour.Johnstone O'Shannessy & Co, 3 Bourke Street, Melbournephotograph, portrait, female, portrait of a lady, johnstone o'shannessy & co. -
Bendigo Historical Society Inc.
Textile - RAYON AND COTTON CUSHION-PALESTINE/AUSTRALIAN COMMONWEALTH MILITARY FORCES, A WARTIME SOUVENIR FROM PALESTINE, 1941
Textiles. A wartime souvenir from Palestine. Peach coloured rayon (?) fabric, with a cream coloured calico back. Embroidered in silk and cotton thread in chain stitch. A palm tree on either side of the front frames a semi-circular shape with the Australian and British flags at the top on either side of the semi-circle. A crown is embroidered at the top in the open section of the circle. Australian Commonwealth Military Forces is embroidered around the semi-circle. Below, is an embroidery of a Mosque, and below this are the words: Mosque of Amar (?). To my dear Sister.Palestine. Australian Commonwealth Military Forces 1941. To my dear Sister. Mosque of Amar(?) Omar(?).textiles, domestic, rayon and cotton cushion -
Bendigo Historical Society Inc.
Clothing - ALLAN MONAGHAN COLLECTION: DEEP YELLOW TRACKSUIT TOP, 1982
1982 Commonwealth Games - Brisbane Tracksuit top. Deep yellow top with elasticized waist across back. Front fastened with full length zipper. Stand up fabric collar (3.5 cm). Long raglan sleeves with 5.5 cm cuffs fastened with one 1.7 cm yellow plastic button. LHS front breast pocket with navy embroidery. Triangular Commonwealth games symbol and ''X11 Commonwealth Games Brisbane 1982''. Two pockets above waist level opening from the side.Labels inside LHS front opening, 1.SPORTSCRAFT. 2. 97 cmR 65% Polyester 35% Viscose. Dry clean only A (60). Written on label ''Allan Mona'' in pen.costume, male, deep yellow tracksuit top -
Tatura Irrigation & Wartime Camps Museum
Uniform - German Tunic / Shirt, German Uniform
World War 11World War 11German uniform tunic / shirt, kahki cotton / drill fabric, 5 x silver metal embossed shank buttons on front, 4 x front pockets with silver metal embossed shank buttons. A patch with Nazi eagle and Swastika is on Front Right Chest. On each collar corner are grey bars with white and dark grey striipes. Black epaluts on each shoulder with silver embroidery around edges, held on with silver metal embossed shank buttons. Metal belt hooks attached at side seamsgerman army uniform -
Southern Sherbrooke Historical Society Inc.
Craft - Helen Gibson collection-books, articles and newspaper cuttings on handicrafts
Collection of handicraft text materials. Includes: - Table Mats (From paper cut out). - The Art of Hooked Work (Henrietta C. Walker). - Bark and Reed Work (Henrietta C. Walker). - Decorative Transfers- Beautify Your Home. - Country Crafts (1st August 1947). - The Arbee Guide- Handicraft. - Arbee- Mad Lampshades (Rafina and Nylon Ribbon). - A lesson In Smocking. - Raffia Work. - Jester Slippers. - Our Winter Slippers. - Glamour Gifts From A Lace Scarf. - A Colourful Country Bunch. Embroidery Designs Flowers. -
Warrnambool and District Historical Society Inc.
