Purchased by donor in Kashmir for his wife who was a member, now deceased.Red, woven, twill wool. Tied fringe. Shades of blue and white tambour work with touches of yelow. Paisley and floral motifs in border design and a row of motifs around the edges.tambour, stole, 1960-80, kashmir-srinagar, tambour work

Early 18th C fragments of ecru linen, embroidered with silk flowers in soft shades of green, pink and blue. Meandering lines may be tambour work. Embroidered through two layers of linen."Fragments of Queen Anne Bed Hanging - silk on linen"embroidery, fragment, tambour work, 18th century

Made by Viola, sister of the Baroness Felicitas Weidersperger of Tazovitz.Fine brown cotton fabric covered with dark brown and gold silk tambour embroidery. The edge is fringed. Design is of a rose surrounded by a scrolled border. czechoslovakia, embroidery, tambour work, mid european, 1900-20, floral, flower

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Tea cosy is probably Indian. It is of cream cotton fabric with a tamboured design of dragons in brown and black. Includes tea cloth and napkins.embroidery, tea cosy, india?, tambour work

Cream silk gauze with a border of local hieroglyphics included in the design. Gilt chain stitch in pale pink and soft green and gold metal thread. A deep silk 8" silk border knotted (partly) fringe at each end.In Arabic.embroidery, stole, tambour work, india

Purchased by Miss Sebaly's grandmother in Paris. Classic bag of the period.Small beaded bag, ivory satin, silver bugle and white and silver seed beads. Squared geometric pattern, silver coloured metal frame. Pearl clasp. embroidery, bead work, tambour work, bags, 1920-40, france

Cream Silk panel. Fine tambour embroidery. Classical design - urns, cornucopias and garlands of flowers.AR Central part of design.tambour work, panels, late 19th century, france

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Blouse Cream pongee silk in Chinese style with long wide sleeves trimmed with tatting and mother of pearl sequins.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Panels probably part of jacket, floral motifs and birds, satin is red and purple.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Red cotton (not a match to panels) chain stitch and shisha work, flowers and birds.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Skirt Bright red satin with motifs of flowers and birds, and several borders at the base of skirt.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

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. White cotton machine made net bolero with tambour work and a chemical lace medallion inserted centre backfashion and textiles collection - kew historical society, lace, women's clothing

Beaded bag with an enamelled and beaded clasp. Very fine beading forms background to a floral bouquet in tambour work, multi coloured. Heavily encrusted bag frame with enamel carnations.beading, bags, 1940-60, french (?)

Bought by donor in an opportunity shop.Blue silk panel made in Egypt as a souvenir for Australian soldiers during WW1. Design worked in tambour stitch. Edging is pink sequined braid."Christmas Greetings" Australian Commonwealth Military Forces" Souvenir of Egypt 1915 to Uncle from Bobembroidery, egypt, ww1, tambour

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

Two-page document with location map. The Fortuna Hustlers Gold mine was located close to the railway goods shed (Discovery Centre location) in an area occupied by Buckell and Jeffrey's office and yards. (now carpark of Marketplace shopping centre). It commenced operation in August 1888 and closed in December 1913.The depth of the shaft was 2,240ft. Features of the plant described are: the winding engine, the air compressor, boilers, baling tanks, poppet legs, engine house. The winding engine later worked at the Tambour Major at Specimen Hill; Birds Reef at Kangaroo Flat, Hercules No. 1 on top of Danger Hill and the North Virginia mine at Eaglehawk.bendigo, mining, fortuna hustlers mine

Four copies, 1 hand written and 3 typed copies of notes on the Fortuna Hustlers Mine. Notes include depth of shaft, size of lease, locality, plant, other mines where the winding engine worked, prominence, best reefs, total production. References: Mines Dept Special Edition 'Australian Mining Standard' 1/6/1899; Mines Dept Booklet 'Bendigo Goldfield' Geo Brown 1936; Mines Dept Booklet No 33 H. Herman 1914; 'Annals of Bendigo' (Mining Sections, From 1888 - 1913): A. Richardson.mine, gold, fortuna hustlers, fortuna hustlers, hustlers line of reef, railway goods sheds, buckell & jeffrey's, roberts & sons, tambour major, birds reef, hercules no 1, north virginia mine, gold production & dividends, australian mining standard (special edition) 1/6/1899, mines dept booklet 'bendigo goldfields' 1936, mines dept bulletin no 33, h herman 1914, annals of bendigo mining section 1888 - 1913, a richardson

Crochet came from the Old French word crochet, meaning ‘small hook.’ This word comes from Croche. Croche comes from the Germanic word croc. Both mean hook and crochetage, which means a single stitch used to join separate pieces of lace together. People used this term in making French lace in the 1600s and the word crochet describes the hook and the craft. Evidence shows the starting point was the mid-1800s but as early as the late 16th and early 17th century, crocheted braiding was used in clothing and other products. Like on a man’s cape at the Victoria and Albert Museum. Crochet evolved in the early 1700s when stitching material on a tambourine reached Europe after going through India, Persia, North America, Turkey, North Africa and other places around the world. People removed the background fabric used for tambouring. The French named the new technique “crochet in the air.” In the early 1800s, shepherd’s knitting came about, along with the shepherd’s hook. It’s thicker than a modern crochet hook but still with a hooked end. By the mid-1800s, it became known as crochet or slip stitch crochet. In the 60s, the granny square and crocheted home ware appeared and became more popular.A significant domestic item used in crochet or craft work and recovered from the wreck of the Schomberg in the 1970s. For more information regard the wrecking of the Schomberg see note sect this document. The Schomberg has historical significance as one of the first luxurious ships built to bring emigrants to Australia. The collection of recovered artefacts from the Schomberg wreck and held at Flagstaff Hill Museum are significant because of their potential to interpret the story of the Schomberg and its passengers.Crochet hook made from Bovine Bone. It has two sections that screw apart. Recovered from the wreck of the Schomberg. Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, crochet hook, crocheterage, craft

Flouncing - costume trim.Embroidered net. Flounce of machine made net with floral design worked in chain stitch. Could possibly be handmade but is more likely to be machine made.

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

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Cushion cover of embroidered Suzani on red cotton fabric. Embroidered with stylized floral design and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch.

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Panel of embroidered Suzani on green polyester fabric with maroon velvet border. Embroidered with stylized floral circular designs and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch. Backing is red cotton fabric. Border strips are embellished with machine patterned stitching.

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Part of a piece of embroidered Suzani in red cotton with corner embroidered with circular designs and framed corner panel. Designs are embroidered in white, cream, blue and black thread in tambour stitch. Backing is a floral yellow fabric. Green tassels on two sides with spangles attached.

Fine white cotton sachet has front panel of cut-work in a floral design. All outlines are of tambour chain stitchembroidery, sachet, cutwork, 1900-20, australia