Colour photograph of blue pincushions, Wild Dog Creek Road, St Andrewspincushions, brunonia australis, st andrews, wild dog creek road, wildflowers

Silver pincushions became popular as complementing bedroom accessories. This one serves both as a pin cushion and somewhere to store small items.Decorative silver pincushions were status symbols.Round velvet pincushion box with sterling silver band Hallmark - London 1887sterling silver, pincushion box

Clamps used to grasp fabric combined with a pincushion or emery (missing in this example) were very popular sewing tools in 19th century. Possibly from Chinese workboxCarved ivory pincushions clamp were often included in work boxes. Chinese carved ivory clamp with missing pincushion Garden scenes carved on one end, Chrysanthemum design with three rows of ptalsclamp, pincushion

Pins were expensive and so the use of pincushions to keep them safe, to protect them and other items was practical and popular. Chinese carved ivory clamps with pincushion tops were common accessories for work boxes. Such as these they were made in the East for sale to European markets where they were a way of showing one's financial status. Pins were precious sewing tools which needed to be kept safe and sharp, pincushions were an essential sewing tool for keeping pins. Carved bone or ivory clamp with screw through base for attachment.. Topped with pincushion covered with (replacement) embroidered silkclamp, pincushion, ivory carving

Vegetable ivory became a popular substance to use for needlework tools c 1860, it was very suitable for lathe turning and cheaper than ivory. Combining the cotton reel with a pincushion created a convenient tool to display and use. Presence of the wooden cotton reel dated 1863 tells of an early cotton reel, and that the piece was used.Vegetable ivory was a substitute for elephant ivory, this standing compendium was an useful item for display. Unusual to have a wooden cotton reel with a name and date. Standing thistle shaped carved vegetable ivory combined cotton reel holder and pincushion with bone spindle and worn red velvet pincushion. Cotton reel on it is a replacement and has cotton on it. Base of cotton reel in indian ink: "Gina Pipe, May 15th, 1863"reel, vegetable ivory

Pink patchwork pincushion with darker pink pattern and sides.handcrafts, needlework

Mrs Win Saunders (member) designed and made by her.A.. Large pincushion - design of stitched flowers random or wild daisy B. Pincushion - design based on knot gardens wool embroidery C. Pincushion - design based on knot gardens wool embroidery D. Needlecase - design based on knot gardens and coptic cross, wool embroidery E. Walnut shell pincushion (half shell), tatted edge, wool embroidery F. Sea shell - pink and green French knots. wool embroidery, embroidery, canvas work, small articles, australia, 1980-2000

Linen bag, stitched in a single strand of pink cotton in traditional Blackwork designs. 4 pockets on outside of bag, fine cord with tassels to close bag. Accessories -needlebook, pincushion, scissor keeper, pincushion, and scissors.2012 on base of bag.blackwork, embroidery, linen, blackwork, bag, accessories

Set comprises round needlecase, made of hexagons. Pincushion and emery cushion, also of hexagons, in a blue and white floral fabric and plain blue fabric. Pincushion is edged in blue velvet ribbon finished with a bow and a loop. textiles, small articles, patchwork, australia, 1980-2000

This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers. A small handmade fabric pincushion. It is edged in beading and embroidered on the top side. The padding is soft.

Unusual pin disc made with onyx stone sides. No other information available Very unusual pin disc sith onyx coversDisc pincushion with red velvet insert between two onyx discs. Eight pinspin disc, onyx

Wooden stand with an upright tape measure in inches. Movable metal rung and metal ring on top. Pincushion placed on wooden base.Made In Englandhandcrafts, dressmaking

Tunbridge mosaic ware souvenirs demonstrated the marquetry skill of the craftsmen and reflected the popularity of Tunbridge area as spa destination in early Victorian eraTunbridge mosaic ware souvenirs demonstrated the marquetry skill of the craftsmen and reflected the popularity of Tunbridge area as spa destination in early Victorian eraRosewood Tunbridge mosaic-pattern clamp with blue velvet pincushion edged with brown silk ribbon. Clamp screw has round headMosaic inlaid pattern on round face of clamptunbridge ware, pincushion clamp

Pincushions or pin pillows date back to the Middle Ages in Europe. The tomato shaped pincushion grew from a Victorian Era superstition that tomatoes were good luck and so they were often given to newly weds as charms and placed on the mantle. When there were no actual tomatoes a fabric token was made and later used for pins. Some pincushions were stuffed with abrasive materials designed to sharpen the pins. This one would have a needlework accessory for an Orbost local.This item is a common sewing accessory reflecting the needlework skills of women in the first half of the 20th century.A soft padded fabric pin cushion. Material is a black background decorated with colourful flowers. It is divided into eight sections by red stitched lines and holds 3 needles and a bent pin.