Pin Dish, Mrs Wm Wright Warrnambool, C mid 20th century
Mrs William Wright operated a shop at 95 Liebig street Warrnambool around the turn of the 20th century, where she sold clothing as well as a large range of embroidery and needlework requirement.Some of the work listed in advertisements include shadow work,princess applique and Mount mellick work. She was an experienced and talented needleworker and held classes in a range of work. Mrs Wright advertised that her students had success at local shows in items such as shadow work,, embroidered blouse, best cosy, canvas work, novelty pincushion,floss silk work.Her name was Martha but she always traded under her husband's name. She died in 1952. This dish is a a simple reminder of Mrs Wright This pin dish provides a link with one of Warrnambool's early shopholders and needlewomen. She is featured in a soon to be released publication about women in Warrnambool called Silent Lives. The dish itself is a pleasing little example of a pin dish.Small white plate with gold edging and gold text. It is a rectangular oval shape but all edges are rounded.With compliments Mrs Wm Wright Warrnambool in gold in middle of plate .Made in Czechoslovakiawarrnambool, mrs wm wright, mrs william wright shop, mrs wright liebig st -
Kew Historical Society Inc
Clothing - Evening Coat, 1920–1930
The donor, whose parents owned an antique shop believed that the evening coat was owned by the family of Cr Morris Nathan and his wife Margaret Frances, nee MacKay. Maurice Nathan was born in Kew in 1914 and died in East Melbourne in 1982. He was a student of Trinity Grammar School, Kew. He was Lord Mayor, and his wife Lady Mayoress, of the City of Melbourne for two terms between 1961 and 1963. The age of the coat, created in a design typical of the 1920s would suggest that it is of an earlier vintage, almost certainly dating from the 1920s, but perhaps earlier. The opulence of the sequinned and beaded embroidery have led to the supposition that it may be an opera coat inherited from an earlier generation.Three quarter length, red and cream silk, padded evening coat highlighted on the cuffs and hem with iridescent sequins, beading and pearls of different shapes and sizes. These decorative features are arranged in a formal design, particularly at centre back. Above the beaded sections are sunbursts outlined in gold beads.Trimmed rabbit fur at collar and cuffs. The sleeves are shaped above the embroidered sections while the hem features a zig-zag profile. MEASUREMENTS - Neck to hem front 93cm; Neck to hem back 100cm; Circumference 126cm; Shoulder to cuff 72cm; Shoulder width 36cm.Traditionally, pre acquisition, stored in brown suitcase embossed in gilt with the name R. NATHANevening jackets, opera coats, fashion -- 1920s -
Bendigo Military Museum
Uniform - BATTLE JACKET, RAAF
For Service History refer Cat No. 7877.61. Jacket - dark blue wool/polyester fabric. Battle dress style. Collar, shoulder epaulettes with Sqn Leader rank slides - 3 rank stripes, black and blue ribbons and 'AUSTRALIA" . Left sleeve insignia patch - white embroidery Eagle wings over "AIR FORCE" . Two patch pockets with concealed button flap. Right pocket - metal RAAF Badge, above pocket metal name badge. Left pocket - above service ribbons, blue and yellow ribbon with three rosettes - Long service. Black, red and white ribbon - Defence medal. Stretch ribbing waistband to jacket with plastic and metal zipper closer. Dark blue colour polyester lining with concealed pocket Dark blue plastic buttons with shank, raised emblem crown and wings RAAF. White cotton manufacturers label. 2. Cap - dark blue wool/polyester fabric. Utility cap style with Officers Insignia patch - gold embroidery - Queen's crown with red insert, wings and laurel leaves. Dark blue colour polyester fabric lining. White cotton manufacturers label inside on lining.Manufacturers information - black ink print. 1. "ADA/VIC 2002/ ^/ NSN: 8405 66 146 8842/ SIZE: 105r/ SERVICE NO:/ NAME: / LAUNDRY INSTRUCTIONS/ 50% WOOL 50% POLY/ DRY CLEAN ONLY/ REPRESS WITH DAMP CLOTH/ WARM IRON/ DO NOT SIRO SET/ MADE IN AUSTRALIA" 2. "ADA/ 4500 107475/ JULY 02/ NSN 8405 66 146 6323/ SIZE 62/ SERVICE NO:/ NAME: / DRY CLEAN ONLY/ 50% WOOL 50% POLYESTER/ MADE IN AUSTRALIA" 1. & 2. Handwritten - black ink pen "S.WRIGHT".uniform, raaf, battle jacket, cap, s. wright -
Bendigo Historical Society Inc.
