These were found by former Port Melbourne social worker Beris CAMPBELL when clearing out old files. They were photographed by an unknown social work student in 1988 for a project "The Role of the Pub in the Social Fabric of Port Melbourne."One of a group of 20 photos of Port Melbourne hotels, taken by a student in 1988 for the project "The Role of the Pub in the Social Fabric of Port Melbourne". Hibernianhotels, built environment - commercial, beris campbell, hibernian hotel

The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Includes: index, bibliography. The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Front page: Sue Barnettarchitecture, (mr) peter cuffley, dwellings, interior decoration, 1940-1949, 1950-1959

These were found by former Port Melbourne social worker Beris CAMPBELL when clearing out old files. They were photographed by an unknown social work student in 1988 for a project "The Role of the Pub in the Social Fabric of Port Melbourne."One of a group of 20 photos of Port Melbourne hotels, taken by a student in 1988 for the project "The Role of the Pub in the Social Fabric of Port Melbourne". Royal Mailhotels, built environment - commercial, beris campbell, royal mail hotel

Paper patterns have been used by dressmakers and home sewers throughout the 20th century and are still used today.The Kwik Sew company has been making patterns since 1967 and is now part of the McCall Pattern Company, a multi-national company based in U.S.A. Bargain Box Fabrics, situated at 116 Lava Street, Warrnambool, sold patterns and materials in the 1980s and early 1990sThis pattern item is of minor interest as coming from a local Warrnambool shop. It may be useful for display. This is a paper envelope containing the instructions and cut-out material for making a child’s pants and top outfit. The envelope contains six loose items.‘Pattern 2074, Kwik Sew’ Stamp- ‘Bargain Box Fabrics , 11 6 Lava Street, Warrnambool, 3280, Phone, (055) 614055’ bargain box fabrics, kwik sew patterns

A set of collars, possibly worn during the 1920s-1950s period, wearer unknown. A detachable collar is a shirt collar separate from the shirt, fastened to it by studs. The collar is usually made of a different fabric from the shirt, in which case it is almost always white, and, being unattached to the shirt, can be specially starched to a hard cardboard-like consistency. The popularity of detachable collars and starched collars in general began to fade in the 1920s and 30s as men’s clothes became more comfortable.These items are examples of men's clothing from the first decades of the 20th century when men wore more formal daily attire. A set of four white men's collars of assorted sizes, made from stiffened fabric.Cremorne Collar Company, Melbournemen-collars male-apparel

A Textile Designer’s Fabric Sample Book is an important tool for keeping a record of past designs. This is useful in order to showcase a designer’s previous work; functioning like a portfolio or a résumé. They also serve as a source of inspiration, sometimes even providing a template to re-release iconic designs. The National Wool Museum has a large collection of Fabric Sample Books. They reveal the colour and daring designs produced by textile mills across various time periods. This Fabric Sample Book is from the 1920s and gives us insights into design trends that are now over a century old.The cover of this book has a brown/grey marble. It carries many marks and oils from the hands, after more than a century of use. A strip of red tape has been added to the spine of the book in order to give it integrity. The book internally has white pages that have turned a brown/cream with age. These pages have a faint blue line printed horizontally across them, to assist with handwriting. The contents of the pages are fabric samples which have been staple to them, as well as handwriting with a blue ink. The pages also include technical drawings, relating to the fabric samples and how such samples were woven together.textile design, textile manufacture

BHS CollectionHorwood Collection. The Old Iron Bark opposite the Manchester Arms Hotel, Eaglehawk Rd. Markings: The Old Ironbark Opposite Manchester Arms Hotel OCT65M Made in Australia. Poppet head centre of image.Kodakmine, gold, gold mine, horwood collection. old iron bark opposite the manchester arms hotel, eaglehawk rd. markings: old ironbark opposite manchester arms hotel oct65m made in australia

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

This brassard was worn by the military services in Somalia or East Timor. This DPCU fabric was commonly known as the hearts and bunnies design. Polyester Cotton brassard in Disruptive Pattern Camouflage Uniform (DPCU) fabric. Sewn on the main body of the brassard is a woven patch with the Australian flag. The brassard is secured to the sleeve by a slit in the top through which the shoulder strap is threaded and elastic strip around the arm. brassard, hearts and bunnies, somalia, dpcu

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

1860's Kilmore25cm x 20cm black and white photograph of Hudsons Store on Sydney Street from the view from Brisbane Street c. 1862. The photograph captures buildings along the street including: Harris Dublin & Manchester Warehouse, Sign to Kilmore Brewery, Hudson Hay & Corn Store, some unidentified buildings and Dunrobin Castle Hotel. Also captured, horse and carts on the street, people standing in front of the Manchester Warehouse. 3 Photograph of differing quality of the same image.Written on the back of the large copy; #3 #4 #5.10/86-34 Copy LaTr. 1860 Husdon Store - Harris' Store PHO-00073 Written on the back of the .2: 169 Husdon's Warehouse H1811 SLV Sydney Street MFN 272 c1862, -SW (- (85)Hudsons Warehouse) Note Kilmore Brewery Sign 126 7/c/ PHO-00073.2 Written on the back of .3: Kilmore 1860 169 Sydney rd from N-N-E ____ Harriss Dublin & Manchester Warehouse, Sign to Kilmore Brewery Hudson Hay & Corn Store, _________, __________, __________, _____ Dunrobin Castle Hotel,storefronts, 19th century, retail stores

Banners - BCOF - British Commonwealth Occupation Force (Japan) 65/66/67th BTNs Formed in the islands from the 7th Division AIF for service in Japan 1946 - 48.1. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND BLACK WITH GREY SURROUND.. 2. BANNER FRAMED, COTTON FABRIC, DARK BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, OFF WHITE INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND PURPLE WITH GREY SURROUND. 3. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTIONS, COLOUR PATCH CENTRE, GREEN AND BROWN WITH GREY SURROUND. 1,2,3, Frames - timber, black colour print, glass front, cardboard backing.White embroidered letters and numbers - 1, "65 BTN. ROKU JU GO" Fabric letters and numbers - 2. "66 BTN. ROKU J.U. ROKU" white embroidered letters and numbers - 3. "67 BTN. ROKU JU NANA" military, ww2, japan, banners