Mrs. Ada Sebire - 1920'sMoss green velvet pin cushion with white beads. Triangular shape.pincushions, pin holders

Pincushion mounted in a round turned polished wooden base with three legs. Material cover (worn velvet?) over a rounded base (cork?). Old catalog inscription U2669.domestic equipment, containers, sewing

Rust was a problem with early pins and needles. Cushion shaped containers filled with emery powder (corundum) or sand were used to polish the pins and needles. They are heavier than pincushions and often smaller. Emeries were essential tools for sewing. An elegant presentation of an essential tool for keeping pins and needles rust free.Circular double sided ivory emery pin/needle disc. Dot and circle pattern one one side, other side incised with 'Emery'. Edge stitching with loops of fawn thread. Red silk ribbon around the edge, finished with two loops. Dot and circles pattern on one side, 'Emery' incised on the otheremery, ivory pin disc, madras style decoration

The donor's grandparents, Matha and John Lishman, migrated to Australia from Hexham, Northumberland immediately after their marriage in 1887 and the shoe was sent by a family member to her grandmother, in anticipation of the arrival of their first child, my uncle Thomas. At the time they lived in a house which they called "Hexham" in Salisbury Grove, Hawthorn.Blue satin shoe with pincushion which was made for a new baby. Cushion separate. Centrally placed curved handle edged with darker blue cord. Pleated ribbon around cushion and top edge of shoe. Four ribbon bows, pins, large pins and safety pins.Front : "Send Darling Baby - Mary or Thomas ? O'wert or Ewert Hexham" Back "Innocence 1888"pin cushions, england, late 19th century

From deceased estate of EGV memberPrinted envelope with pattern and stitch directions -Blue Pincushion Brunonia Australis. Bundle of threads inside envelope. Designed and sold by Geoff Riley, water colour artist from his shop "The Wildflower Shop", 14 Queen's Walk, Melbourne from the 1930' to the 1950's. See imagesgeoff riley, 20th century, australia, australian native flora, australian native fauna

Donor made them from Erica Wilson kits.Both embroidered in wool on beige linen and trimmed with a green cord. a. Stylised design of a spray of strawberries on a mount b. Small tree with deep pink berries.embroidery, pincushions, crewel embroidery, australia, 1960-80

A handmade pink rayon crocheted pincushion. It is circular with two circular pieces - one large, one small - to resemble a hat. The top section is to be padded. It is threaded with pink ribbon. Two hatpins have been stuck unto it. One has a white pearl knob and the other a black pearl knob.

The designs were adapted from Thelma Crawfords Australian wildflower designs and pieces were made for a Guild exhibition at George's in the early 1970's. Aeroplane linen was used on aeroplanes before and during the war.The embroidery is done on "Aeroplane Linen" i.e. fine linen. (Actually used on aeroplanes). Motifs are executed with one strand of stranded cotton A) Needlecase, spray of deep pink flowering gum (12 x 8 cms) B) Pincushion, spray of Boronia, gum blossom, flannel flower, billy buttons and running postman (11 x 8 cms) C) Scissors case, spray of correa (12 cms) D) Pin holder flannel flower (6cm diameter) embroidery, small articles, 1960-80, australia, surface stitchery

Mrs William Wright operated a shop at 95 Liebig street Warrnambool around the turn of the 20th century, where she sold clothing as well as a large range of embroidery and needlework requirement.Some of the work listed in advertisements include shadow work,princess applique and Mount mellick work. She was an experienced and talented needleworker and held classes in a range of work. Mrs Wright advertised that her students had success at local shows in items such as shadow work,, embroidered blouse, best cosy, canvas work, novelty pincushion,floss silk work.Her name was Martha but she always traded under her husband's name. She died in 1952. This dish is a a simple reminder of Mrs Wright This pin dish provides a link with one of Warrnambool's early shopholders and needlewomen. She is featured in a soon to be released publication about women in Warrnambool called Silent Lives. The dish itself is a pleasing little example of a pin dish.Small white plate with gold edging and gold text. It is a rectangular oval shape but all edges are rounded.With compliments Mrs Wm Wright Warrnambool in gold in middle of plate .Made in Czechoslovakiawarrnambool, mrs wm wright, mrs william wright shop, mrs wright liebig st

Typical of work boxes made in China for sale to visiting Europeans 1840'sBlack lacquerware work box, hexagonal, with bone or ivory fittints. Black all-over lacquered surfaces decorated with Chinese pavilion scenes and motifs with butterflies. Two inner compartments, upper one fitted with bone/ivory lids to compartments for needlework. Lower compartment is a drawer with missing contents. Two metal carrying handles, two metal key holes (no keys). Front feet gilded wood, back feet wooden blocks. Interior has one removable fitted tray with eleven compartments. Two compartment lids match gold and green lacquerware of exterior. Two have removvable inserts. Third compartment has removable pincushion insert. Four narrow compartments fitted with wooden blocks to contain tools. Lower drawer has folding writing slope decorated and five compartments for writing toolsExterior: Black lacquer with gold and pale green inlaychinese lacquerware, workbox, ivory needlework accessories

In May 1931 the Australian government announced a 20% reduction in expenditure, cuts to wages and pensions, and increased taxation. Despite workers striking, wages were reduced and working hours increased. The economy plunged into depression. Workers blamed the hardships on greedy bankers and the rich elite. The unemployed’ home-made, designed, knitted, painted and created things like pegs, pincushions, soaps, kitchen utensils and Pokerwork art, to sell door-to-door or in the streets. ‘Make Do and Mend’ was the mantra of the time. Making and mending clothing at home became a means to save money and an income offering services mending, altering or making clothes for the working people. Making over garments had been a time-honoured tradition since pioneer days. During the Depression clothes were a luxury and new fashions were created by altering old clothes. A best dress became a housedress, a church suit became a mine suit. Old shirts became new aprons, old trousers became new hats. Magazines and newspapers published Instructions on making and mending clothing and these became curriculums for sewing classes. Darning, mending, patching, saving fabric for rags, patches or upcycling became a necessity. Having a Sewing machine like this 1927 Singer housed in Oliver Gilpin’s store at Coal Creek Community Park and Museum could be the difference between survival and starvation The popularity of publications such as ‘Make do and mend’ lasted through the Second World War and into the 20th Century. Hand operated Singer sewing machine with wooden cover, circa 1927Y4476618