Clothing - INFANT'S SILK CHRISTENING COAT
Clothing. Cream silk infant's christening coat. Fold down collar on round neckline with squared corners. Collar has four X 5 cm slits - one on either side of the shoulder. Collar has embroidered edges and floral embroidery on each section(5). Yoke at front and back. Skirt sections front and back have 7 cm smocked section where attached to the yoke. Edge of each yoke has decorative embroidered leaves that continue along both edges of front opening and around the hemline. Lower sections of the front skirt have embroidered floral patterns. Long sleeves are gathered at shoulders with 4 cm section of smocking 2 cm at the wrist with 2 cm gathered edge at hem. Front opening is fastened at throat with metal hook and cotton loop, and three X one cm pearl look buttons beside the smocked section. Two silk fabric ties (68 cm X 14 cm) are gathered and attached below the collar an each side front opening. Unlined. All embroidery in cream coloured silk cotton, slightly darker than silk fabric.costume, children's, infant's silk christening coat -
Queen Victoria Women's Centre
Re-purposed Quilt, Patsy Coverdale, The Century Bedspread, c.1975
Patsy Coverdale wrote on about the artwork which is found with the bedspread "This trousseau bedspread commemorates a century of our daily living, of four generations, a bedcover where many loves and lives have begun and ended. Once immaculate, its years of service, of blood, sweat and tears, have seen so many building washes that today's embroideries would shrink from. I rescued it, patched its tears and wears with needlework from ancestors and aunties to celebrate the International year of Women in 1975. It symbols include the IYW to the left, women's work and its rhythms and cycles, a pearl button for our pleasure centre. The male phallic symbol illustrates the organ's early development and its natural power with the energy of relativity behind it all."A quilt made for the centenary of the Hospital made for the International year of women 1975. Re-purposed from a quilt used at the hospital. Given to QVWC in 1997 for the grand opening. textile art, centenaries, hospitals -
Eltham District Historical Society Inc
Photograph, Shire of Eltham Historical Society Banner; Shire of Eltham, "As We Are" Community Banner Project, 1986, 1986
Tracey Naughton was the former Shire of Eltham Community Arts Officer and was responsible for developing the 'As We Are' project which encouraged a number of local community groups to develop banners. The Society was keen to be involved and the project was kicked off following a talk to the Society's members by Tracey in April 1986. The banner was completed and displayed with a number of other banners at the Eltham Community Centre in October 1986. It was then carried proudly for the first time in front of the Society's Parade Float in the 1986 Eltham Community Festival Parade and subsequent parades through to 1990. In December 1994 the Shire of Eltham ceased to exist and following council amalgamation and the establishment of the new Shire of Nillumbik, the Society's name (Shire of Eltham Historical Society) had become somewhat irrelevant and it was revised in 1995 to Eltham District Historical Society. The immediate downstream impact of this change was the rendering of the Society's Banner to history after only eight years of use. The banner now hangs proudly in our Local History Centre. The Historical Society Banner: Jud Degan worked with this group. The banner was designed by a male member and sewed by women. Sewing the banner renewed the group's knowledge of the area in an innovative way and, in turn, this has renewed the energy of the members to participate in the Society. The emphasis in this banner was to create a work of high standard which would last as part of the area's future heritage. The women particularly gained a sense of the history of their craft skills, enjoying the combination of hand embroidery and new machine embroidery skills shared by Jud. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, p49)Colour photographactivities, banner project, local history centre -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Ecclesiastical Linen set, 1907 to mid 20th century
