From the donor's aunts home 'Canterbury House'Dark green velvet with a design on leaves and flowers worked in chenille in greens and cream.embroidery, panels, surface stitchery, late 19th century, australia, chenille

Variably described as mantel hangings, pelmets or valances, these became a common form of Victorian interior decoration in the second half of the 19th century. The hanging uses arrasene embroidery which was introduced for artistic embroidery c.1883. Arrasene embroidery was a variation of chenille embroidery and was mainly used for curtain borders, mantel hangings and screens. When used to embroider flowers on velvet or plush, it was sewn upon the surface without being ‘drawn through’. Madonna lilies, irises, daffodils and narcissi were commonly used in designs of mantel hangings.Velvet mantel hanging embroidered with chenille thread. The scalloped edge of the pelmet is bordered by multicoloured silk cording. This example was owned by Netty Cornish of 15 Peel Street, Kew, and donated by her daughter, Mrs F Plumridge in 1980. The embroidered flowers in this example include narcissi and roses.mantel pelmet, peel street, kew, nettie cornish, mary plumridge

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Full length coffee coloured organza sleeveless evening gown with a raised chenille pink chrysanthemum pattern.women's clothing, australian fashion - 1930s, dresses

Donated by wearer; worn to churchWhite, chenille, off the face, 1960s bonnet shaped hat; small gilt brooch pinned on front.costume, female headwear

1983 on loan from Mrs E Billing, Burwood. Returned 1998 and returned to Guild 2010Satin fabric apron with silk floral spray in bright colours on black sateen in silk and chenille thread. One apron tie only.19th century, silk embroidery, apron

19th C portion of crazy patchwork fragment, with taffeta, silk, vevet, cotton, applique leaves, chenille thread and pearl thread and embellishments.crazy patchwork, silk, 19th century

Needle case is part of a collection of sewing tools donated by Betty McPhee.Green mottled leather wallet style case containing sewing needles of various sizes. Includes 5, 4/8, 6 rug, crewel, darners, chenille.handcrafts, equipment

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. Cut velvet pelerine featuring multicoloured garlands of flowers in shades of gold, brown and blue on a pink ground. Chenille trim and long silk fringe, Centre front hook and eye closure, Lined with pale pink silk.women's clothing, outerwear -- capes, fashion -- 1890s, fashion design

Mrs Dulcie Grice, long time member of the Embroiderers Guild Victoria, until her death in 1995. Mrs Grice, maker, wore this collar many times at the Guild where she was an active member.Detachable collar, laid over the shoulders and fastened with a hook and loop at the front. Worked on black net, lined with black silk. The design is a flower garden worked in multi-coloured wool and chenille. Worked in many styles of creative embroidery.embroidery, surface stitchery, collars, 1980-2000, australia

Not known. The frame is not original.Classical small oval picture of late 18th century of early 19th century. Two children playing in a pastoral setting. Background is fine silk and has been painted. The faces and hair have been painted. The embroidery is in silk and chenille.embroidery, surface stitchery, picture, 1800-20, england

Donor, Valda Arrowsmith wore the suit during her time as Mayor of Nunawading at official functions in 1987/8.1987 Two piece black woollen suit. Skirt is straight hand woven and is lined. Top is woven wool with panels in shades of blue lurex, wool, braid, chenille and black lurex. Sleeves are magyar style. Black ribbed band at waist.costume, female

Burse with Maltese style cross. Red lurex fabric woven with black organza. Organza is cut away in a cross shape. Decoration is black couched chenille and steel purls. Lined with cream cotton. Red man-made fibre covering back board.Edna Wark 1975embroidery, ecclesiastical, 1960-80, australia, creative

The cloth was made by Miss Annie Meyer, Trawool, Victoria an aunt of the donor.Dark tan/gold satin cotton ground with an applied, heavily embroidered border from an earlier cloth of printed fabric. Bold embroidery in chenille and pearl cottons in gold, mauve, beige and blues. Some bead work. Backing of gold/tan heavy ribbed cotton.embroidery, table cloths, late 19th century, australia, surface stitchery

Embroidered picture in gold oval frame. Cream silk with a central oval panel depicting a shepherdess under a tree, 3 sheep and a dog. House in background. Embroidered in silk and chenille threads. The wide border surrounding the central oval is of flowers, leaves, garlands, with a bow and loop at the top. The face of shepherdess is painted.Sticker on reverse showing it was framed in Melbourne at the Leighton Gallery of Art in Collins St.embroidery, pictures, silk embroidery, early 1800's, europe

A pink satin and cream machine lace bedspread made from alternative 13 to 14cm wide strips in a rectangular pattern with central rectangle set at 45 degrees. Three sides are edged with silk chenille bobbles in pink and cream. The central rectangle and the four corners surrounding the central rectangle have a floral cut work pattern in the silk overlaying the lace which has couched cornelli work.. The third satin rectangle from the outside has a looped and wave pattern in couched cornelli work, missing on one corner.favaloro, bedspread, satin, chenile bobble trim

Embroidered silk, with a swirl type embroidered pattern. Wide, and deep square neckline. Back opening with nine metal hook and eye fasteners. Seven 16cm long bones encased in ribbon - three in the front, and two either side of the back opening. The wide square neckline is edged with 4.5cm wide fine lace - (two narrower pieces stitched together). Five .5cm wide tucks border the front and back neckline. The sheer embroidered tulle sleeves have a silk panel under arm. Shoulders and sleeve cuff are trimmed with a feature of artificial roses and leaves - roses 2.5cm diameter. A 17cm frill extends from the back opening, passing under the armhole, across the tucked border at the neckline to the back opening of the left side. This frill is also trimmed with the artificial roses at 10cm intervals. The bands of lace that trim the neckline also border this frill. Stiffened circular shaped shields are stitched under the armhole, and on the adjoining under arm of the sleeve. Pink chenille type tufts interspersed on embroidered silk overlay. PART 0F WEDDING OUTFIT 11400.781; 782On the lining panels of the left sleeve is marked FLIRT, Made in U.S.A. 1 2 2.costume, female, cream silk wedding bodice