Donor worked as a missionary in the Sudan. 'I worked in the Nuba Mountains but for holiday's (travel difficult) sometimes spent a short period in other missions. One of these stays was with the Presbyterian mission. They worked north of Khartoum. The pieces were done by women trained by the American missionary and the designs were probably influenced by them.A) Cream mat with cross stitch on one end in various colours. 42x29cms B) Square yellow mat with a design round 4 sides in diagonal cross stitch. 25x25cms C) Cream mat with diagonal cross stitch and cross stitch design of leaves and berries inprint of green down one side 41x27cms D) Book mark in cream linen with decorative geometric design in cross stitch and diagonal cross stitch. E) Book mark in cream linen with multi coloured trail of leaves in cross stitch and diagonal cross stitch 12.5x4.5cmsembroidery, cross stitch

Old Ballarat Pottery was set up by John Gilbert as part of the Old Ballarat Village, opposite Sovereign Hill. Gilbert had lectured at Ballarat College of Advanced Education before establishing the Edinburgh Pottery at Sovereign Hill in 1972 to enable visitors to see traditional trades at work. The Old Ballarat Pottery was a much larger concern, producing wares for sale through department stores and on party plan via Faberware as well as through the village. Early works looked as though they might have been made in the 1850s, with unturned bases, crude marks and dark treacle-like glazes. Peter Pilven, one of Gilbert's students, worked there after graduating from the Ballarat College of Advanced Education, teaching throwing to students like the potter John Ferguson, who was there from 1978-79. Potters were initially employed by Gilbert's company Pontresina Pty Ltd, registered in 1973. (The Old Ballarat Pottery was registered as a company from 1984-1994.) Early works are marked with an impressed long-tailed 'B', or an 'OB' on either side of a mine tower. A printed stamp also features a mine tower surrounded by the text 'Old Ballarat Pottery Made in Australia'. Later work is impressed 'Stoneware Old Ballarat Pottery Australia' with a kangaroo.Hand thrown black glazed bottle with lip. Stamped 'Stoneware Old Ballarat Pottery' and impressed with a long tailed B.old ballarat pottery, australian studio pottery, pontresina, bottle

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Pink three piece legging suit, consisting of cardigan, lettings and beanie. Cardigan is knitted with textured stitch and has stocking stitch panel bordered with garter stitch at centre front. Two rows of buttons on garter stitch tab, with a fifth button under left collar. Leggings are plain garter stitch with an elastic waistband and a flap that extends onto the top of the foot with elastic to keep it held under the sole. Hat is in same patterned stitch as cardigan, has ear flaps with ties and a white pompom.1) [Label at back neck with blue lettering woven into label] KATHRYN REGD ORLON / 20 /CREATED BY ROBERT BLAKE [sample label] [OBVERSE] STYLE LS/PWO – 3 PCS – LEGGING SUIT – PEARL PATT. – 80% ORLON 20% WOOL SIZE 18” 20” PRICE 48/6 51/6 COLOR BLUE. LEMON. PINK. WHITE. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, pom poms

James Semmens was born in Cornwall. He married Elizabeth Ann Marks. In 1895 he lived at McIntyre Street, Long Gully; 1901 Mt Korong Road and 1905 Crn Bond and Creeth Streets, Long Gully. By the time he left Bendigo (approx 1915) he also had a store in View Street, Bendigo. He served on the Bendigo Council as a representative of the Barkly Ward and as the Mayor 1906/7.Black and white photocopy of a photo of J. Semmens, Grocer, Draper, and General Storekeeper, Long Gully, Bendigo. Photo shows the store with the name, J Semmens, Grocer, Draper, Boot and Shoe Warehouse. In front of the shop is a number of people and two horse drawn vehicles. Written under the photo is: Cr was Bond Street & Creeth Street Long Gully, now Eaglehawk Road & Creeth Street, Long Gully. Note - Kerosene Light or Gas Light at Corner.bendigo, history, long gully history group, the long gully history group - j semmens, j semmens draper

