Showing 837 items
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Bendigo Historical Society Inc.
Textile - MAGGIE BARBER COLLECTION: VERY FINE NET NEEDLE WEAVING EMBROIDERED DOYLEY, Early 1900's
Textiles. Oval in shape, with a scalloped edge trimmed with a fine picot edged braid. The floral ''needle weaving'' embroidery comprises two petalled flowers, with raised bulliow stitch embroidered centres. Leaves and buds on either side of the flowers are also fine examples of needle weaving. Eight tiny buds complete the centrepiece.textiles, domestic, needle weaving embroidered doyley -
National Wool Museum
Textile - 1992 Barcelona Olympic Games Official Occasions Shorts, c.1992
About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8340.1 - A pair of men's green shorts made from a wool blend fabric. 8340.2 - Green sample fabric with labels attached. 8340.3 - Green sample fabric.8340.1 - on label - FLETCHER JONES 8340.2 - on label - Wool PE. 80:20 PLAIN WEAVE SULZER LOOMolympics, 1992 barcelona olympics, olympic uniforms, wool, fletcher jones, wendy powitt, shorts -
Whitehorse Historical Society Inc.
Document, Camille de Stoop, 2010
Story of the de Stoop family who established a cotton weaving and spinning business in Belgium, then moved the business to Blackburn North (photos).Story of the de Stoop family who established a cotton weaving and spinning business in Belgium, then moved the business to Blackburn North (photos).Story of the de Stoop family who established a cotton weaving and spinning business in Belgium, then moved the business to Blackburn North (photos).de stoop, camille, de stoop, roger, de stoop aust pty limited, best, richard, belgians in australia -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1/03/2001 12:00:00 AM
Colour photograph of LERHS member Uta Wohl weaving at her loom preparing for her textile exhibition Lakes Entrance Victoriaarts, businesses, exhibition -
Bendigo Historical Society Inc.
Decorative object - CHINA VASE
Blue china vase, 3 cornered basket weave pattern, 3 white china figurines holding vase and forming legs.ornaments, ceramic, vase -
Bendigo Historical Society Inc.
Photograph - HANRO COLLECTION: PHOTOGRAPH OF HANRO WEAVING MACHINE
Photograph of Hanro Weaving Machine: Black and white photo with white border. The photo has two men standing behind the weaving machine showing pulleys and wheels as finished fabric is rolled out at the end. Top left hand side hand printed in blue ink is *MP 360*. On the back is a circular stamp in blue ink of the Royal Bendigo Historical Society of Victoria. Hand printed in black ink is *MP 360 Weaving Machine Hanro Mills Bendigo*. Bottom left is hand written in pencil is the word *Hanro* with a line under it. Box 116Aphotograph, building, hanro, hanro -
Glenelg Shire Council Cultural Collection
Souvenir - Souvenir Dish - Portland, Victoria, n.d
White china dish with basket weave sides, gold line rim; view of harbour and baths. 'Portland' in black print above images.Back: Base: Stamp 'Made in Germany'souvenir of portland, portland harbour, public baths -
Flagstaff Hill Maritime Museum and Village
Ceramic - Vase, 1921-1932
This Japanese ceramic vase was recovered from the wreck of the S.S. Casino (1882 – 1932) between the late 1960s to early 1970s. It is one of the shipwreck artefacts in the John Chance Collection. The design is an example of vintage basket weave pottery. The base of the vase is stamped ‘MADE IN JAPAN’ , which dates its probable manufacture to circa 1921-1932. The vase has side seams indicating that it was made by joining two moulded sides of the vase together, then adding the round base. The coastal trader SS Casino (1882–1932) had a run of almost 50 years along the coast of Western Victoria. She traded goods and food as well as carrying passengers from port to port on her many voyages. This vase may have been included in her cargo or could have been amongst the personal luggage of the people on board. The ceramic vase is an example of ceramic pottery in Victoria the 1930s. The vase is also significant as it was recovered by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The vase is also significant as it is associated with the S.S. Casino, which played an historical role in Western Victoria, providing transport, communication and trade along the coast between Melbourne and Portland in the late 19th and the early 20th century, visiting the ports at Apollo Bay, Warrnambool and Belfast (Port Fairy). The S.S. Casino was the only regular trader with normal passenger accommodation along the West Coast and the only Western District steamship that was in service between 1854 and 1939, and to be represented in the Victorian Heritage Shipwreck register, and to have been wrecked in the Western District, and to have the wreck located, and to be accessible to divers. The wreck of the S.S. Casino, and its associated relics, is considered an important part of Victorian and Australian cultural heritage and is now protected as a Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). Vase, round, cream coloured, unglazed ceramic, basket weave design. Wide mouth, short neck that tapers out to wide shoulders and straight down to round base. Seams on each side, mouth to base. Small handle on each side of vase between mouth and shoulder. Front and back of vase have a plain oval space bordered by a floral design. Inscription stamped onto base. Made in Japan. Stamped onto base in black ink "MADE IN / JAPAN"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, japanese vase, s.s. casino, john chance, vintage pottery, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, west coast trader, apollo bay, captain middleton, basket weave, ceramic -
