This Jones sewing machine was one of the few sewing machines that accompanied the Germans who were deported from Palestine in 1941 to Australia where they were interned at Tatura. The machine was owned by Nelly Wied (nee Glenk). See notes in Item receipt form.Lid is plywood constructed with domed top. Brown handle on top and a clip each end to fasten to machine base. Machine is on a wooden base with clips on each end to fasten to lid. Right hand side of machine has a rectangular hole with wooden lid and brown wooden knob. To keep accessories in. Machine is made from metal, painted black and has fancy gold patterns on front right, "Jones" in gold and gold design around the metal base. It has a silver turning wheelJONESjones sewing machine, palestine germans, german templers, palestine internees, templer internees, nelly wied, nelly glenk, helmut glenk, tatura internment camps

Black with gold writing. Arm: " W--heim". Badge: "Wertheim Francfort" With wooden basesewing machine, hand crank, wertheim

Bodice of a blue linen dress made by Elfriede Girschik for her daughter, Helga, in Camp 3. c1942 (early). The singer sewing machine it was made on came with her into the Camps.Blue linen bodice which has been part of a dress. The bodice has sleeves gathered at the top and slots for elastic (not there) at the lower edge. 6 handmade buttonholes down the opening at the back with 6 small buttons. Hand embroidery on the front, 2 ladybirds, sprays of yellow, blue, pink and orange flowers. The bodice has been separated from the bottom of the dress and hemmed up to make into a top.bodice, embroidery, camp 3, tatura, ww2 camp 3, internment camp handwork, helga griffin, helga girschik

CRISTINA WALLACE BORN IN CLUNES 1865 WHERE CLUNES MUSEUM STANDS TODAY. HENRY WALLACE WAS HER HUSBAND. HE SUPPLIED TIMBER FOR THE MINES. MRS. WALLACE HAD THE FIRST SEWING MACHINE IN CLUNES WHICH SHE DONATED TO THE MUSEUM1, SEPIA TONED PHOTOGRAPH OF CHRISTINA WALLACE AND GEORGE VINGE. 2, CRISTINA WALLACE 3, ELIZABETH WALLACE [BESS] 4, LETTER FROM P. McNAMARA EXPLAINING POTION OF FAMILY TREE AND DONATING HAND MACHINE TO MUSEUM there are three distinct photos and a letterlocal history, photography, photographs, wallace family

B/W copy from Grampians Community Health Centre Book Wilma is sitting in a lounge chair wearing a skivvy and hand knitted striped cardigan buttoned up. She has an item on her lap that she is sewing. In the background there is a light switch and wallpapered wall with curtains and partly showing is a table.

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

Toy Singer sewing machine - cast metal and plastic with needle and operating mechanism. Hand operated. Finished in dark beige.'Singer' on arm of machine. Both sides has a red, white and green 'S' logo near wheel. Underside stamped with 'Singer 22851'; 'the Singer Company' under the handle and Great Britain.toys, mechanical

Hand embroidered calico apron. Embroidered with lady in blue with flower arrangement. Bound with blue bias binding, two pockets, and cotton tape ties.domestic items, sewing, costume accessories, female, costume, female working

WERTHEIM sewing machine transverse shuttle. Hand operated with thread winding attachment, uprights for reels of thread, tension adjuster and sewing mechanism. Serial no. S6005404|Handles folds into wheel for storage. Has a metal base with pearl insert on outer edge. originally painted black with gold scroll work - base is hinged to a wooden base. Wooden veneered cover stored separately. Aluminium label on body of machine with 'Werthiem Frankfort' around a figure sitting - all embossed.Wertheim Frankfort|Pes. Gesch and emblem on bobbin boxtextile machinery, sewing, domestic items

Machine used by Francesca Schwerkolt, August Schwerkolt daughter -in - law. She was the grandmother of the donor.Hand and foot operated transverse shuttle sewing machine with ornate foot treadle. Wooden top with mechanism in centre. Base of mechanism has mother of pearl inlay. Ornate iron supports. Two drawers on either side with ornate handles. Centre drawerOn Sewing Mechanism - ' Syst 182/Manufactured in Germany/Specially for/Hugo Wertheim'|On Base - 'Griffin' in ironwork|'Wertheim' in ornate ironwork on sides|S No. 6778165domestic items, sewing, textile machinery

