The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This textile is one of the many domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.Hand made white cotton doily with hand stitched cotton fringe c.1919-1928textiles, sewing, handiwork, women's history, domestic, craft, family, wodonga, haeusler collection, haeusler

Pamphlet - DL size, three fold full colour printed on gloss paper titled "Fringe Festival Information Booklet", giving details of the festival, what's on, how do I get there, a map of the Melbourne tram network, use of Metcards. Published by M>Tram for the festival - 26/9 to 12/10/2003.trams, tramways, festival, m>tram, tickets

The Mission hosted several shows from The Melbourne Fringe Festival: The Passion of Pauline: a live documentary - Billiard Room (2-20 Oct.) Murder In The Chapel, A Murder Village Improvised Whodunnit - St Peter Chapel (3-6 Oct.) Angellis Taliuu, Tectonic - Norla Dome (10-13 Oct.) Roadblocks - Billiard Room (10-13 Oct.) Spark - Norla Dome (10-13 Oct.) I Got Bit By A Monkey Once - Billiard Room (10-20 Oct.) Matt Harvey - Wage Against The Machine- Billiard Room (10-20 Oct.) Motus in Morte - Norla Dome (16-20 Oct.)melbourne fringe festival, 2024, venues, cultural events

100p.non-fictionThis report presents a summary of the issues and needs communicated by community and road user groups, local government, industry and government department representatives, at two of a series of VICROADS Regional Workshops convened by the Roads Corporation, as the Vic Roads 2000 Victoria's Rural Arterial Strategy is developed. Includes three parts: Outer Metropolitan Regional Workshop Report, Outer Dandenong Regional Workshop Report and background paper - Outer Melbourne rural fringe regional economy and road travel demand.roads, vicroads

A thesis completed for the Bachelor of Arts (Honours) degree, Monash University, 2001. Includes references to Montsalvat and detailed bibiography56 pagesHG Booklet 23alistair knox, art, bohemia, dunmoochin, gordon ford, harry gilham collection, justus jorgensen, max meldrum, montsalvat

Leather strip with wording to top end and oval photo glued midway. Leather strip is fringed both ends.Small oval photograph of dog on the tuckerbox at Gundagai set into leather fringed bookmark with 'The Tuckerbox Gundagai' inscribed.souvenir, heritage, folk art, tourism, bookmark, gundagai

Made by donor's grandmother.Square bag, black jet beads with looped fringe at base. Drawstring closure and scalloped, beaded edge. Black cotton lining.beadwork, jet, fringe

It is not clear that this fringe was ever attached to the curtain suite; it may have come from an associated part of the original ensemble (eg pelmet) or from associated furniture. However, it is certainly connected to the fringe on the tieback tassels, whose tassels are finished with the same product. The detached gilt metal fringe has aesthetic significance as specimen of an opulent furnishing decoration in very lavish contexts, such as gold rush Victoria. Part of it still preserves the original bright gold metal, ie is untarnished; this is probably quite rare in Australian collections.Board wrapped w c.17m of heavy gilt metal fringe (known as bullion fringe) in several pieces, evidently detached from curtains, and/or furniture items. (No sign of it having been attached to the curtains). The fringe is composed of metallic thread very tightly wound over a cotton/linen thread, attached to a narrow header braid with an ornamental design worked in metallic gimp cord. The colour was originally gold, now tarnished on all parts exposed to air, but sections of the fringe under the top layers retain the luxurious gold finish. Westman (2019: 242) explains that 'gold thread' was made of gold fired onto silver bars from which thin, flat or round wires were cut to wrap around a core linen thread for use in trimmings. Shen notes that the very thin layer of gold often wears away, exposing the silver which tarnishes. Bullion fringe: fringe made of bullion, in the sense of precious metal, used for prestigious royal, ecclesiastical and military garments and furnishings. Westman (2019: 193, 240) says that by the 19thC, the name was also used for twisted thread long fringe made of wool, silk, cotton or a mix, as it is today. In this form, 'bullion fringe' became a lavish edge-trim in the early-mid-19thC wherever its vertical look could add richness to drapery. interior decoration - history