The items in this collection of Ecclesiastical Linen were used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. The items donated include Maniples, Chalice Covers, a Goblet Cover, Altar Cloths, Matts, Priest's scarf, armband and sashes, and a bag that is a cover for the Baptismal Towel. HISTORY OF ST ANDREWS, DENNINGTON The land on which St Andrews Church was built in Dennington was surveyed in the 1840s and reserved for church purposes in 1855. In 1889 the Farnham Dairy factory relocated to Dennington and the town began to grow as involvement in the dairy industry increased in the area. In 1896 plans for a church hall on the reserved land were considered and on 22nd December 1907, the first Anglican Service was conducted in Dennington, with 60 people attending. In August 1909 the first building was opened with a midweek evening service conducted by the Rev. J.A. Coe. The Sunday School was opened the following year. In that same year, Nestle took over the Farnham dairy plant. On December 20th, 1914, a new church was opened in memory of Andrew Peacock, who passed away in 1912. The funds had been raised by the community and 150 attended the morning service. The building was described as a simple edifice with a plain exterior and high, wide pointed windows, and a comfortable porch entrance, all of which gave a pleasing impression of light and space. In 1935 the average attendance for morning services was just over 22 people. In 1936 extensive repairs and replacements were carried out. In 1947 the first recorded Pastoral Festival took place and in the same year, a Ladies Guild was formed. In 1954 water services were connected to the church building. Many items of furniture, furnishings and books were donated over the life of the church, including handworked linen items. Further items were added due to the work of the Ladies Guild, as well as donations in memory of church and community members.These items of Ecclesiastical Linen are significant as examples of handworked embroidery and drawn-thread work from the early 20th century. They are also examples of a collection of items used for church services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance of setting aside land in the 1850s for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900s and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Set of Ecclesiastical Linen. The items were once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. All of the handmade items are in white fabric. Some also have embroidered emblems, tassels and drawn-thread work. White embroidery thread has been used for most of the decorated items, with the following exceptions, which have been embroidered with coloured thread; the communion linen, the Priest's scarf, armband and sash, the altar cloths, mats and a cover for the baptismal towel. Two items have hand written inscriptions.(See individual objects for details)flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, linen for religious service, communion linen, priest's sash, baptismal towel, maniple, eucharist, emblem of rope and cross, embroidered religious cloths, embroidered celtic cross, drawn thread, chalice covers, handmade linen, embroidered linen, stylised cross, the english church, ladies guild dennington, nestle, farnham dairy, andrew peacock, victorian heritage register vhr 118083, hand worked linen, handworked embroidery, j.a. coe -
Bendigo Historical Society Inc.
Clothing - FRIEDA KAHLAND COLLECTION: BABIES CHRISTENING GOWN, 1920-30's
Fine white cotton, embroidered cotton. Cap type shoulder/sleeve.Totally embroidered. Yoke has Vshaped panel of finely embroidered cotton, edged with a cotton panel, edged in fine embroidery. These strips are repeated down the long organdie skirt. A deep panel of embroidered cotton organdie type fabric reaches from the hemline to the yoke. Handsewn, extremely fine seams. White cotton tape tie at back neckline, and back yoke. Garments from the Executor of Estate of late Frieda Kahland. See also 11400.122, 11400.363, 11400.364, 11400.365.costume, children's, babies christening gown -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: VERY LARGE LINEN PILLOW COVER-LACE TRIMMED, Late 1800-1950's
Textiles. Very large cover, with an envelope to enclose the pillow, stitched on the underside, with cotton tape ties to enclose the pillow. Beautiful fine cotton broderie fabric (possibly Swiss cotton broderie anglaise) edges the pillow. Corners of the embroidered cotton have been mitred in an unusual way, with the excess fabric still evident, in a 'kite-shaped' manner, in each corner. The embroidered cotton edging features a scalloped edge, with circular, and floral design. A 6 cm deep hem outlines the linen fabric edge, showing the embroidery fabric to advantage.textiles, domestic, very large linen pillow cover -
Brighton Historical Society
Clothing - Dressing gown, circa 1894
