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Bendigo Historical Society Inc.
Clothing - MERLE BUSH COLLECTION: HAND TOWEL
Textiles. Cream coloured huckaback fabric hand towel. Embossed tassel pattern across short ends. Old box 573.Printed in ink in one corner, ''M.E.BUSH''textiles, domestic, hand towel -
Wangaratta Art Gallery
Textile, Kate Just, SAFE Banner, 2014
HOPE & SAFE presents the material results of Kate Just’s two recent public banner projects in the UK and Melbourne responding to violence against women and current media coverage of this issue. Referencing and reviving moments in feminist history in which collective action and craftwork were deployed to enact change, HOPE & SAFE invokes a utopian reimagining of women’s safety and agency within the urban environment. In 2013, Just travelled around the UK with her KNIT HOPE Project. It involved an invitation to individuals and communities to publicly join her in knitting a night-reflective fluorescent yellow banner that spells the word HOPE in silver block letters. Later, various HOPE walks were taken in public at night with it. Bearing the artist’s daughter’s name, the resulting HOPE Banner manifests the artist’s wish for a brighter future for women broadly and for her own child specifically. Materially and conceptually, the banner entwines dualities of male and female, public and private, individual and collective. The uniquely patterned individual pieces refer to the work of many hands, joined together to form a seamless whole. The durability of the builder’s line and the high-vis reflective material, which is worn by construction workers, police and cyclists, imbues the banner with a level of visibility and authority. The singular large scale photograph HOPE Walk (Leeds) extends these complexities, documenting a moment in which police on horseback, donning coordinated yellow and silver jackets, asked if they could join the ‘protest.’ On return from the UK in early 2014, Just undertook the KNIT SAFE Project in Melbourne. It involved the communal crafting of a sister banner, a night reflective black and silver ‘blanket’ that spells SAFE. The more sombre SAFE Banner operates as a shield or soft monument constructed in the shadow of recent high profile violent deaths of women in Melbourne including Jill Meagher, Tracey Connelly and Fiona Warzywoda. The photograph SAFE Walk (Melbourne) captures a small group of banner holders quietly interacting with each other in the warm glow of a street lamp, projecting an almost fictional ideal of collective resistance to the harsh realities of the world. Also presented in the exhibition is the book HOPE SAFE, documenting the projects in their entirety and featuring an in-depth essay by art critic and historian Dr Juliette Peers. Photograph by Simon Strong. Wangaratta Art Gallery Collection. Winner of the Wangaratta Contemporary Textile Award 2015.A rectangular banner with a background made up of black yarn square panels that vary in shape and size with different knitted and crocheted designs, with lettering applicated onto the background using reflective nylon thread. A metal pole has been threaded through the top of the banner to enable it to be carried.wangaratta art gallery, wcta, textile, kate just -
Wangaratta Art Gallery
Textile, Patrick Snelling, 8.9, 0ct 2010 - Mar 2011
The textile traditions and aesthetics of Japan have always influenced my textile practice and I have created a construct that reflects the way this work has been developed and assembled. The grouping of hand and digitally printed textile hexagons, represent a meta language of patterns and techniques. There are classical Japanese motifs and very contemporary images that have been captured digitally from my visits to Tokyo and Kyoto. My combining the old and the new forms of textile printing, I am creating a traditional and contemporary conversation between processes. This work was started in October 2010, it was put aside for a few months and then I re-imagined it again with the tragic news coming out of Fukushima and Miyagi provinces.Wangaratta Art Gallery Collection. Winner of 2011 Wangaratta Contemporary Textile Award.Hexagon pieces of patterned fabric in varying shades of green, pink and yellow, which are arranged together to form a map of Japan.wangaratta art gallery, textile, wcta, patrick snelling -
Wangaratta Art Gallery
Textile, Kathy Beilby, Wandering, 2020