Wangaratta Art Gallery
Sculpture, Tulla Carson, Gathering - Desert Tracts and Straight Lines, 2017
Gathering is a series of contemplative sculptural objects that represent a visual continuity between the Australian landscape and the city. They embody totemic beings which hold the beliefs, values and attitudes of an individual who resides within the urban context, yet has a deep connection to place through their engagement with temporal moments and meaningful interactions. They aim to facilitate dialogue between the viewer and the viewed, seeking to re-orient an individual's perception, awareness and values surrounding the importance of fostering a connection and sense of place with the land we walk on.Wangaratta Art Gallery CollectionA contemporary sculpture made using weaving techniques to create a mesh-like linen cylinder tuft with alpaca fibre, mounted upon a limestone base.tulla carson, sculpture -
National Vietnam Veterans Museum (NVVM)
Uniform - Scrim, sweat rag
Standard issue cotton scrim/ scarf was used by soldiers in Vietnam. Colloquially known as a sweat rag.Olive green loose weave, cotton scarf. Material open square pattern uniform throughout with border in tighter knit on both sides of scarf.scarf, soldier, cotton, sweat rag, uniform, vietnam -
Bendigo Historical Society Inc.
Domestic Object - JAMES LERK COLLECTION: BENDIGO POTTERY WICKER COVERED STONEWARE
Pottery brown demi-john, covered in basket weave cane. Basket weave covers entire object, with top visible with cork (broken off) visible. Donor comment: the wicker covering was applied by the pottery's blind workers, they being very efficient at their task. These workers were believed to have been paid piece work. Two gallon capacity Bendigo Pottery product.domestic equipment, containers, bendigo pottery demi-john -
Federation University Historical Collection
Photograph - Black and White, Warren Tiller and the All Purpose Band Graduation, c1995
The All Purpose Band Graduation with the conductor Warren Tiller. Lloyd Stinton is on the cornet, back row, fourth from the right.Formal grouping of students and conductor Warren Tiller. They are standing on the stage in the Mt Helen Campus Founders Hall, with the Ballarat College of of Advanced Education weaving in the background. all purpose band, warren tiller, lloyd stinton, music, band, brass instruments -
Warrnambool and District Historical Society Inc.
Book, The Romance of Craft, 1929
This book belonged to Mary Norman- Bail (1883-1962). She came to Warrnambool in 1901 and studied art and became an art teacher and artist. She moved to Echuca and then Ararat where she set up a school called The Pathfinder. She became well known as an artist and exhibited her work in the Victorian Artists Exhibitions. In 1922 she married Jesse Bail and had one child named Jessica . Several of her paintings are in the Warrnambool and District Historical Society collection.This book is of considerable interest because of its connection to a Warrnambool artist.This a soft covered book of 88 pages. It has a blue cover with black printing and an image of a weaving loom. It contains printed material and many illustrations and diagrams. The Pathfinder School Ararat St. Andrew's M NORMAN - BAIL Principal and Proprietormary norman- bail, warrnambool -
Wangaratta Art Gallery
Sculpture, Tulla Carson, Gathering - How to Walk in Two Worlds, 2017
Gathering is a series of contemplative sculptural objects that represent a visual continuity between the Australian landscape and the city. They embody totemic beings which hold the beliefs, values and attitudes of an individual who resides within the urban context, yet has a deep connection to place through their engagement with temporal moments and meaningful interactions. They aim to facilitate dialogue between the viewer and the viewed, seeking to re-orient an individual's perception, awareness and values surrounding the importance of fostering a connection and sense of place with the land we walk on.Wangaratta Art Gallery Collection. Purchased with funds from the Friends of Wangaratta Art Gallery.A contemporary sculpture made using weaving techniques to create a mesh-like linen cylinder tuft with raw cotton fibre mounted upon a limestone base.sculpture, textile, tulla carson -
Uniting Church Archives - Synod of Victoria
Accessory - Woven bag, c1850s
