Machine made camisole with lace yoke and short sleeves. Square neckline. There is a tape draw string in casing at the waistline and an 8 cm deep peplum. Peplum cut on the cross. Two pearl buttons and hand stitched button holes.costume, female, underwear

Wooden base, leather reinforced, stitched canvas, inserted rope top, brass eyelets, rope handles, sliced one side, metal with spring clips the other side. Leather washer with copper rivets, Separate pocket inside.canvas, bucket, container, farm, churchill island

Undersleeves were a feature of dress in the late 1840s to 1870s. All day dresses had them. Also called engageants and possibly eglantesA pair of lawn sleeve covers in cream. Sleeves gathered to cuffs with hemmed slit for plackets. Cuffs have small buttons and button holes and edging of butter holes stitched loops . All hand sewn with pinch seams on sleeves.costume accessories, female

School exercise book with stiff boardcovers. Centre stitched. Pale and dark green Edwardian graphic design, with hand written inscription on front and inside cover. Ink on front and pencil inside cover - all work in black ink.Front: Lizzie Pilkington, State No. 888 {school}|Inside cover in pencil: Lizzie got her bangle for getting excellent all through the book. 1902.books, school/educational

Piece of multi types of needlework mounted on cardboard. Green tapestry background including leaves. Inter woven into this are beads. predominantly white. Main feature is multi coloured flowers heavily raised in carpet like stitch. (Berlin Work)handcrafts, embroidery

This item was used as a duffel bag to carry equipment (ie. blankets, clothes, food) by the service man, Allan Eversfield Howlett. Howlett was born in Snake Valley on 11 March 1921 and was enlisted during WW2 into the second Australian Imperial Force, enlisting in Caulfield. His next of kin was James Howlett.Canvas bag, cylindrical in shape with closed round base and open, drawstring top enclosed in a hemmed top. Black stitching encircling top hem and round base. Name and service number inscribed on side and reverse of bag in ink.Side panel: “HOWLETT.A.E./VX28214” On reverse: “VX28214”bag, barracks bag, gear bag, kit bag, canvas bag, equipment bag, duffle bag

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Grained brown leather with decorative stitching around edges of shoes. Small matching brown leather bow on instep. Nailed on leather sole and built up heel. Eyelet punch on instep flap to take small brown button.On sole circle stamp "All Leather IHM" 11 on sole towards toe

This quilt came to the Running Stitch Group from a visitor at the 'SIO Great Exhibition of Victoria' held at the Museum of Victoria in 1985. This exhibition of historical ephemera about our state included many of the quilts collected by the group. After seeing the value of these utilitarian quilts, many visitors decided to donate their family quilts to the Running Stitch Group. Meg McNab was one such person who identified her step-grandmother as the maker and said the quilt was used in her fathers' family. It eventually came back into her family through her own mother who came to stay in later years. For the journey, the quilt had been used as packing material. Owing to its size, this quilt may have been made for a child. The stained pattern on the back has occurred as a result of rust marks from a wire wove mattress base.This is the front of the quilt. The rod pocket has been applied to the verso. This is the back of the quilt. the rod pocket has been applied to this side.quilting history, running stitch group, running stitch collection, mcnab, meg, quilting - history

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

Any faults in the final product can be repaired by mending. Prior to more advanced machinery, fabric was draped over a mending table and carefully inspected for faults. Quick eyes and nimble fingers were needed. Repairing faults was a highly skilled manual operation. Any knot or thickness had to be removed without affecting the quality of the fabric and mending had to be invisible. In the 1930s to make the day pass faster, popular records were played to the factory workers in the mending room. The top of the table is propped up to make it a well-lit surface over which bolts of fabric were unrolled to check for faults. Menders repaired them with invisible hand stitching. Each weaver stitched a coloured thread in the selvage to show the start of their shift, therefore if mistakes were found the company could easily find who was responsible. This table was used by Gail Morris in teh 1960s. Large wooden table with tilted top. mending table, wool processing, fabric, textile industry