Contemporary Ahir style embroidery purchased by the donor from the embroiderer, Mrs Sofia Natemitha Mutna of Dhordo Village near Bhuj in Gujarat, India in January 2012.Contemporary Ahir style embroidery. A circular design in silk thread in red, blue, green, orange, yellow, pink and white on a black synthetic ground. Stitches are chain, running stitch, feather stitch and shisha work. Feather stitch is in a variegated thread.india, embroidery, india, shisha

Framed sampler stitched by Grace Robertson. Alphabets and initials in various stitches and colours. c 182?Grace Robertson Helensburgh 182?sampler, alphabet

Made of lawn with a border of flowers in satin stitch and buttonhole stitch. Fine embroidery in classical style.embroidery, handkerchief, mid 19th century, scotland, ayrshire work

Cream nylon (?) ribbon, 1.5 cm wide, wrapped around a flexible (possibly cardboard) horseshoe shape eleven cm long X 10 cm wide. A "stem" of cream rosebuds, studded with four teardrop shaped pearls, is stitched to the face of the horseshoe. A loop of the ribbon, 47.5 cm long, is attached for the bride's arm. This is finished with two loops, seven cm and six cm long, falling in the centre of the horse-shoe.costume accessories, female, wedding horse-shoe charm

An Hawaiian quilt is a distinctive quilting style of the Hawaiian Islands that uses large radially symmetric applique patterns. Motifs often work stylized botanical designs in bold colours on a white background. Hawaiian quilt appliqué is made from a single cut on folded fabric. Quilting stitches normally follow the contours of the appliqué design. Hawaiian quilting derives from the kapa moe, an indigenous bed cover textile. Kapa was constructed from the inner bark of local trees. Traditional kapa was beaten and felted, then dyed in geometric patterns. Quilting may have begun in the Hawaiian islands with the arrival of missionaries and Western fabrics in the 1820s. The climate of Hawaii is unsuitable for cotton cultivation and kapa is unsuitable for quilting so all Hawaiian quilts are constructed from imported material. The earliest written reference comes from Isabella Bird who visited Hawaii in 1870 and wrote a travelogue Six Months in the Sandwich Islands.Worked by Mrs Brent Clark and daughter. An American design of the 19th century, worked and adapted from a photograph by the donor. Mrs Brent Clark was an early pupil of the Victorian Institute for the Advancement of Plain Needlework (Melbourne) and Foundation member of the EGV.Background of fine white cotton, quilted in running stitch. Appliqued design known as 'Friendship Plume" is in pink cotton, with a 3 cms scalloped border, also in pink.embroidery, applique, quilts, mid 20th century, australia, hawaiian

An example of a handstitched decorative cloth from early to mid 1900s.The item is of social significance as an example of a hand stitched project undertaken to create a decorative domestic object.Pale yellow, hand embroidered small tablecloth. Tapestry thread in fawn, cream and yellow has been used to work star shaped designs in satin stitch, stem stitch and back stitch. Feather stitch forms a border around the overall pattern.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, tablecloth, embroidered, domestic object, textile

The port was one of many initiatives by the Victorian Branch of Vietnam Veterans Association of Australia to commemorate the Battle of Long Tan.Significant to the extent that it is a reminder that 2016 was a significant commemoration of a major battle in Vietnam - the Battle of Long Tan.Bottle of port; Pfeiffers brand, 500 ml; 2016 VVAA (Vic) label commemorates 50th Anniversary of the Battle of Long TanLabel headed Victorian Branch Vietnam Veterans Association of Australia; then 50th Anniversary logo finishing with "Commemorative Port". Fine print on label satisfies regulatory labeling requirements.vietnam, diamond valley vietnam veterans sub branch, battle of long tan

This cotton baby's nightgown is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire.The Maggs family were early settlers in the Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. A long white cotton infant's Christening or 'walking-out' dress. The neckline and short sleeves have broderie anglais trim. Bodice has extensive cut-work and hand embroidered feather-stitching. There is further hand-embroidered feather-stitching around the waist band. The skirt of the garment has pin-tucking and lower borders of further cut-work The garment is in good condition.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, baptism, dressmakers, craft work, maggs nance