From the collection of the Rev James Watkin. From the collection of the Rev James Watkin. The Rev James Watkin, 1805-1886, was a Pioneer Wesleyan missionary. He was born in Manchester, UK, in 1805. In 1830 was accepted as a candidate for the Wesleyan Ministry and married Hannah Entwistle. They sailed with a missionary party to Tonga. The work of the mission was jeopardised by prolonged and involved struggles between Christian and non-Christian Tongan chiefs. He left with his family for Sydney in September 1837. He was offered a free passage for a missionary appointed to Waikouaiti, New Zealand and arrived there in May 1840. He established the first mission station in the South Island of New Zealand. Watkin established schools at Waikouaiti and Matanaka, and stationed partly trained Maori teachers at Stewart Island and at Moeraki. He had a natural flair for languages, preached in Maori four months after his arrival, and compiled an elementary reading book to be printed in Ngai Tahu. Watkin was relieved by Charles Creed and inWatkin finished his posiion in Waikouaiti in June 1844 when he sailed for Wellington, leaving 227 church members in Otago. In 1855 Watkin settled in New South Wales, Australia, and was president of the National Methodist Conference at Adelaide in 1862. He retired in 1869 and died on 14 May 1886, at Ashfield, New South Wales. Source: https://teara.govt.nz/en/1966/watkin-jamesMid nineteenth century cylindrical woven carry bag with a lid attached and a platted handle. The bag has a brown pattern within the weaving at the top and bottom.rev james watkin, pioneer wesleyan missionary -
Sir Reginald Ansett Transport Museum
Hat, unknown
Unknown at this stageAnsett Hostess hat. Navy blue basket-weave nylon narrow-brimmed sunhat style with rounded crown. 1.5cm interior grosgrain ribbon bandNo inscriptions or identifying marksansett airlines of australia, hostess / stewardess, sunhat, navy -
Federation University Historical Collection
Document, Waller and Chester, Ballarat School of Mines and Industries Ballarat: The Art School, c1948
... Weaving ...Entrance requirements for a full-course student was an Intermediate Certificate of equivalent. The Certificate of Art was a two year course of basic study to enable students to undertake a further two years of specialised training in a chosen field of art. The Diploma of Art was a two-year course of specialised training available to students, who have passed the Certificate of Art Examination or its equivalent. Candidates of the examination must be at least 19 years of age, must have completed two years' full -time training or not less than three years' part-time training, and must present for the Matriculation examination for English Expression. Part-Time classes at the Ballarat Technical Art School c1948 were: Day: Dressmaking, Weaving, Leatherwork, Pottery, Metalwork, Painting, Sculpture, Junior Art. Evening: Dressmaking, Weaving, Leatherwork, pottery, Metalwork, Painting, Sculpture, Ticket Writing, Lettering, Figure Drawing. Two fold, 6 page information flyer on classes held at the Ballarat Technical Art School. The Art school offered Diploma of Art, Certificate of Art and Part-time classes.ballarat technical art school, art, diploma of art, certificate of art, part-time classes, syllabus, design, scholarships, diploma of art in pottery, diploma of art in advertising, art education, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, junior art, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, ticket writing, lettering, figure drawing -
National Wool Museum
Machine - Loom, George Hattersley and Sons Ltd, 1920 - 1925
... weaving ...Weaving is the interlacing of two yarns, one at right angles to the other. Yarns that run the length of the fabric are called the warp. Yarns that run across the fabric are called the weft. Most woven fabrics are produced on a loom. The warp yarns are raised to form an opening - the shed. The weft carrier, usually the shuttle, shoots through the shed. Then the warp yarns change position up and down. Finally, the weft is pushed tight against the previous yarns, gradually building up the fabric. Hattersley treadle loom (revolving box hand loom). Beam of loom was removed and sent to Foster Valley Mill in 1989 to be returned via Tom Crocker. The National Wool Museum gratefully acknowledges the contribution of Mr Fred Murgatroyd & Mr Bernard Tolan in making this Hattersley Loom Operational. Green painted Hattersley treadle loom (revolving box hand loom).weaving, george hattersley and sons ltd, weaving machinery, wool processing, loom, restoration -
National Wool Museum
Creel
Used in the weaving process. -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: DOUBLE DAMASK TABLE RUNNER/COVER WILL PULLED THREAD EMBROIDERY, Early - mid 1900's
Textiles. Damask weave fabric, with a design of a rose, with buds, and two stems of leaves, and a lovely soft sheen. Two bands of six zig zag peaks, are made by using pulled thread embroidery, and form a border either side of a row of pulled threadwork diamond shapes, 7 cms x 7 cms. This decorative border is at each end of the runner, which also is completed with a 12 cm deep fringe. A geometric patterned weave forms the background to the pulled thread embroidery, while a single rose and bud weave is tucked into each zig zag, and a scroll design features at each fringed end.textiles, domestic, double damask table runner -
Bendigo Historical Society Inc.
