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

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 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

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

Interpretation of the Gervasoni farms at Yandoit Creek using a fauvist colour palette.Lisa J. GERVASONI Born Melbourne, Victoria Graduating from Royal Melbourne Institute of Technology where she received a Bachelor of Applied Science-Planning, and the University of Melbourne with a Master of Environmental Studies Lisa Gervasoni's artwork reflects her passion for the landscape and built form. Lisa Gervasoni specialises in photography, embroidery and acrylic paintings on canvas. Many of her works have the theme of interpretation of heritage and cultural spaces. Dedicated to recording cultural heritage in situ Lisa Gervasoni has used photography to document urban areas, heritage sites and natural resources of Australia.She has provided over 70,000 images to the National Library of Australia Trove database via the Flickr portal. In 2004 Lisa Gervasoni won the Daylesford Small Art Prize for an embroidered depiction of the Savoia Hotel in Hepburn Springs, and in 2022 she was shortlisted in the Harden Landscape prize. Her art mediums are photography, embroidery and acrylic on canvas. Many of her works have a theme of interpretation of heritage and cultural spaces. abstract, modernPainted stretched canvas depicting an abstract aerial oblique of Yandoit Creek, Victoria.gervasoni farm yandoit creek, lisa gervasoni, yandoit creek, italo-australians

Clothing. A concealed full length back opening reveals five tiny covered buttons, 7 mm in diameter and five hand-stitched button holes. This opening is bordered by two groups of five very fine pin tucks with a 3 cm spacing between the two groups. The blouse is made from very fine Swiss lawn cotton fabric, and is very soft to the feel. The front has a broad panel thirty cm wide of exquisite pintucks, crochet, lace and embroidery. The embroidery is white on white, and features flowers and leaves in a curved pattern. A crochet panel below the high neckline is 4 cm x 10 cms and is peaked at the lower edge. This is bordered by 1.5 cm wide cotton lace, and horizontal pintucks. Two panels, one on either side of three pintucks, 1.5 cm panel of lace, and then the central panel of embroidery, pintucks, lace, and crochet. Five pintucks, 1.5 cm panel of lace and five more pintucks run the length of the short sleeves. Sleeves are puffed, and gathered at the shoulder, and at the 1.5 cm deep cuff, which is also pintucked. A 1.5 cm deep 'stand-up' collar, spoke-stitched to the garment, as are the sleeves and shoulder seams. Front hemline is curved. Back hemline is straight.costume, female, a full length back opening blouse

The Roper family lived and farmed in the Kiewa Valley. They may have sent their son, Bert, to C.G.S. (Caufield Grammar / Camberwell Grammar School). The Roper family were early settlers in the Kiewa Valley.Glass cover of a Black & White Photo of a boys football team with 'V' jumpers, white shorts and 2 footballs with 'C.G.S / 1909' written on them. The photo is attached to an embroidered cotton backing allowing the photo to be seen through an oval shape cut out in the middle. Around the embroidery is a brown wooden frame. The embroidered piece is backed by masonite with the framer's name attached.On the back of the photo, handwritten: Dear Mother / Wishing you a very / happy birthday on the 29th October / From Bert. Miss Roper / Call ... On the back of the masonite: Heatherley & Horsfall, Picture Framers & Mount Cutters ...football. roper family. bert roper. c.g.s.. kiewa valley. embroidery.

These three souvenir handkerchiefs were brought back to Australia after World War Two by James Godfrey. Flight Lieutenant James John Godfrey enlisted in World War Two in the Australian Air Force from Bessiebelle in western Victoria. He was attached to the British 8th Army under General Montgomery in North Africa and then took part in the landing in Sicily and the subsequent campaign through Italy. Before returning to Australia he travelled to Israel and Austria. These handkerchiefs are retained, firstly as examples of souvenirs brought back to Australia from returning military personnel after World War Two and secondly as souvenirs belonging to James Godfrey who had connections with the Warrnambool district. .1 This is a small pink silk handkerchief with a fluted edge and with some embroidery in one corner with flowers and wording in green, yellow and orange. .2 This is a small aqua-coloured silk handkerchief with a stitched edge and some stitched wording in one corner. Much of the edge stitching has been lost. .3 This is a white silk handkerchief with a stitched edge and a stencilled image in one corner. .1 Till we meet again .2 Bethlehem .3 Souvenir of Egypt world war two, history of warrnambool, james john godfrey

CENTRAL white silk square surrounding a small panel of embroidery featuring flags of various nations in the shape of 1918. Cotton lace inserts between 4 silk panels embroidered with pale pink & white flowers & trailing green foliage. Pale pink ribbon bows at each corner < the whole silk panel edged with wide, scalloped edge lace with mitered corners.1918 Souvenir de Francemilitary history-souvenirs, flags - national, manchester - fabric