Long coffee coloured wool lace evening gown with long sleeves and train. According to the donor (see correspondence in supp. file), this gown was made from Australian wool woven in Bradford and made up in Paris. It was given to the Melbourne Legacy Wives Association by Mr Ken Clarke (former head of the Wool Board and a Legatee) for use in a parade of garments by the Legacy Wives Association. This particular gown won an award (Wool Award/Gown of the Year?) in c.1957 and was on display in the window of the Georges department store in Melbourne.Long coffee coloured wool lace evening gown with long sleeves and train. Slip under coffee coloured lace dress. Detail of bodice of coffee coloured lace dress. Photograph from C of A: Ministry of Post War Construction Report c1945 "Wool"AC / AUST WOOL BOARDfashion, australian wool board, lace

significant to the Pyrenees Shire and Lexton communityframed cross stitch

This Post card is an example of the skill that the men or women learned during the War time for relaxation or during recovery periods in hospitals.This item demonstrates the skills of those that were involved in the First World War and the hobbies that enlisted men participated in when Ill or having leave from combat.White card with hand stitched holly leaves and berries in green and red on fine cotton with light blue hand stitched trim. The words Merry Christmas stitched towards the bottomOn the front are the words Merry Christmas. On the back written in pencil are the words Belguim 1916-1917. "To Dear Bess Wishing her a Merry Xmas & a Happy New Year from Donald."ww1, hand, papercraft, crafts

This small handcrafted bookmark was made by one of the Jones sisters, Gwen or Edna of 'The Union' homestead at Woolsthorpe in Western Victoria. An Australian domestic example of a corner bookmark of a type popular in the 1950s.Two small pieces of blue felt cut into shape of lady's face and stitched together with features added with wool stitching. Wool thread as hair stitched to hang outside the pages.Nilbookmark, felt, woolsthorpe, victoria

Yellow fronted and Green backed medium sized long sleeve tee shirt with alternate writing 'Association for the Blind' and 'South East Water'.Yellow fronted and Green backed long sleeve tee shirt with alternate writing 'Association for the Blind' South East WaterAssociation for the Blind South East Waterassociation for the blind, advertising, south east water

A Gaiter or Puttee covers the lower leg and boot lacing and are a type of protective clothing for the ankles and legs below the knee.. These long woollen wrap around Gaiters were issued 1943 to a serving Australian Soldier in World War 2 1939-45 This pair of Australian Army Gaiters were issued in 1943 to one of the many young men from City of Moorabbin who volunteered to serve during WW2 1939-45 WW2 extra long wool wraps /gaiters / puttees Australian Army issue 1943 MADE IN AUSTRALIA / N466 D D / REGIMENTAL NO. ......./ NAME ... C.M / 1943australian army, world war 2 1939-45; gaiters, puttees, woollen goods, protective gear, uniforms, australian infantry forces, moorabbin, bentleigh , cheltenham

This long, hand-sewn, cotton, baby's nightdress is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire c1900The Risstrom family were early settlers . The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these familiesA long, hand-sewn, baby's cotton nightdress with hand-crochet on neck and hem and a draw-string ribbon around neck.clothing, brighton, moorabbin, pioneers, dressmaking, dendy henry, market gardeners, early settlers

This ankle length black dress with pleated skirt , buttoned bodice, self belt and long sleeves is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire c1910The Blackburn family were early settlers in Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these familiesA lady’s ankle length, black dress with a pleated skirt, buttoned bodice, a self belt and long sleevesclothing, brighton, moorabbin, pioneers, dressmaking, dendy henry, market gardeners, craft work, blackburn nance

Purchased by Guild 17/7/1960Fine linen with broad hem stitched border the only decoration. Initials worked in white embroidery stitches.Initials embroidered LMC. Marking ink - L.M. Cochraneembroidery, whitework, late 19th century

Hand knitted cream wool shawl. Garter stitch centre. Deep fan and feather stitch border.costume, infants'

One large semi-circular mat, embroidered in brown, orange, red, yellow, cream and green silks. Motifs of pansies and leaves. Techniques of Roman cutwork and surface stitchery (long and short stitch). Brown needle lace edging.embroidery, cutwork, surface stitchery, mats, australia, 1900-20

Bright green linen trimmed with matching crochet edgings. Two pockets. Standing inside an arbour, a lady in a bright yellow dress worked in long and short stitch. Very reminiscent of the period of 1920-1930's Art Deco.embroidery, aprons, 1900-20, australia, surface stitchery