Beading examined and classified by the Embroiderers' Guild of VictoriaPiece of black beaded fringing attached to a narrow band flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, beaded fringing, beaded, embroiders' guild

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

This is an example of a home craft object, designed for the user to decorate various objects.Multi-coloured beaded fringe used to decorate an object such as a lampshade.Nilfringes, glass beads, homecraft

This is an example of a home craft object, designed for the user to decorate various objects.Multi-coloured beaded fringe used to decorate an object such as a lampshade.Nilfringes, glass beads, homecraft

This item is an example of a costume accessory used by women in the early 20th century.Lady's thread and bead black bag with silver beaded fringe at bottom. Drawstrings at top.bag personal-effects money-container beading handcrafts drawstring-bag

This handmade item represents an important pastime of Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food.Small square cream coloured hand crocheted sugar bowl cover. Word "sugar" is patterned into it. The beaded fringing is blue and white.food-cover handcrafts crochet

Drawstring bag, probably knitted. Dark beige, beaded with small clear beads in a series of border designs, and finished with a looped beaded fringe at the base.beading

Fawn and red crochet with small silver steel beads, with a 500 mm beaded fringe. Two silver metal rings at the centre close the purse.crochet, bags, beading, 1900-20

Large pin cushion (probably for hat pins) amethyst velvet with floral beadwork design. Beads are crystal, white and pearls. Edged with beaded fringe.embroidery, bead work, pin cushions, late 19th century

Crochet covers for milk jugs, teacups and bowls were produced to repel the dreaded Australian blow fly. They were typically decorated with Australian flora and fauna and commemorative motifs and sometimes edged with beads, shells and other three dimensional forms, not only for appearance, but also to weigh down the crochet so it would stay safely in place on the jug. The three dimensional parts were stiffened with sugar syrup, or sometimes starch, paraffin or gelatine. The main sources for crochet cover and other needlework designs available to women were in journals, magazines and pattern books. In the first half of the 20th century women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food. Small square milk jug cover that has been hand crocheted with crown, flag and date patterned into centre. It has a red, white and blue beaded fringe.cover milk-jug-cover handcraft tableware

Beaded bag with Bakelite clasp with birds. Beaded front and back in same Egyption inspired design in green, blues, yellows, red /orange, grey, mauve and black seed beads. Beaded strap 35cms long. Lining is orange silk. Beaded fringe."Made in France" on Bakelite clasp.bags

Beaded bag with Bakelite clasp with birds. Beaded front and back in same Egyptian inspired design in greens, blues, yellows, red/orange/ grey/mauve and black seed beads. Beaded strap 350 mms long. Lining is orange silk. Beaded fringe."Made in France" on Bakelite clasp.bags, beading, bakelite, france

Doily was hand made by Riuth Woodward who was the daughter of Alan Richardson, a sawmiller at Tabbara. He held ticket for the paddlesteamer Curlip.This item represents an important pastime of Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food.Small square needlepoint doily with kangaroo pattern and beaded triangular fringe. Centre is white with pink clear beading.doily handcrafts needlework beading richardson-alan

1920s DRESSES BELONGING TO WIN LAZAVUS .1 BLACK NET SLEEVELESS DRESS EMBROIDERED WITH BLACK BEADS AND SEQUINS. .2 ORANGE SHEER FABRIC SLEEVELESS DRESS EMBROIDERED WITH SILVER BEADS AND A SILVER BEADED FRINGE AT THE HEM. .3 CLOTH BAG FROM GRAND HYATT JAKARTA IN WHICH DRESSES WERE STORED..3 HANDWRITTEN IN BLACK PEN: AUNTIE WINS (LAZAVUS) 1920S DRESSES.torney family, win lazavus

Object owned by Neil Frobel, handed down from great grandmother.Burgundy and red cross stitch screen with leaf design embroidered in wool. Beading in scroll and trefoil black, white clear and brown seed beads. Silk fringe and tasels on corded braids, 10cm. Silk backing.hanging

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

Small shaped purse beaded on yellow silk in glass and pearl beads. A long fringe, and long handle (beaded) with a large hook at top. Plain silk back.beading, bag, purse, fringing

Two small light fittings with glass fringe ornament (beaded) in green, white, silver and yellow ceiling mounts. c: 1920slighting, electric

Beaded bag, crocheted, black soft cotton and black faceted beads. Beaded loops form a fringe around bag and fold over the flaps. Closure is via 15 pairs of crocheted strings, and a buttonholed ring.beading, crochet, late 1800s, victorian

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products.Beaded reticule with a fringe and handle of blue class beads. The internal prose has a blue silk lining and a pink silk outer encased in beaded net. Based on an examination of the fabric, the reticule has been dated to the 1880s.women's clothing -- accessories, bags -- handbags, bags -- reticules, bags -- purses, fashion accessories

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

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

Textiles. Pale green coloured rectangular silk table runner backed with mid green silk twelve cm border on all sides of beaded vines, leaves and flowers. Three cm fringe on all edges of pale blue and silver threads.textiles, domestic, table runner

