White work on off white linen, satin stitched leaves, eyelets and stem stitch. Buttonhole scalloped edge of front flap. Gusseted pocket with shamrocks at bottom left and right sides. Machine constructed with French seams.H.K.E.S. in satin stitch.embroidery, sachets, 1900-20, ireland, whitework

Worked by donor's mother.Linen table cloth, cream, art deco design in satin stitch and stem stitch in cream and beige shades. Crochet edge.embroidery, satin stitch, crochet, linen, tablecloth

Pam made this picture as a result of a class in Dookie in 2003 Designed by Betty Chen LewisA butterfly worked on white canvas in shades of blue and gold stranded cotton metalic threads mostly in satin stitch. Blue mount edged in gold. Gold frame.Blue threads may be fine wool.embroidery, picture, butterflies, satin stitch, gold

Mrs Frogley was the donor's son-in-law's grandmother.Linen bag in fawn linen embroidered in surface stitchery. Dutch male and female figures, from the back, woman in blue dress and white apron, man in red and blue costume with smoking pipe. Multi coloured tulips. Linen - embroidered in satin stitch on front next to opening.embroidery, surface stitchery, linen, bag

Traditionally worked using white thread onto a fine white muslin, Ayrshire embroidery is recognisable by stylised floral motifs with areas of filled in cutwork. Developed from Dresden embroidery (a form of pulled work) and tambour embroidery, it uses a range of stitches, including satin stitch, chain stitch, eyelets and buttonhole edging as well as a range of lace filling stitches. The technique became popular in the early nineteenth century, when the previous fashion of elaborate gowns with hooped skirts was replaced by looser, simpler white cotton muslin garments. Although the elegant simplicity was favoured, women also desired some decoration. However, looms of the time could not create complex designs, so women turned to hand stitching.Using cotton muslin woven in Ayrshire, local women and girls would complete the intricate whitework to help supplement their family income. Mainly produced at home, Ayrshire whitework garments would be initially completed by one person. However, as the technique became more popular and the industry developed, to ensure high quality work, a piece would be passed around so that each embroiderer could focus on completing the stitches they specialised in.It is believed that the designs and motifs used in Ayrshire whitework were inspired by lace filling stitches found within an inset in a French Christening robe that was bought to Scotland by Lady Mary Montgomery, who then lent it to Mrs Jamieson of Ayr. She copied the stitches used within the robe and taught them to her outworkers, and she also produced plain muslin that was stamped with a water-soluble blue ink design that made embroidering the designs neater and more efficient. Ayrshire work became popular quite quickly, and it was incorporated into collars, cuffs and caps as well as children’s clothes and bonnets. Pieces were exported across Europe and the British Empire. As the decades progressed, technology advanced, resulting in looms that could incorporate decoration into the weave of the cloth, reducing the need for hand embroidered Ayrshire whitework.A triple frill of Buckingham lace, followed by two bands of fine embroidery - eyelets and satin stitch, and tucking, with small circle at crown.embroidery, whitework, bonnets, mid 19th century, scotland, garments

Pina cloth (cream) machine embroidered in one corner, satin stitch flowers and drawn thread. The edge is scalloped satin stitch.embroidery, drawn fabric, surface stitchery, handkerchief

Purchased by Guild 17/7/1960Fine linen with woven border. Embroidered decoration of small rosebuds in satin stitch and tiny satin stitch spots. Fine scalloped edge.Initials H.G.embroidery, handkerchief, whitework, mid 19th century

Embroidered cream crepe short-sleeved blouse in peasant style. Rouleau work around the neckline, joined to blouse top by insertion stitches. Front embroidered with floral motifs around crochet star motifs. Smocked sleeve cuffs and around bodice.Note stitched to front states "Rouleau work, crochet 8 point motif, buttonhole edging, running stitch, satin stitch, smocking and other".

From the collection of the late Dr. Georgina Sweet, who was the first woman veterinarian in Victoria and who travelled extensively in Middle Europe in the Early 20th century.Red silk on cotton, satin stitch floral motif.embroidery, stoles, middle east, surface stitchery

Cloth embroidered by donor's paternal grandmother Caroline Ada Louisa Baird (nee Swindells ).White linen cloth with heavy white embroidery in satin stitch.T.P. Church (Laundry mark)embroidery, ecclesiastical, 1900-20, australia, white work

The linen tablecloth has been hand worked using satin stitch embroidery and drawn thread work. This tablecloth is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Most of the items in this Collection are in the Lighthouse Keeper’s Cottage at Flagstaff Hill. The majority came from the simple home of Vera’s Giles’ parents, Henry Giles and his wife Mary Jane (nee Freckleton), whose photographs are in the parlour. They married in 1880. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the construction of the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook. She attended Mailor’s Flat State School, and later worked there as a student teacher, before (as family legend has it) she became a governess at “Injemira” where her grandfather, Francis Freckleton, owned the land. The Giles family of six, some of whom were born at Mailor’s Flat and the younger at Purnim West, lived at “The Maam”, Wangoom before moving to New South Wales in 1895, where Henry built bridges for about 7 years. Henry died in 1933 and Mary Jane died in 1940. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Tablecloth, white linen, part of the Giles Collection. Large white rectangular tablecloth, hand embroidered using white thread. Floral design in satin stitch and drawn threadwork. Cloth has additional white cloth iron-on label.Iron-on label, hand written in black pen "LHK B22". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, giles family, cooramook, 19th century linen, 19th century household goods, 19th century handcraft, 19th century manchester, 19th century table linen, 19th century tablecloth, giles family collection, 19th century household linen, warrnambool breakwater construction