This white cotton Antimacassar has a hand crocheted lace pattern of flowers and a fringe of cotton strands tied to form tassels and was made by a woman from an early settler family in Moorabbin Shire c1900 The women of the early settler families made the clothing, haberdashery and napery for their families as the market gardens and farms were established in Moorabbin Shire c1900 A hand crocheted white cotton antimacassar with tassel fringe clothing, haberdashery, crochet brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire , dairy farms, fruit orchards

Traditional Mountmellick design, stitched in cotton thread on cream cotton sateen jean fabric. Flowers and leaves, finished with a looped fringe. embroidery, mountmellick, cotton jean, fringe

This Man's White 'Silk' Dress Scarf, with a black and white silk fringe, was worn with a dress suit as part of the formal wear for men in City of Moorabbin c 1960 for special occasions, events and ceremonies This Man's White 'Silk' Dress Scarf was worn with a dress suit as part of the formal wear for men in City of Moorabbin c 1960 for special occasions, events and ceremonies Man's White 'Silk' Dress Scarf with a black and white silk fringe . Tootal Scarf / Wash as Silk / Men's Wear Centre / Smythes / 115 Glenhuntly Rd E'wick clothing, evening wear, dinner suits, formal wear, scarves, collars winged, tailcoats, bow ties, cheltenham, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, maynard dennis, post world war 2 estates ,

Large yellow tablecloth used on Thomastown Golf Club presentation events, yellow and brown fringes were used as decoration, as shown in the accompanying photo. The tables were set up by Bob and Evelyn Jones, these events took place at the Jones home. Thomastown Golf Club was a social golf club formed in 1976. This is part of the Robert (Bob) Jones collection of Club memorabilia.Yellow tablecloth with brown and gold fringe decorations - sample only in frame.thomastown golf club, robert jones, tablecloths, presentations

Tan silk or art silk (rayon). Crochet rectangular reticule. Bronze beads are included in crochet and used for looped fringe at base and along edge of fold-over closure.crochet, art silk, beads, fringe

The fringed tablecloth is an example of a domestic item brought to Australia by early settlers in the Western District of Victoria as a home comfort.The fringed tablecloth helps tell the story of the arrival of European settlers and the small, light home comforts they brought with them to maintain a meaningful connection to home.Fringed and lined square tablecloth. The front is hand embroidered on brown loose weave fabric, the back a pale yellow polished cotton fabric. The edges on the back have been turned and machine-stitched. Hand-stitching has been used to join the top to the back and to add the fringe around the edges. The embroidery uses tapestry wool in cream, yellow, brown and green tones. The style is possibly an example of European folk-style hardanger embroidery technique. An inscription on a pink ribbon is sewn onto the reverse.“S F . 31303 OLIVER YEA - - [undecipherable]”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, tablecloth, fringed tablecloth, embroidered tablecloth, european embroidery, hand sewing, domestic object, handmade, textile, silk thread, geometric design, vintage, long-stitch, zigzag design, decorative, home décor, domestic linen, table linen, hardanger embroidery, hardanger

Black and white photograph showing rotunda with driveway in foreground, of Whiters Camp Park. Wind powered bore pump and tank stand in background. Lakes Entrance VictoriaThe Homestead Fringed in a Setting of Cypress, Whiters Camp Park.resort, recreation

Limerick Museum item: DESCRIPTION: Limerick lace. Blonde work. Designed and made by Eileen O’Donohue of the Limerick Lace School. PATTERN: Eastern style pattern with diamond zigzag border followed by flower and leaf border at the two ends. The centre has a scattering of single flowers with leaves. Crochet edges and fringed at both ends. STITCHES AND TECHNIQUES: Limerick Lace & crocheted fringe. FIBRE: Raw Silk threads, possibly silk net. SIZE: Height 284 cm cm x Width 58 cm. DATE: 1900 – 1915.Limerick lace – By the Poor For the Rich: Lace in Context Blonde Limerick lace refers to a specific style of Limerick lace—an Irish embroidered net—that adopts the aesthetic of 18th/19th-century French "blonde" lace, often featuring fine silk or cream-colored thread on a net base. It is a mixed lace, combining tambour or needle-run embroidery on a machine-made net. Characteristics and Context: Definition: Limerick lace is a "mixed" lace created by decorating machine-made net with hand embroidery, specifically tambour work (using a hook) or needle-run work. "Blonde" Aspect: Traditionally, blonde lace was a French silk lace known for its natural cream/pale gold color. When applied to Limerick lace, this refers to the use of fine cream or écru threads to create intricate patterns. Types of Limerick Lace: Tambour: A hook is used to create chain stitches. Needle-run: Embroidery is applied using a needle. Design and History: Patterns often feature floral, foliate, and nature-inspired motifs, such as shamrocks, ferns, or butterflies. While the industry began in 1829, styles evolved to include varied fillings. Production: The Limerick Lace School has produced modern interpretations, including stoles and veils featuring this technique.Cream net with an all over design in cream floss silk embroidery in a bold floral design. 5 cm silk fringe. Similar piece is in the Limerick Museum Ireland - described as Limerick Lace and crochet edges.embroidery, silk embroidery, shawls, early 20th century, india