This dressing gown belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield, where they hosted lavish receptions for Melbourne's elite. Clara was known as a stylish hostess who wore elegant imported fashions. This dressing gown is believed to have been manufactured by Japanese silk merchant Shiino Shōbei. Following the opening of the port of Yokohama to foreign trade in 1859, Shōbei began producing western-style silk garments, initially selling them to foreigners living in Japan and later exporting them around the world, even exhibiting at the Melbourne International Exhibition of 1880. His popular exports included quilted 'at-home' gowns or dressing gowns similar to this one. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A hand stitched purple pink silk quilted dressing gown with pale pink embroidery from circa 1894. The dressing gown is embroidered from the collar and shoulders though the centre front body to just above the hemline, on the cuffs and remaining pocket in a pale pink Perle thread embroidery featuring leaves and flowers. The entire gown is hand quilted with vertical parallel lines. The gown's neckline features a flat collar and the sleeve head fits on the neat shoulder line. The sleeve head is gathered and full tapering to a loose flat cuff at the wrist. The front of the garment is currently secured by fourteen decorative frogs of two different styles, none of which appear to be original. There is also evidence of a fifteenth toggle that has been removed from the base. The gown's original left hand pocket has been removed and attached to an area around the right breast presumably to patch a hole or obscure some damage. It is unknown when these modifications have been made. The back of the gown features a gathered pink and black concertina pleated silk insert panel from the neck through to the base of the garment. The garment is lined with a very fine pale pink silk over the woollen batting.clara miller, woolbrook, septimus miller, cantala, gwendoline miller, caulfield, brighton general cemetery, shiino shobei, s. shobey -
Bendigo Military Museum
Uniform - SERVICE DRESS, WINTER, RAAF, c1942
John William HARKIN. No. 170317, Enlisted 27.06.44, Age 18. Discharged 6.12.48. Rank of LAC in 381 (B)SQD.1. Dress coat - navy blue colour wool fabric, black colour, cotton lining with beige colour cotton lining to sleeves. Buttons - black colour bakelite with metal shank, emblazoned with the King's Crown and a Wedgetailed eagle in flight WW2. On sleeves - Australia shoulder patch with wings and a propeller patch. Right sleeve - gold, blue and red colour "British Commonwealth Forces" patch. Makers label back below collar. 2, Trousers - navy blue colour wool fabric, owners label inside back, 5 button fly. 3. Trousers - navy blue colour wool fabric, makers size label inside back, 4 button fly.1. Maker's label - red embroidery on cotton fabric "M TX/ Size 18". Handwritten black ink "HARKIN'. 2. Owner's label - black ink on cotton "HARKIN/JW/ R.A.A.F." 3. Maker's label - blue ink print on cotton "N384/1942/ SIZE 24". Maker's label on back of trousers - dark blue print on paper - "AIRMEN'S/ TROUSERS'/ 18oz/ Size 24/ Waist 37../ Height 5'9"to 5'10". Black ink stamp "I/ E.C."uniforms, raaf, ww2 -
The Beechworth Burke Museum
Textile - Banner, c1872
This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.The banner has a narrow fuchsia embroidered top border, a wider embroidered panel depicting 2 dogs with embroidered Chinese text and a larger lower panel with the embroidered text “PRESENTED TO THE CHINESE OF BEECHWORTH BY THE COMMITEES OF THE PUBLIC INSTITUTIONS (missing) THAT TOWN IN COMMEMOR (missing) OF THE CARNIVAL 1873” The 2 lower panels have narrow decorative borders decorated with mirrors and extensive embroidery. There is an additional embroidered tab running along the right hand edge. The bottom edge has a wide knotted fringe. The back is lined with fabric decorated with a painted scene. Refer Attachment 1 quote ARTLAB AustPRESENTED TO THE CHINESE / OF BEECHWORTH BY THE / COMMITEES OF THE PUBLIC / INSTITUTIONS THAT / TOWN IN COMMEMOR / OF THE CARNIVAL 1873beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
Ringwood and District Historical Society
Sewing Box and Contents, Small Paisley Patterned Sewing Box, belonged to Maggs Family, Ringwood. C1900, c. 1900
Belonged to the Maggs family. A craft box for crochet work containing very fine crochet hooks, thimbles, scissors and sewing needles. Possibly used for beading work as well.Paisley patterned small sewing box with 6 compartments. On top tray and area below for flat objects - two pairs embroidery scissors; three bone threaders; one small cable needle; one brass safety pin; two retracting crochet hooks; seven metal crochet hooks (very fine); three bone crochet hooks with metal end (2 hooks, 1 pointed); and one metal pointer with bone end.; The top tray contains three thimbles (2 plastic, one metal); a tape measure and a book of needles (very fine). +Additional Keywords: Maggs -
Glenelg Shire Council Cultural Collection
Clothing - Child's dress, c. 1900
Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Cream silk child's dress. Elbow-length gathered sleeves with smocking at wrists. 2-panels of hand crocheted lace forming a 3-panel yoke with central insert of cream embroidery. Full-length dress in silk with two rows of smocking on bodice. At base of dress are two panels of 6 rows of pin-tucking, separated panel of lace over silk backing. Lace at neck. Opening in centre back with 7 button holes and 5 mother-of-pearl buttons with striution carved design. Cream satin ribbon runs under smocking at back and sewn into side seams.clothing, costume, dress, 1900s -