Making marks with needle and thread across the landscape of life, sometimes treading lightly but often leaving scars. Wandering was inspired by marks left from the eucalyptus leaves on the fabric, a scrap of fabric easily carried, an idle moment to make a few marks with needle and thread. A longer time to stitch becomes a wandering mind, like taking a walk in the bush, deciding on the tracks ahead and reflecting on those already taken.Wangaratta Art Gallery Collection. Donated by June BrownA rectangular silk piece that has been botanically dyed brown with eucalyptus leaves and then green, blue, and orange cotton threads have been handstitched across the piece to create tracks.kathy beilby, botanical dying, handstitching, textile -
Wangaratta Art Gallery
Textile, Ying Chew, 'Unidentified'
‘Unidentified’ is part of a body of work challenging distinctions between art and craft, looking at the relationship between women and needlework, and through this questioning aspects of the human condition such as the impermanence of life and what we leave behind. This triptych is part of a series of portraits inspired by daguerreotypes. I am interested in capturing a sense of the ephemeral nature of life which is reflected in these images which appear as photographs from a distance but become less and less focussed as you approach until they become just stitches on fabric.Wangaratta Art Gallery CollectionThree separate black and white petit point pixelated portraits.ying chew, petit point, textile, embroidery -
Wangaratta Art Gallery
Textile, Tim Gresham, Ripple in Aqua, 2012
Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small tapestry featuring dark blue and white rippling lines on a light blue and aqua background.tim gresham, tapestry, weaving, textile -
Wangaratta Art Gallery
Textile, Tim Gresham, Maquette VI, 2008
Wangaratta Art Gallery CollectionA small maquette tapestry featuring a scalloped design in a colour palette of white, olive, and grey.tim gresham, weaving, tapestry, textile -
Wangaratta Art Gallery
Textile, Valerie Kirk, Caught Fish, PANGASIANODON GIGAS, 2010
Caught Fish, PANGASIANODON GIGAS” is a miniature version of the larger tapestry described below and it embodies the same ideas: The giant Mekong Catfish is under threat of extinction due to over-fishing and loss of habitat. It is beleived that the fish used to reach sizes over 3 metres, but the largest recorded catch to date is 2.7 metres – a monster fish caught in Thailand in 2005. As its fame and the mythology surrounding it increases, so does the number of game fishermen keen to land a record catch or earn a sizeable amount of money in the exotic food marketplace. However, the water flow of the river is increasingly more controlled by China, changing the natural habitat of the river. It seems that survival of the great catfish is being left to chance and the fish’s ability to avoid nets, lines and traps in the murky green waters of the Mekong. My exhibition piece is a giant, woven Pangasianodon Gigas – made as a shaped tapestry which will hang the way a fisherman would hold up his catch to display or be photographed as his trophy. The drawing was made from photographs of very large fish I observed in Laos and the detail on the body of the fish is deliberately ambiguous scales/nets. The piece will be woven on cotton seine twine (which was originally made as a string for fish netting) with mixed weft yarns. Artist statement about the work: The final work is an abstraction of fish and nets – an image made with a hand drawn quality suggesting the personal observation that goes with looking and responding with ink on paper. The tapestry technique mimics the original marks to a certain degree but is also very obviously a woven form with its stepped edges and shapes, blending of tones through hachure and broad set of warp and weft.Wangaratta Art Gallery CollectionA small tapestry of a caught fish handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile, fish -
Wangaratta Art Gallery
Textile, Rodney Love, Six Degrees - Work 1, 2004-2007
The Six Degrees works are hand-spun human hair yarn woven on a 4-shaft table loom with a cotton warp. The names of the people who have donated the hair are written above the weavings. They were traced with graphite carbon paper directly on to mount board. Six Degrees is about the connections between individuals and the groups they are part of, emphasised by the names of the donors of the hair being included above the weavings. Wangaratta Art Gallery Collection. Donated by the Artist.A small weaving made from cotton and human hair mounted on a board marked with the names of the people who donated their hair to be woven.rodney love, human hair, textile, weaving -
Wangaratta Art Gallery
Textile, Rodney Love, Si Degrees - Work 2, 2004-2007