Purchased in Lancashire, England. Arrived in Australia in 1951.Mrs. Popkop[ lived in Box Hill for 27 years , then for 18 years in Scott Street Mitcham before moving to Tweeds Heads in 1998. Mrs Popkop thought she may have had to live in the outback where there would not be any power, hence the hand operated machine.|When we were given the machine it was in very poor condition. Ted Arrowsmith worked on it diligently and finally got it in working condition.|Then we had to get the bobbin to work. As we were not familiar with this type of bobbin, it being the torpedo type, Frances Warren took it to the Ringwood Sewing Centre, 17 Melbourne Street Ringwood and Barry Ford was able to show her how to thread the bobbin..|After a lot of trial and error 2with the tension we finally got the machine to sew a seam. Barry Ford checked the serial no. and authenticated the date of manufacture as 1889.Hand operated vibrating shuttle Singer sewing machine, burgundy with wooden base. Serial no. 8615740Singertextile machinery, sewing, domestic items

This attachment was used by donor . It was a great improvement over hand made buttonholes.A Singer buttonhole attachment used about 1950s. It was attached to ordinary power sewing machines to make button holes. It includes a small metal plate to cover teeth when making button hole and a fairly long slotted screw for attaching plate.Singer 86662 completehandcrafts, equipment

Small hand-operated black painted metal sewing machine with gold decoration. Placed on a wooden base. Has rectangular wooden lid. Made by Frister & Rossmannsee photossewing, sewing machine, hand-operated, frister & rossmann

Notes from the meeting of the Junior Legatee Committee held on 28 September 1942 reveal how Legatees perceived the need to establish a residence for juniors. The notes detail the type of residence which would be appropriate, and how it should be funded and run in broad outline. These views were informed by an interview with the Headmaster of Box Hill Grammar School, a co-educational boarding school.It is interesting to note the different attitudes towards boys and girls at that time; girls required sewing and music rooms to replace the workshop and gym for the boys. The impetus to provide safe accommodation for children exemplify Legacy values.5 quarto carbon copies, black on white, two punched holes for filing.Pages 4 and 5 hand written numbers '4' and '3' Date on Page 1 underlined in pen.holmbush initial negotiations, committee

The document covers the year of 1941. Mention is made of the restrictions and difficulties (petrol rationing, scarcity of paper to name some) that occurred with running a wartime economy, and trying to implement the social welfare programme of Legacy. In particular, The Welfare Committee. Despite the difficulties of the time, Legacy not only continued its work but expanded the programme e.g. the establishment of a Legacy Dental Clinic in Collins St, Melbourne. The document also notes with some sadness the death of some Junior Legatees due to war service, and the realisation that the work of Legacy will need to be expanded due to World War 2. Legacy Probation Officers paid tribute to the never failing support of the Police department. To quote, "In all cases the Police were just as anxious as we to save the boys from the Reformatory of Gaol." There are many documents styled as 'The work of 19XX' so it was a way legatees reported the main events of the year. Many were put into the original archive started by Frank Doolan and were labelled with the letter 'H' to signify History.A record that Legatees were recording the major events of the year in a report for future reference. Significant in that the Law Courts valued the work Legacy was doing to reform their Junior Legatees who had appeared before the courts.White quarto paper, black type. Pages held together by a sewing pin. Pages numbered in pencil, top right hand corner. The documents are enclosed in a Melbourne Legacy badged envelope, stating the title written in black biro.annual summary, history

Nippon dolls were made by Noritake in Japan.Stuffed doll with ceramic face, decolletage, hands and feet. Dress handsewn from emboidered and pleated cream material. Arms and legs made from rust colored linen type material. Pigtails painted blue. Eyes (blue/black), eyebrows (brown), hair (orange) and lips (orange) painted on.DI.464 on fabric is attached to back of right leg with sticky tape.toys, dolls, sewing

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

The 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.White cotton apron, covering clothing front and back and joined by two buttoned tabs. Based on an examination of the sewing it is presumed that it is a hand-made item.clothing - women's, aprons, protective wear

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black