This post card has been sent from a military camp in England by Private George Hall to his niece Myra. Private Hall was a farmer from Purnim who enlisted in August 1915 (14th Battalion, 15 Reinforcement Group). He was aged 30 at the time. He left Australia in 1916 and transferred to 3 Field Artillery Brigade. He returned to Australia in 1919. The card gives no details of Private Hall’s activities at the time but indicates that he had sent several post cards to members of his family. This post card is of interest as an example of the many beautiful embroidered post cards that were sent by Australian soldiers to family members during World War One. The cards were usually made in France and sent from there but in this case was sent from England. The card is also of interest because it is a personal message sent from a local soldier from Purnim during World War One This is a post card from World War One. It has a written message on the back from Private George Hall to his niece Myra and it has a piece of embroidery on the front of the card. This depicts a black cat with the British colours of red, white and blue around its collar and other ornaments – a white horseshoe, a Union Jack, a white pedestal and red, green and white greenery. The words ‘Good Luck’ are stitched in yellow. The stitching is on white silk which is somewhat stained. There is a crimped border in lightweight cardboard around the embroidery. The message on the back is written in pencil.‘Dear Myra, Just this P.C. to let you see I have not forgotten you. Hope you are quite well. I have sent you & Dorry a lot of P. cards from England. I hope you get them all right. Your poor old Uncle George, 4821, 40 Bat. Worgret Camp, Wareham, Dorset. Wishing you all a very Merry Xmas & Happy New Year XXXX Nov. 24th -11-16.private george hall, world war one, world war one embroidered postcards, history of warrnambool

Mt Beauty Higher Elementary School commenced in 1953 as the need for a secondary school grew with the increase in population due to the Kiewa Hydro Scheme. It became the Mt Beauty High School in 1964. The blazer was worn as part of the winter uniform.Historical: Education in Mt Beauty commenced relatively late so there was less of a tradition. The decision to adopt a uniform is of interest to compare with other schools and the times.Pure wool dark green flannel pocket cut out from a Mt Beauty High School blazer. Emblem is machine stitched and has a yellow wattle decoration outside a yellow frame. Across the top of the frame in yellow 'High School", across the bottom of the frame "Mount Beauty", the 2 sides of the frame are hollow. Inside the frame is a stitched picture with a light blue sky, royal blue mountains with white peaks and a white curved path leads towards the mountains with light green 'paddocks' either side. Inscription on back in yellow and white.Pinehurst / Blazer (in white) / Styled by Stamina / The "Doctor" / Pure Wool Flannel (in white) blazer, school, high school, uniform, mt beauty, emblem, education, clothing, winter

This RAAF uniform is believed to have belonged to Flying Officer Russell Miller, the son of William and Muriel Miller of Warrnambool. Russell Miller attended Warrnambool High School and worked for the Warrnambool City Council before enlisting in World War 11. He was killed in flying operations over Germany in 1944. Died 28 Sept 1944. Remembered at Rheinburg War Cemetery, Nordrhein-Westfalen, Germany. More info @ https://cwgc.org/find/find-war-dead This uniform is a poignant memento of one Warrnambool's brave heroes of World War 11.1 The jacket is made of navy blue wool with a rever collar, four front pockets, eight buttons with air force insignia and navy cloth lining. The two sleeves have metal insignia and black and cream braiding. Above the front left pocket is a stitched blue and white applique. The jacket has a cloth belt with a rusted metal buckle. .2 The trousers are made of navy blue wool with two pockets, a buttoned fly and there are six buttons evenly stitched around the waist band. There is also a metal clasp on the waist band. RAAFraaf, flying officer russell miller, raaf uniform 1940's

Textiles. Small cushion of silk fabric - pink on one side, blue on the other side. Pink crocheted cord stitched onto side seams on all sides forming three cm loops on two corners with loops at centre of short sides - 0ne X 12 cm, one X 9cm. Pink ribbon placed diagonally across one end (2.3cm). Stitched to side seams and ending with a bow. Decorated in two places (pink side) with fabric paint - 1. House scene, 2. Black swan and pink flowers.textiles, domestic, small cushion

Used by conductors or conductors to retain and sell tickets from. Demonstrates the method of dispensing tickets by conductors, how the tickets could be arranged. Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Sheet of leather, approx 2mm thick, stained brown with four pockets formed on each side with another sheet of leather, stitched on all sides to form pockets to hold eight blocks of tickets. Stitching is a dark brown colour cotton. Has seven blocks of tickets, possibly of Bendigo origin, each with 200 tickets. 4c - red - C551400 5c - orange - City Section - A391000 5c - yellow - B796200 7c - City Section - purple - A183800 10c - black - C468800 13c - black - B602000 18c - brown - A482200 tramways, trams, tickets, conductors, sec, ticket wallet

772 page 1869 bible with a brown cardboard cover embossed with a cover embossed with a geometric design. The spine has Holy Bible imprinted in gold upper case lettering and is well worn with some damage exposing the stitched binding of the pages. non-fiction1869 American Bible Society Bible presented to Eliza Curtis in 1870.19th century bible, eliza curtis, david owen, e isabel owen, l florence owen, lorraine owen, sulhamstead, coulstock street, warrnambool, riverside, allansford, b aymar