Domestic Object - JAMES LERK COLLECTION: BROWN POTTERY DEMI-JOHN, WICKER COVER
Bendigo Pottery brown demi-john, covered in basket weave cane. Basket weave covers sides of object only. Donor comment: the wicker covering was applied by the pottery's blind workers, they being very efficient at their task. These workers were believed to have been paid piece work. One gallon capacity. Missing. Unable to be located at History House. 27/08/23 -
Stawell Historical Society Inc
Textile - Costume and Accessories
Fine Cream Woven Woollen Stole. Fine weave edges hemmed. Tassel finish at ends. Woven silver thread. Two groups across each end.stawell clothing material -
Mont De Lancey
Textile - Tablecloth
Donated by Mrs. Adamson in early 1900.White linen rectangular tablecloth, heavily embroidered in white. Edge has open weave with machine crocheted lace. Has floral round embroidered centre piece. tablecloth -
Whitehorse Historical Society Inc.
Clothing - Jacket, Female
Bought at David Jones for $50. Original price $500.Maroon & cream weave Sports Jacket. 2 pockets. 3 buttons on front closing. 3 buttons on cuff of sleeves. 2 extra buttons on inside of jacket.Clement Exquisite. Made in Germany.costume, female -
Whitehorse Historical Society Inc.
Leisure object - Knitting Bag
From the Till collectionCream open weave knitting bag. Pleated front, over covered wooden bar, button and loop to close. Embroidered in cream cotton material with inside pocket.costume, female, handcrafts, knitting -
National Vietnam Veterans Museum (NVVM)
Equipment - Equipment, Army, Scarf
Green cotton open weave wide scarf used by soldier as a sweat rag. Gold trimmed blue material insert badge used to secure scarf together.scarf, clothing -
Hymettus Cottage & Garden
porcelain basket, Belleek Sydenham Basket
This basket forms part of a large collection reflecting the Irish heritage and collecting interests of the family. While this piece was purchased there are other Belleek pieces in both private and public collections across Ballarat once belonging to the same extended family. This piece is one of 100 examples from the Belleek factory that reflects the family's and Ballarat's Irish heritage. It forms part of a significant and representative historical collection that reflects Ballarat's local history from a family perspective. It contributes to our understanding of social and family life in twentieth century Ballarat and providing interpretative capacity for family, local, and social history themes.Large three strand lidded basket in a pearl finish with a single ribbon to the base impressed with makers mark Belleek Co Fermanagh over the basket weave base.Belleek Co Fermanagh on base of basket.belleek, irish, ballarat -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Domestic object - Haberdashery, napkins damask, early 20thC
Damask is a reversible figured fabric of silk, wool, linen, cotton, or synthetic fibres, with a pattern formed by weaving. Damasks are woven with one warp yarn and one weft yarn, usually with the pattern in warp-faced satin weave and the ground in weft-faced or sateen weave. Damasks derive their name from the city of Damascus - in Middle Ages it was a large city active both in trading, as part of the silk road, and manufacture. By the fourteenth century damasks were being woven on draw looms in Italy. Modern damasks are woven on computerized Jacquard looms. Damask weaves appear most commonly in table linens and furnishing fabrics, but also in clothing. The Damask weave is used extensively throughout the fashion industry due to its versatility and high quality finish.6 white damask, dinner napkins with varied patterensbrighton, moorabbin, linen, pioneers, haberdashery, market gardeners, dressmakers, craft work, early settlers -
National Alpine Museum of Australia
Ski Jacket, 1970s
Reversible ski jacket made by Rosalie Kiessling, 1970s. Used by Rosalie's son and daughter-in-law, from the 1970s through to the 1990s. The Kiessling family skied at Mt Buller and are members of Omega Ski Lodge. German by birth Rosalie, grew up skiing and ice skating, studied fashion design in Munich and worked designing women’s ski wear and lingerie before migrating to Australia via New Zealand in 1939 with her husband. As skiing increased in popularity following the end of WWII, Rosalie’s business grew reaching its peak during the 1960s. Though it was never large; at most she employed three staff. Rosalie continued to design and manufacture fashionable but functional ski wear until the late 1970s, although increasing imports from large overseas manufactures and constant new innovations in fabric technology made it difficult for her to compete in a relatively small industry. Reversible ski jacket with side zip pockets and full zip front. One side of the jacket is black fabric, while the other is black checked with a yellow and red weave. Rosalie Kiessling sportswear Melbourne / All cottonskiing, ski clothing, fashion design -
Kew Historical Society Inc
Headwear - Brown Raffia Sun Hat, 1950s
In the KHS Minutes of June 1999, it is recorded that Marion Blatchley (a member) had restored the brown bridal hat. This is the only possible candidate. The minutes do not record the date of the hat's origin.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Open weave straw woman’s hat featuring a low domed crown and a wide brim. The dark brown hat has a pale green ribbon surrounding the base of the crown. Unclear handwritten marking: Sylvie Walsh (sic). Wynne Saish (sic)women's clothing -- hats, sun hats, raffia hats