The Miser’s purse originated late in the eighteenth century and was variously called misers, hookers, almoners (or aumonières), and wallets, or long, stocking, ring, and string purses. The shape of the miser’s purse originated from the medieval practice of carrying coins in the toe of a stocking. A large version—as much as a couple of feet long and perhaps used largely by men during the eighteenth century—gradually became smaller and more refined. The miser’s purse grew in popularity on the continent and in England during the nineteenth century. During the second half of the century, it became one of the most common purses that Victorians carried. Used by both women and men, the typical nineteenth-century miser’s purse was a long tube made of “purse” or “netting” silk, often crocheted, netted, or knitted, with or without beads. Narrow in the middle and closed at both ends, miser’s purses ranged in the course of their history from 4 to 36 inches (10.2 to 91.4 cm) long. During the Victorian era, many miser’s purses were from 8 to 10 inches (20.3 to 25.4 cm) long. The “toes” of the purse, which might be of the same or different shapes, often were tasseled or fringed.Crochet tubular reticule in black with cream, maroon and green chevron pattern. Includes steel metal rods with balls attachment , metal chain handle and metal ball at base.

The Miser’s purse originated late in the eighteenth century and was variously called misers, hookers, almoners (or aumonières), and wallets, or long, stocking, ring, and string purses. The shape of the miser’s purse originated from the medieval practice of carrying coins in the toe of a stocking. A large version—as much as a couple of feet long and perhaps used largely by men during the eighteenth century—gradually became smaller and more refined. The miser’s purse grew in popularity on the continent and in England during the nineteenth century. During the second half of the century, it became one of the most common purses that Victorians carried. Used by both women and men, the typical nineteenth-century miser’s purse was a long tube made of “purse” or “netting” silk, often crocheted, netted, or knitted, with or without beads. Narrow in the middle and closed at both ends, miser’s purses ranged in the course of their history from 4 to 36 inches (10.2 to 91.4 cm) long. During the Victorian era, many miser’s purses were from 8 to 10 inches (20.3 to 25.4 cm) long. The “toes” of the purse, which might be of the same or different shapes, often were tasseled or fringed.Tubular purse in crochet with pink and black netting silk. Embellished with metallic steel cut beads. Steel handle with security steel ring.

Country of origin unknown - possibly Middle Eastern.Loom made beadwork belt in mainly pink and blue beads in a mixture of geometric patterns. There is a fringe made of strips of beads on each end. Each strip has a piece of silk attached.embroidery, beadwork, belts, middle east

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 Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).The tiebacks complete with tassels are historically significant for being associated ensuite with DAD-035-0001, the suite of curtains. The tassels have aesthetic significance as beautiful and intricate pieces of late 19thC interior decoration.6 parts of a total of 3 pairs of curtain tiebacks. Each pair comprises a length of plain gold silk cable cord plus a second, equal length with a magnificent tassel in the middle; the two pieces would loop around the lower-middle length of each curtain, pulling it open in a graceful drape. One pair is slightly shorter than the other two. The tie backs are made of floss (soft, shiny) silk cord, composed of two thick strands twisted together into a cable cord. Three lengths have an elaborate tassel attached to the middle of each cord, to weight the tieback in an elegant loop, with the loose ends attached to hooks or pins on the window frame. Each tassel is formed on a turned wooden core, wrapped with floss silk thread; further decorated with knotted netting, applied braid, and 16 glass beads. The big end of the mould forms a large, flattened shape, from which hangs a ring of long bullion fringe. Today this looks tarnished-silver (nearly black), colour, but as shown by the card of detached lengths of bullion fringe (DAD-035-0005), the untarnished colour would have been bright gold. Part of a group of 7 curtains with associated furnishings which includes a curtain with original fittings, fringe and braid unpicked from other curtains, and these 6 curtain tie backs. The six curtain tie backs are identical, though one pair is shorter. These curtain decorations are truly luxurious; the original suite of curtains would have been very expensive, an eloquent item of conspicuous consumption of luxury goods.Attached handwritten note : "VA Th. 7/6/2012 Ric Freeman 0419875707 (Nat Trust member) & Julie Freeman 0419875706 / re soft furnishings, tassels, trimmings, braid set / Jessie, Terry (and Chris St) to view, collect". The phone numbers were tried in October 2024, and though picked up, the contacts did not want to talk about the curtain donation.interior decoration - history, curtain accessories, tassels

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.Black silk satin, lace and beaded pelerine from c.1890. The pelerine features a silk high stand collar covered in black lace. It secures around the neck and down the centre front to the waist by seven hook and eye closures. A black lace frill extends down the centre front from the throat to the centre front tip of the garment. The shoulders feature a heavy, intricately beaded floral design open sleeve through which the arm would be visible. The sleeve finishes around the elbow in a point, however the beading hangs down to below the hip in a loose fringe. At the back from below the shoulder, the garment shapes in to finish in a tapered 'V' shape over the wearer's coccyx. There is a hand stitched "M" in white thread on the inside lining of the pelerine near the neck.pelerine, brighton, barone, seaview