This pair of jeans comes from the Fletcher Jones factory in Warrnambool. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in the Western District of Victoria. In 1924 he leased three shops in Liebig Street Warrnambool and in 1928 he moved the business to the corner of Koroit and Liebig Streets with his Man’s Shop. He manufactured men’s clothing on site. In 1931 a new set of buildings was erected on the site and Fletcher Jones moved into the new building. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was opened in Warrnambool with a new company Fletcher Jones and Staff established in 1951. This company became known Australia-wide, firstly for the production of men’s trousers and later for both men’s and women’s clothing. By 2011 the factory was sold and the company dissolved. These jeans are retained as an example of the clothing made at the Warrnambool Fletcher Jones factory. The Fletcher Jones clothing company was one of the most important businesses in Warrnambool in the 20th century. This is a pair of blue cotton jeans pants with yellow stitching and a metal zip The garment has four pockets. The back pocket has the maker’s label and there are two labels attached to the inside. The front inside top section is lined with white material. ‘Fletcher Jones Australia’fletcher jones clothing company, history of warrnambool

Of the seventeen items on this board, most appear to be from British military units – Rifle Regiments, Despatch, etc. They appear to be shoulder and arm patches or badges. One appears to be of German origin and two come from Italy. This item is of great interest, firstly because it is a good example of the crude, but effective way, items were organized for display at the Warrnambool Historical Society in the 1960s and 70s. Secondly, the display contains an interesting variety of military insignia, many requiring further study.This is a piece of cardboard covered with black cloth which has been stitched to the board with black cotton. Attached to the cloth by metal clips are 17 metal and cloth badges and insignia from military units. The cloth material is red, white and green. ‘Gott Mit Uns’military insignia, history of warrnambool

Air to ground container WWI.Pouch, khaki, containing a lead weight inside. Two brass press studs, strong cotton bunting material plain dyed with white stitching. Attached are two long ribbons composed of three segments coloured green then white & red. Pouch: “HCR LO 1918, a broad arrow with No. 422” Handwritten on one of the white panels: “No. 7”containers-military, metalcraft- brassware, military equipment

Bayonet Frog, brown leather, rectangular shape, leather doubled over to allow attachment to waist belt. Open ended pouch on front with leather strap & metal buckle on front of pouch. Top stitching & 4 metal studs to secure.Stamped into leather on front: “D [up arrow] D M 1” Stamped into leather on back: “F S Ltd 1943”military equipment, trades-leatherworking, bayonet, frog, passchendaele barracks trust

The handkerchief was on display at Flagstaff Hill reception area from 2008-2105 as an example of fine needlework with a lace pattern typical of the early 1900's. During that era the house mistress would often carry two handkerchiefs, one for blowing her nose and one out on show, perhaps in an apron pocket.This handkerchief is an example of fine handmade needlework. It is also an example of women's fashion accessories in the late 19th and early 20th century.White starched silk handkerchief, square shape, very soft fabric edged with 5cm embroidered net lace. Net was embroidered as a strip then joined at corners. The design is backstitched then the lace has been joined to the fabric using blanket stitch. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, silk handkerchief, fine handcraft, needlecraft, ladies' handkerchief, 1900s

Cream coloured hand knitted woollen baby vest.Cream coloured cotton tie at neck. Patterned yolk and lower edge. Stocking stitch. This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby vest

Clothing. Women's white full length skirt of cotton fabric with scattered square spots. A-shaped skirt of three horizontal sections with three rows of decorative stitching below each horizontal seam. Shirred elastic waistband (4.5 cm).costume, female, women's white full length skirt

Clothing. Women's straight full length white cotton petticoat. Fold over waistband (4.5 cm) with cotton tape drawstring fastening at centre back above 7 cm opening. Decorative geometric pattern stitching above hemline.Tag at centre front waistband, ''Cherry lane by French Connections'', ''100% cotton'' ''Hand wash''.costume, female, women's straight full length petticoat

Clothing. A length-364 cms long of beautiful cream coloured silk satin ribbon, 4.5 cms wide, and finished with a picot hem stitched edge on each side. Possibly used as a vehicle decoration on the wedding vehicle of Aileen and John.costume, female, length of silk ribbon

Clothing. Women's brown wrist length leather gloves. Decorative stitching around seams on fingers. Three pin tucks on back of gloves. U-shaped cut out at centre front at wrist (3 cms X 1 cm).costume accessories, female, women's brown wrist length leather glove

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Hand painted green paper mache head. Teeth and inside of jaw painted red with red fabric lining at back of jaw. Black painted eyes. The body is of green fabric, hand stitched to leather which is tacked to the crocodiles head.hand puppets, internment camp hand crafts, pow puppets, sharon lohe, ww2 camp puppet theatre, crocodile puppet