The Six Degrees works are hand-spun human hair yarn woven on a 4-shaft table loom with a cotton warp. The names of the people who have donated the hair are written above the weavings. They were traced with graphite carbon paper directly on to mount board. Six Degrees is about the connections between individuals and the groups they are part of, emphasised by the names of the donors of the hair being included above the weavings. Wangaratta Art Gallery Collection. Donated by the artist.A small weaving made from cotton and human hair mounted on a board marked with the names of the people who donated their hair to be woven.rodney love, human hair, textile, weaving -
Wangaratta Art Gallery
Textile, Clare McCracken, Thread of a conversation Yuemin Huang, China
Wangaratta Art Gallery CollectionA black and white cross stitched portrait of a woman on a laptop screen.clare mccracken, cross stitch, portrait, textile -
Wangaratta Art Gallery
Textile, Sharon Peoples, Lake Tuggeranong 3, 2019
In 2019 Peoples undertook a residency at the Tuggeranong Arts Centre, Canberra. The original proposal was to explore the suburban gardens. However, it was the man-made lake with a different bloom, blue-green algae that held her attention. The still waters of the lake in the early mornings are tranquil. Becoming more familiar with the Lake, details caught Peoples’ eye. However, she realised the only interaction by humans with the Lake were two men who motored a small boat to the centre of the Lake, a hint as to the connection between tranquility and blue/green algae.Wangaratta Art Gallery Collection. Donated by June Brown.A small embroidery using a colour palette of green, red, blue and brown depicting a scene of Lake Tuggeranong mounted into a brown spectacle case.sharon peoples, embroidery, textile, lake tuggeranong -
Glenelg Shire Council Cultural Collection
Textile - Tapestry, Portland Fibre Group, Tall Ships Tapestry, 1989-1992
Funding from Bicentenary Committee. Valerie Kirk assisted with cartoon, PFG did the rest. Presented to Cr. Bernard Wallace, 11 December 1992, and unveiled at Portland Library.Large tapestry with central image depicting people, animals, landmarks and activities on the foreshore of Portland harbour. Surrounded by a yellow border with symbols of history, industry and immigration on both sides. Hung by a wood panel across top.Back: VKIRK RT JH RS DA - - (tapestry letters in varied colours, lower right edge) PS GWEC ODME OK MS (Tapestry letters in varied colours, lower left edge)textile, tapestry, tall ships, bicentenary -
Bendigo Historical Society Inc.
Textile - TABLE RUNNER
Textiles. Pale green coloured rectangular silk table runner backed with mid green silk twelve cm border on all sides of beaded vines, leaves and flowers. Three cm fringe on all edges of pale blue and silver threads.textiles, domestic, table runner -
Bendigo Historical Society Inc.
Textile - LACE TABLECLOTH
Textiles, brown cream lace tablecloth. Machine made. Large flower in centre 67 cm diameter, Floral patterns in corners and along sides. Two opposite sides have scalloped edges. Other two sides have straight sides.textiles, domestic, lace tablecloth -
Bendigo Historical Society Inc.
Textile - LACE TEA COSY
Textiles, cream coloured six sided lace tea cosy. Diagonal diamond pattern on front and back. Edged with scalloped lace with eyelets. Ribbon threaded from each side of lower edge and tied in a bow at centre top on one side.textiles, domestic, lace tea cosy -
Bendigo Historical Society Inc.
Textile - HANDMADE CARDBOARD TRINKET BOX, 1950s
Textiles. Hand made cardboard trinket box covered with heavy linen type material with hinged lid. Embroidered cotton light blue flowers on lid. Cording around edge of lid. Seams of embroidered thread. Lined with light blue satin.textiles, domestic, hand made cardboard trinket box -
Bendigo Historical Society Inc.
Textile - HANDKERCHIEF AND GLOVE CASE, Early 1900s
Textiles. Tri-fold black leather storage case for handkerchiefs and gloves. Silver suitcase fasteners on front. Lined with dark green silk fabric. One pocket labelled gloves (Gold lettering) and two pockets labelled Handkerchiefs (gold lettering).Gold lettering on front edge under flap, ''W. DUNKLING Bourke street Melbourne. Made in England''.textiles, domestic, handkerchief and glove case. -
National Wool Museum
Photograph Album, The Valley Worsted Mills, Geelong