Found amongst old Levy family (Family who lived at Buda, Castlemaine) papers and photographs.Cream silk ribbon (wide). One end is fringed and beaded, the other end has 2 flat silk ribbon bows. The centre is perforated paper bordered with silk buds (pink) and green leaves, and gun metal beads "Your knot is tied"." Your knot is tied"embroidery, favour, silk, paperbeads, fringe, bows

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Black fringed stole. Silk Georgette. Large fringe at both ends.

9079.1 Strip of black beading for fringing 9079.2 Strip of white and red glass beading fringing

The floor covering in the living/dining room was originally seagrass matting as seen in the Strizic photographs of 1959 and 1963. This was replaced after the Boyd's saw a large cream rug floor covering at the Shelmerdine's house and liked it. It was purchased from Myer. In 2007, that rug was found to be moth-eaten and treated and put into storage. Now a similar rug of the same size has replaced the rug purchased by the Boyds.Cream wool with fringeswalsh st furnishings, robin boyd

The Boyd's saw this type of floor covering at the Shelmerdine's house and liked it and purchased it. See also item F071.Cream wool with fringe."Woods Carpets Cleaning" 2 labels. Cleaned 11/9/96 and "1960".walsh st furnishings, robin boyd

The Boyd's saw this type of floor covering at the Shelmerdine's house and liked it and purchased it. See also item F064.Cream wool with fringe.Cleaning labelwalsh st furnishings, robin boyd

Ceremonial collar from Derry (Londonderry) Ireland in Northern Ireland for the Ancient Order of Hibernians and belonging to John Duddy donated in 2013 by the Macalinden family Port Fairy.A rare example of Irish Hibernian regalia in an Australian collection brought to Australia by the immigrant owner and later donated to the Diocesan Archive by his family. The object is significant in its embroidery and applique work and as an example of the importation of an Irish form contrasting to Australian variants of such collars. Significant in its representation of the contribution of migrants and the Irish to Australian culture.applique red hand of Ulster, Shamrock, Harp, Celtic cross with stars on each shoulder. Fringed in gold metal braid.port fairy, hibernian, derry, londonderry, northern ireland.

Variety of embroidered cloth panels depicting Egyptian scenes including the pyramids, sphinx, palms & camels. Made specifically for sale to Australian troops in 1941 as 3 panels depict the Rising Sun badge..1) Embroidered souvenir of Egypt, rectangular with black velvet with gold fringe. .2) Embroidered souvenir of Egypt, rectangular with black velvet with gold fringe. .3) - .4) Embroidered souvenir of Egypt, rectangular with black velvet with gold fringe. .5) Embroidered souvenir of Egypt, rectangular with black velvet with gold fringe..1) Souvenir of Egypt 1941 .2) Souvenir of Egypt with Rising Sun badge .3) Souvenir of Egypt 1941 .4) 1941 .5) Egypt 1941military history - souvenirs, manchester, eygpt

This stole was used for special occasions.As market gardeners and settlers in Moorabbin Shire became more prosperous their women were able to purchase fashionable items of clothing for special occasions.A long, cream silk stole with fringeclothing, brighton, moorabbin, s, pioneers, market gardener, dressmakers, early settlers, silk

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, teal and brownAn Onkaparinga 100% pure wool production. In emblem: Made in Australiawool, blanket, blanket fever, travel rug, onkaparinga

Manufactured by the Geelong Returned sailors and soldier mill. This is a RETSOL Buchanan blanket. It belonged to the donor parents who had family involved in WWI and WWII.Checked design woollen blacket with fringeretsol

Black shawl with fringe. Pattern of circles.costume accessories, female