May have been part of a duchess set or handkerchief sachet.Find white linen with cutwork, satin stitch and drawn thread in butterflies.embroidery, mats, whitework, 1900-20

Research underway on Mrs Fudges school and to link maker to donor. Sampler donated by descendant.Unusual sampler with diamond band in solid satin stitch. Possibly from Bristol England.English band sampler. Linen embroidered in satin stitch, eyelet, half cross stitches in dark green, brown and beige cotton, scrolling frame around inscription. Diamond band in solid satin stitch.Five alphabets, "Susanna Fennell her sampler worked at Mrs Fudges school 1808"alphabet, sampler

Circular white linen fabric with a scalloped satin stitch edge and small broderie anglais flowers. Two birds on one side are in satin and seeding stitches. A spray of flowers and drawn and pulled thread work fillings and satin stitch is also part of the decoration.embroidery, mats, broderie anglais

Sophia Alexandros was born on the Greek island of Ithaca. She married an Australian and stitched an extensive trousseau.Cream pina cloth, cream embroidery in satin stitch and pulled thread work, scalloped buttonhole top and zipped closure. Cream satin lining. Back of bag has tiny flowers and dots in satin stitch.embroidery, bags, machine made, pina cloth

Pair of sleeve bands with embroidered butterflies worked in satin stitch. Ivory satin background and embroidered in silk thread silk embroidery, china, butterflies, sleeve band

Designed and embroidered by Donor's aunt.Made of fine linen with a decorative edge of broderie anglais and satin stitch spots.embroidery, 1900-20, australia, whitework, handkerchief

Purchased by donor in Interlaken in 1977Fine lawn embroidered in fine satin stitch and stem stitch, and shadow work.embroidery, mats, shadow work, switzerland, 1960-80

Designed and worked by donor Mrs Eunice Spedding for the Singer Sewing Machine Company in Victoria in the early 1950's. Worked prior to the advent of the swing needle domestic sewing machine. Early work was carried out on commercially prepared designs. Possible stitches include satin, stem, split petals, eyelets and cut work, in an excellent imitation of hand embroidery.Light beige linen with cutwork design of flowers with 4 tiny satin stitched flowers inside. Early form of machine embroidery made for the Singer Sewing Machine Company in Victoria in the early 1950's.embroidery, machine embroidery

Purchased by donor in Kashmir for his wife who was a Guild member, now deceased.Cream silk embroidery on fine cream wool. Satin stitch ? Palmette design included.embroidery, surface stitchery, stole, 1960-80, kashmir-srinagar

Oblong mat, pulled thread corner, satin stitch, Algerian eyelets. Cream linen.embroidery, embroidery, pulled thread, mats

Sleeve bands using pekin knots, satin stitch. Depicts figures in an outdoor setting.embroidery, garments, silk embroidery, china, sleeve bands, late 19th century, garden, figures

Given to donor by Mrs A. W. Brown, Devon, U.K.Beige linen with slightly darker stitchery. Design of leaves and flowers on background of satin stitches.embroidery, mats, surface stitchery, 1940-60, england

Large Oval white linen with a small border in floral design worked in satin stitch and eyelet holes. At each end is a single rose embroidered in padded satin stitch and drawn thread work. The mat has a scalloped buttonhole edge.embroidery, mats, 1910-1920, madeira work, whitework

Ivory satin with coloured satin stitch embroidery depicting a landscape scene of figures, flowers and trees.embroidery, garments, silk embroidery, china, landscape, garden, figures

Made of lawn with a border of flowers in satin stitch and buttonhole stitch. Fine embroidery in classical style.embroidery, handkerchief, mid 19th century, scotland, ayrshire work

Linen mats in pale cream, embroidered in ecru satin stitch in a floral, squared design in hemstitching.embroidery

A gift to the donor.A round mat with 6 scallops with 3 satin stitched and 3 open worked, in Lefkara technique.lefkara, whitework, cyprus, mats

Marghab Linens Ltd. was a company specialising in table linens founded on Madeira in 1933 by British Cypriot Emile Marghab and his South Dakotan wife Vera (née Way); and disestablished in 1980.The company was also known as Emile Marghab Inc. Since 1850, when Madeiran natives were introduced to hand embroidery as a means of industry, the islands had been renowned for their needlework. The Marghabs took advantage of this reputation, producing textiles that were skilfully hand-embroidered on the highest quality Irish linen and a form of organdie called Margandie, made in Switzerland, and harder wearing than usual organdie. The linens were designed by Vera, and hand-embroidered as a home industry by the women on Madeira, who Vera insisted received payment per stitch - which for a single place mat could amount to seventy thousand stitches.Cream linen with a design of pink and brown. lilies and leaves in applique, satin stitch and couching. Marghab.embroidery, towels, surface stitchery, madeira, 1940-60

Natural coloured linen and thread. Leaf design within a circle. Decorative satin stitch edge.embroidery, drawn fabric, mid 20th century, australia