This quilt was purchased from an op shop in Clifton Hill, Vic. by Lois Densham, a quilter and former member of the Running Stitch group who has an interest in historic Australian quilts. The quilt has been displayed in NSW, where it was part of an exhibition of Historic Australian Quilts curated by Annette Gero and held at Old Government House, Paramatta between 5 June and 22 August 2000. Initially purchased in Clifton Hill, it originally came from a source in Highton, Geelong. It is a double bed sized quilt in the classic 'crazy' style with extensive use of herringbone and feather stitching.The pieced style of the quilt, made from squares of patchwork is similar to the style of quilts made by members of the Country Women's Association (CWA). The women sometimes made a quilt as a group activity and Lois suggested that the quilt may have been made by this group.Quilt, rectangular. Made with crazy patchwork in twelve large blocks. The blocks at each corner are fairly regular, whereas the others are full of random pieces. The patches are oversewn with hand embroidered feather stitch in different colours. In the centre there is a block with a maroon cross. Many of the pieces have central 'sprigs' of green embroidery in bullion stitch. The quilt is backed with a blue and green striped fabric.quilting patchwork, running stitch group national trust of australia (nsw), running stitch collection, densham, ms lois, geelong, quilting, patchwork, cwa

A cotton bonnet belonging to the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. The bonnet edge is finished with a double-layered delicate gathered lace ruffle around all the edges. The bonnet secures under the chin with a delicate tie made of a similar but plain fabric.george ward cole, st ninians, late 1800s, bonnet, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole, brighton

Cream, hand-embroidered, linen tray cloth with orange, apricot, blue and green floral design and a scalloped, crocheted edging. Three cream, linen doilies, one with a scalloped edging and cream hand embroidery and one with two blue hand-embroidered baskets of pink flowers and with a crocheted edging. The third doily has a floral, hand-embroidered design, with a pink crocheted edging.table linen., table ware.

This item was sent home to Arthur Tranters daughter Brenda. Refer to Cat No. 7944. Item in the collection of "Arthur E. Tranter". V50166 - VX52843 - 2/29th Bn P.O.W.Top or small dress for a young girl. Orange colour cotton, muslin or lawn fabric, gathered onto a yoke with hand stitched smocking. Above hemline - decorated with handstitched embroidery. Thread colours - white, cream, blue and pink. Left shoulder opening has three metal press studs to close garment. This garment was sent home to A.E. Tranter's daughter.clothing, ww2, arthur e tranter

The geometric pattern mimic Ukrainian embroidery design,using straw marquetry technique (which is similar to that of wood marquetry). The wheat straw was soaked in different pigments to achieve the required shades,dried,split and ironed flat. Then cut into various sizes and shapes to create this pattern. The pieces where then glued onto a backing board.The backing board was then glued on the back of the photo album. This album was received as a birthday gift in early1960's.This form of straw art is very rarely seen today.Book is black.Back page is coloured straw design. photographsphoto, book, straw, ukrainian design, 1960, family dutka

Ladies grey blazer worn by Heather Pain as Pipe Major of the Ladies Pipe Band Bendigo. Grey woollen single breasted blazer. Grey satin lining across shoulders at back. Long sleeves lined with yellow and black striped cotton fabric. Body of blazer unlined. Three pockets on front-one on either side at hip level. One LHS breast pocket with red embroidery shield containing thistles, leaves and crossed swords. The pocket has a 1cm tartan bans across the top. Hip level pockets and lower sleeves have 1.5cm bands of red corded ribbon. Front opening is fastened with two X 2cm grey plastic buttons. Internal seams edged with brown satin ribbon.Red embroidery on breast pocket ""Ladies Highland Pipe Band''.''Bendigo embroidered inside an embroidered banner.Label at back of neck- ''ASHMANS'' The Home of Better Suits, Hargreaves Street Bendigo''. Label attached to lining across shoulders (^cmX6.5cm).Picture of shield with tailor's tools and words, Ashmans, The Home of Better Suits, Hargreaves st Bendigo. Label stitched inside right front Ashmans Hargreaves St., The Home of Better Suits. Miss H. Pain 8141 6/9/55''.costume, female, ladies grey blazer.

Small head and shoulder portrait of a lady mounted on black card with rounded corners with the bottom portion cut off. The lady is wearing a high neck dress with a frilled stand up collar and a brooch at the neckline. The dress has buttons down the front and embroidery on each side of the buttons. She is also wearing a knotted cord around her neck. Photographer's name cut off.photograph, portrait, female, portrait of a lady

Silk embroidered postcard with purple, yellow & green flowers 7 wording Christmas Greetings & To My Deatest Darling. Back reads: ' To Dear May ? Wishing you a Merry Xmas and a bright and prosperous New Year. Your loving brother in law Forbes. Embroidery makes a pocket which holds a small card with an illustration of a lady arranging flowers. It has 'a happy Christmas' printed on it.communication, postal, postcards, malone collection, silk postcard

Supper cloth embroidered by Margaret Amess, youngest child of Samuel and Jane Amess. Margaret Amess gave the supper cloth to Mary Clay, aunt of the donor.Linen supper cloth with drawn thread 55mm from edge all around, 2 rows of drawn thread with petals 130 mm from edge and 175mm from edge. Drawn thread at corners showing petals and whorls. White. Butterflies embroidered at alternate diagonal corners. Letters "M" and "A" at the other alternate diagonal corners. White embroidery on white linen. Butterfly motif."M" "A" in diagonal corners.margaret amess, tynefield, churchill island, supper cloth

Made by MRS Harris for her daughter Norma (donor) in 1920Baby's Cream silk dress with round neck sleeves, opening down back of bodice with three press studs to waist. Waist band has 18 button holes for ribbon to be threaded through. Herringbone stitch insert 2/3 down skirt. Embroidered flowers on skirt and bodice. All edges finished with crochet edging. All embroidery and crochet in cream silk thread.costume, children's