Photograph album containing 15 photographs of the textile processes which took place at the Valley Worsted Mill which was established in 1923.Photograph album contains 15 photographic postcards of textile processes from the Valley Mill, c.1920s. Valley Mill, Geelong, c.1920s. Wool sorting at the Valley Mill, Geelong, c.1920s. Wool scouring at the Valley Mill, Geelong, c.1920s. Woollen carding at the Valley Mill, Geelong, c.1920s. Worsted carding at the Valley Mill, Geelong, c.1920s. Combing and drawing at the Valley Mill, Geelong, c.1920s. Woollen spinning at the Valley Mill, Geelong, c.1920s. Worsted spinning at the Valley Mill, Geelong, c.1920s. Winding at the Valley Mill, Geelong, c.1920s. Warping at the Valley Mill, Geelong, c.1920s. Weaving at the Valley Mill, Geelong, c.1920s. Mending at the Valley Mill, Geelong, c.1920s. Wet finishing at the Valley Mill, Geelong, c.1920s. Dry finishing at the Valley Mill, Geelong, c.1920s. Warehouse at the Valley Mill, Geelong, c.1920s.PHOTOGRAPHS THE / VALLEY WORSTED MILLS / GEELONG WOOL SORTING / WOOL SCOURING / WOOLLEN CARDING / WORSTED CARDING / COMBING & DRAWING / WOOLLEN SPINNING / WORSTED SPINNING / WINDING / WARPING / WEAVING / MENDING / WET FINISHING / DRY FINISHING / WAREHOUSE C.J. Frazer Photographer / Melbournetextile mills warehouses, weaving, textile production, textile mills, valley worsted mill, scouring, carding, combing, drawing, spinning, winding, warping, wet finishing, mending, milling, dry finishing, textile mills - warehouses -
National Wool Museum
Booklet - Wool Topmaking Training Hints for Operators, Stuart Ascough, 1990s
Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Printed booklet bound with plastic black ring binder consisting of approximately 32 pages. Image on front cover shows textile machinery.front: Wool Topmaking / Training Hints for Operators / Prepared by: / IWS International Pty. Ltd. / Melbourne / Australiastuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: UTILITY BAG, 1900-1950
Textiles. Calico utility bag made of flour 25 lb flour bags. Flour bags have been unstitched, flattened and joined together to make a larger bag with top opening. Bags- Jeffs Bros, Anchor X 2, Noske Bros.textiles, domestic, utility bag -
Nhill Aviation Heritage Centre
Memorabilia - Water bottle, 1942
Metal container with cork stopper, coated with soft fabric material to create evaporative cooling when wetted, has an adjustable leather shoulder strap.ZL&Tt, 1942 broad arrow military insignia. (Zephyr Loom Textile were a Canadian company.water bottle -
Kew Historical Society Inc
Decorative object - Cotton chintz applique on linen wall hanging [Broderie Perse], 19th Century
This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration -
Bendigo Historical Society Inc.
Textile - GRAYDON COLLECTION: SEMI CIRCULAR BEADED PURSE, 1870-1890
Textiles. Semicircular beaded purse. Blue beads and tassel at bottom of purse. Top section has mauve beads with coloured beaded flowers. Letters in brown beads ''TREU ,,,, TMER''. The top opening is edged with pearl beads with gold cord threaded around the opening.textiles, domestic, semicircular beaded purse. -
Bendigo Historical Society Inc.
Textile - GRAYDON COLLECTION: RAAF FABRIC PURSE, 1870-1890
Textiles. Mauve coloured silk fabric purse with fold over top in V-shape with scalloped edge. On front of folded over section RAAF wings and letters. R.A.A.F. painted in fabric paint - gold, blue and white. Zig zag stripes on front corners.textiles, domestic, raaf fabric purse -
Bendigo Historical Society Inc.
Textile - FLOUR BAG COLLECTION: CALICO UTILITY BAG, 1900-1950
Textiles. Calico utility bag made of four 25 lb flour bags. Flour bags have been unstitched, flattened and joined together to make a larger utility bag with top opening. Bags- Anchor, Thomas Bros, Jeffs Bros X 2.textiles, domestic, calico utility bag -
Mont De Lancey
Chair
Owned by Wandin SebireWood framed rocking chair with spring 'rockers'. Has floral pattern seat and back textile panels. Has one castor on each leg.rocking chairs -
Bendigo Historical Society Inc.
Textile - GRAYDON COLLECTION: TAPESTRY PIECE, 1870-1890
Textiles. Rectangular shaped tapestry piece dipping to V shape at lower edge. Piece is covered with bead work in floral pattern of white, grey, gold and green. Bright green lining piece of shantung fabric has been pinned to the tapestry piece. Work is unfinished.textiles, domestic, tapestry piece. -
Bendigo Historical Society Inc.
Textile - A PAIR OF PILLOW SHAMS, 1950s
Textiles. A pair of bright yellow cotton pillow shams. Front covered with grid pattern (10X6) of 6-7 cm rosettes of net fabric with embroidered yellow centres. 7 cm frill of net around edges-tacked onto cotton fabric. Machine hemmed.textiles, domestic, pair of pillow shams -
Bendigo Historical Society Inc.
Textile - ACCESSORIES COLLECTION: LADIES BROWN FABRIC HANDBAG, 1900's Edwardian
Textiles. Brown fabric handbag with brown xylonite or celluloid frame with hinged clasp. Brown silk fabric with insert at lower edge of brown and gold patterened fabric. Plastic chain link carrying handle (broken). Lined with patterned cotton fabric (blue,red,yellow).textiles, domestic, ladies brown fabric handbag