Kiewa Valley Historical Society
Towel Tea CWA, circa mid to late 1900's
This tea towel was manufactured in 1978 in Ireland and shipped to Australia. This was in a period when the C.W.A. was the major women's organisation which had the greatest influence amongst rural women (especially in isolated areas). This was a period when broad based communications were mainly by radio,women orientated magazines and the telephone. The relay of television to "remote" rural areas was not yet established. The CWA was therefore a very important organisation that catered exclusively to women's needs. The C.W.A. motto "Honour our God, Loyalty to the throne, Service to the country, Through country women, For country women, By country women." The atmosphere was one of "sisterhood" and covered nearly all the needs of rural based women. This one organisation incorporated knowledge and learning targeting women who physically may be isolated but not mentally. On the tea towel are portrayed all the activities that would be beneficial to rural women.This tea towel with its respective motifs is very significant to the Kiewa Valley as it related especially to women who felt the limitations of social interactions within a rural area. This tea towel represents a era where communications was relatively based on radio, magazines, books and limited telephone access. Within these restrictive interactive communication levels, the isolation of a "back o' Bourke" location applied tremendous mental fatigue on women more than on men.This CWA Victoria Golden Jubilee (1928-1978) tea towel is made from Irish flax at the Blackstaff Flax Spinning and Weaving factory. It is therefore of high quality and very durable. The major colours projecting from a light blue background are red, yellow, green, orange and black. The motives portrayed the activities of the CWA in 1978. These activities are embroidery, crocheting, dress making, knitting, cooking, art, macrame, drama, music, patchwork, toy making and community relief, pennies for friendship, emergency relief and welfare, residential club flats, the thanks giving and Papua New Guinea.The main or central theme of this tea towel is presented in the central area within three rings. "1928" on the left and "1978" on the right. On the top part "GOLDEN JUBILEE" and at the bottom "COUNTRY WOMEN'S ASSOCIATION OF VICTORIA" There are various shapes representing the activities listed above.cwa promotional material, cwa golden jubilee, women only organisations, country women's association -
Flagstaff Hill Maritime Museum and Village
Ceremonial object - Priest's armband, 1907 to mid 20th century
This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Priest's armband, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. The rectangle of lined coarse white fabric is slightly flared at the ends. The length has been folded in half, then stitched across its width about halfway along to form a loop on the folded half. One side has been finished with a white twisted cotton fringe. A cross symbol has been handworked on the end above the fringe, using white ribbon with gold-coloured edging and gold embroidery in the form of rows of small crosses. Embroidered symbol [ribbon cross with gold-coloured borders and small gold-coloured crosses along the arms]flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, hand worked linen, religious service, religious ceremony, ceremonial linen, needlework, embroidered, applique, cross symbol, priest's armband -
Bendigo Historical Society Inc.
Clothing - FAVALORO COLLECTION: WOMAN'S BED JACKET, 1950's
Clothing. Cream silk woman's bed jacket with cap sleeves trimmed with 2cm cream coloured scalloped lace. Sleeves embroidered with five 7mm flowers of different colours. Low scooped neckline dips to a V at centre front. Front opening and neckline edged with 2cm scalloped cream coloured lace. 6cm peplum front and back with drawstring casing connecting it to the bodice. .5cm ribbon tie through casing. Press-stud at centre front at base of neckline. Floral embroidery of wreath and scattered flowers on both sides of front bodice and at centre back below neck line.costume, female, woman's bed jacket -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, Eliza Towns, Late 19th century
This item of underclothing, called a "combination" 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. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. 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 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 white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, Late 1800s
This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. 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. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. 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 white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations