Table cloth in cream even weave linen. Cloth has a traditional Assisi pattern of birds in blue and black. Hem stitched edge and traditional triple tassels on the corners.italy, embroidery, assisi, cloth, napkins

Bought by donor in Assisi, 2004Cream linen sachet with design of rabbits in Assisi work. Blue cross stitch and hemstitching and black backstitch, with the traditional 3 tassels in each corner.embroidery, assisi, italy, 2000-20

Six napkins in cream even weave linen. Square with small motif in corner.italy, embroidery, assisi, cloth, napkins

Similar pieces are now in the Boston Museum and Metropolitan Museum.Framed Assisi band with continuous narrow image with geometrical and floral forms. Stitches used are tent stitch and long-armed cross stitch worked on linen using red thread. The stitches are worked over 3 threads. No Holbein or double running stitch outlines.assisi

Square mat on ecru linen, embroidered in Assisi style, with a square centre and wide border of animals. Orange cross stitch outlined in black.Mable Carey 1960italy, assisi, embroidery, cross stitch

Assisi work - natural evenweave linen with double running in black round the design then filled in with blue cross stitch, leaving the design 'voided'.embroidery, assisi, 1940-60, italy, sachet, lions

Designed by the Danish needlework designer Gerda Bengtsson in the 1960'sPanel of voided cross stitch depicting a vase of flowers in a technique resembling Assisi work (with back ground embroidered and pattern voided) . The piece is on even weave fabric embroidered with two strands of stranded cotton - 1 brown, 1 orange. Danish Design.embroidery, assisi, cross stitch

Colour slide in a mount. Image of Church of Saint Francis of Assisi (1943), Pamphula, Brazil. (Architect: Oscar Niemeyer.)Encircled 17 (Handwritten) / 8 (Handwritten)slide, robin boyd

A souvenir of the 1952 premiership won by the Holy Redeemer Football Club. It has a picture of St Francis of Assisi in the centre, either side of which are listed team players and club officials.holy redeemer church, holy redeemer football club, football, sporting clubs, fr tim fitzpatrick, mr slavin, ray mcdonald, peter hine, robert chubb, paul dwyer, alex walsh, austin maloney, john tittensor, frank walshe, gary grace, brian wilson, barry ward, john grant, max day, russel warrett, mrs grace, barry dillon,russel slavin, brian hartnett, bernard o'brien, barnard o brien, terry rogers, loigi aldo miglioranza, michael tittensor, michael watts, brian phillips, peter hurst, john owen, paul harris, barry wilson, pat mcphee

The Rosanna Convent of Mercy was built in 1929. Due to a fire prevention order, it was placed on the market in 1990. Today (2018) it is the Assisi Italian Aged Care Centre.News article, black and white text and image.sisters of mercy, rosanna convent, assisi centre

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration

"ST. PETER'S CHURCH, DAYLESFORD Last Sunday his Grace the Archbishop confirmed a large number of children at St. Peter's Church, Daylesford. His Grace was assisted by Rev. J. J. Malone, P.P. The congregation included a large number of worshipers from outside districts. A short address delivered by the Archbishop was attentively listened to, and many were the expressions of congratulation extended to his Grace upon his recovery from the indisposition which had incapacitated him from active work recently. At the conclusion of Confirmation the children were treated to refreshments on the lawn in front of the presbytery A large number of parishioners dined with Fr. Malone, and the Archbishop renewed former acquaintanceships. In the evening a mission was opened by the Rev. J. O'Brien and Rev. J. Brown, of the Redemptorist Order. The mission will be concluded on Sunday next. The exercises have been well attended. The interior of this beautiful Gothic church has recently undergone complete decoration, and one of the features that have, received special attention is the stained-glass. The windows consist of eight- two-light with trefoil piece of tracery, and in each is designed one of the following figures:—St, Francis of Assisi, St. Francis Xavier, St. Augustine, St. Monica, St. Stanislaus, St. Aloysius, Our Lady, St. Joseph, St. Patrick, St. Bridget, St. Agnes, 'St. Rose of Lima, St. Ignatius, St. Vincent de Paul, St. Alplionsus Liguori, St. Thomas Aquinas. The figures are set, in medallions formed with richly designed Gothic ornament in the form of crockets surmounted by a cross and crown, while in the tracery immediately above the windows is a monogram of the names of the saints. The figures are richly coloured in glorious antique glass, with the ornamental detail in lovely mellow tones of old gold and pale yellow stains. The whole effect is rich and at the same time restrained in colour. At the base of each window is written the name of the donor. The whole of the work was designed and executed by Messrs. Brooks, Robinson and Co. limited, at their stained-glass studios, Elizabeth-street, Melbourne. The scheme is an original treatment, but at the same time strictly orthodox and Gothic in style. One feature of the work which must be apparent to those who are interested in stained-glass decoration is the maximum effect obtained with a minimum of expenditure." (Melbourne Advocate, 4 December 1909) A number of coloured photographs of the stained glass windows from the interior of St Peter's Catholic Church, Daylesford. The photographs were taken on the day of the 150th anniversary celebrations.brooks, robinson and co, stained glass, st peter's daylesford, church, daylesford, st alplionsus liguori, st thomas aquinas, religion, st agnes, st rose

Hand woven linen worked in classic red. Design is voided. Mounted with clear back.embroidery, fragment, 16th century, italy, sicily, drawn thread