Multicoloured double bed crochet bedspread made of rose motifscombinations of many round and square crochet parts, sewn into the bedspreadcrochet bedspread, rose patterns, squares, slovenian association melbourne

A white cotton self embossed single bedspread. It has a leaf pattern and a self border.bedspreads, bedcovers

Mrs Ethel Webb embroidered this in the 1940's. One bedspread is in the Power House Museum in Sydney. The bedspread design was designed by Mrs Webb using motifs from various sources. She died before she completed the piece.This is the last of six bedspreads embroidered by the donor's mother, Mrs Ethel Webb in the 1930's and 1940's. One bedspread is in the Power House Museum in Sydney. The bedspread design is stitched in cross stitch on cream linen. It was designed by Mrs Webb using motifs from various sources. She died before she completed the piece.Mrs Webb's eldest daughter embroidered her name and date of death on the top, the whole piece looks like a large cross stitch sampler.embroidery, cross stitch

The bedspread and apron (NA2863) were owned by Maria Austin (born 25 August 1867 Buried at Box Hill Cemetery 15 November 1955)and used when she worked as a 'Nanny' in England. Many of the children she cared for kept in touch with her after she came to Australia with her family in 1914. They arrived on Show Day, 1914 on the last ship to leave England before the First World War was declared. She lived at 26 Nelson Road Box Hill now the site of the Box Hill R.S.L. Maria was born 25 August in 18?? and died in 1952 and is buried in the Box Hill Cemetery. She was the Great Aunt of the donor.White cotton bedspread with a 18cm deep frill around edge and a 4cm deep insertion of lace on a shamrock design 48 cm from top of bedspread.manchester, bedding

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

This hand-knitted, white double-bed bedspread and matching round cushion were hand-made by Vera Giles. The process took her nine-and-a-half months. She presented it to Flagstaff Hill to be part of the Giles Collection. There are 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”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane 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. The handmade items were knitted in the late 20th century using a craft and design that augment the late-19th to early 20th-century furnishings where they are displayed.Hand knitted white cotton bedspread and cushion with knitted floral pattern. Items are both part of the Giles Collection. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, knitted bedspread, knitting, bedspread, giles collection, henry giles, vera giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, manchester, cushion

There are 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”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane 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.Bedspread, double bed size, white self-embossed floral pattern.warrnambool, flagstaff-hill-maritime-museum, giles collection, henry giles, tower hill, cooramook, mailor’s flat, vera & aurelin giles, bedspread, double bed bedspread, bed linen, quilt, embossed cotton

There are 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”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Bedspread, white and has been eaten by a dog down one side.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

Manchester used at the timeDouble bed bedspread, ecru coloured crocheted, scalloped edges, small medallions. Made of cottoncotton, bedspread, crotcheted, manchester

Lace tablecloth/bedspread probably made in Italy mid 20th century. It has a trailing floral design.embroidery, lace, tablecloth, bedspread

Fine white linen bedspread embroidered at one end, which would fold back over the pillow of a single bed. Top of bedspread has a lace border 10 cm deep on three sides. Embroidery and cut work decorates this fold-back section. Hemmed on remaining sides.linen, bedspread, favaloro collection

The embroidered initials may be those of Caterina Lamaro or Caterina Lopez, who married Favaloro brothers.An ivory coloured large linen bedspread with a border finished at 12cm with .4cm drawn threadwork. There is embroidery in a floral pattern to a depth of 62cm in the corners and Initials in the centre, CL?. Two pillow shams 100x79cm with matching embroidery in cream thread and a border finished at 5cm with drawn threadwork accompany the bedspread. The embroidery on the shams also contains the initials CL?favaloro, embroidery

This crocheted bedspread was used by Dr. and Mrs. Angus in their home in "Birchwood" Warrnambool. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the "W.R. Angus Collection" that includes historical medical equipment, surgical instruments, and material once belonging to Dr. Edward Ryan and Dr. Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr. Angus's belongings. The Collection's history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr. Angus, up until 1969. WR Angus Collection: Doctor William Roy Angus qualified as a doctor from Adelaide University in 1923. Dr. Angus was born in Murrumbeena, Victoria in 1901 until he died in 1970. He qualified as a doctor in 1923 at the University of Adelaide and was a Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period house surgeon to Sir Henry Simpson Newland. Dr. Angus was also briefly an Assistant to Dr. Riddell of Kapunda SA, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was a physician, surgeon, and chemist. In 1926, he was appointed as new Medical Assistant to Dr. Thomas Francis Ryan (T.F. Ryan), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr. Tom Ryan's absence. Dr. Angus had become engaged to Gladys Forsyth and it was decided he would take time to further his studies overseas in the UK. in 1927 He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship's Surgeon on the Australian Commonwealth Line's T.S.S. Largs Bay. Dr. Angus married Gladys in 1929, in Ballarat and had one son Graham born in 1932, and two daughters (Helen and Bernice, both were born at Mira, Nhill SA Dr. Angus was a 'flying doctor' for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. The Organisation began in South Australia through the Presbyterian Church that year, with its first station being in the remote town of Oodnadatta, where Dr. Angus was stationed. He was locum there on North-South Railway at 21 Mile Camp taking up the position of 'flying doctor' in response to a call from Dr. John Flynn; the Organisation later became known as the Flying Doctor Service. Between 1928-1932 he was a surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia but in1933 he returned to Nhill where he'd previously worked as a Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr. Les Middleton the current owners of what was once Dr. Tom Ryan's practice. When Dr. Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital's Honorary House Surgeon 1933-1938. His practitioner's plate from his Nhill surgery states "Hours Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10 am, 2-4 pm, 7-8 pm. Sundays by appointment". This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr. Edward Ryan and Dr. Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr. Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill, Dr. Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr. Angus and his family moved to Warrnambool where he purchased "Birchwood," the 1852 home and medical practice of Dr. John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station.) The Angus family were able to afford gardeners, cooks, and maids with their home becoming a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr. Angus had his silkworm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr. Angus was appointed on a part-time basis as Port Medical Officer in Warrnambool and held this position until the 1940's when the government no longer required the service of a medical officer he then became Warrnambools last serving Port Medical Officer. Dr. Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital from 1939 to 1942, He served as a Surgeon Captain during WWII from 1942 to 1945, in Ballarat, Victoria, and in Bonegilla, N.S.W., he completed his service just before the end of the war as he suffered a heart attack. It was during his convalescence he carved an intricate and 'most artistic' chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was an Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr. Angus was elected member of Spain's Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this accolade, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne. In his personal life, Dr. Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along 'for the ride' and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr. Angus' patients was Margaret MacKenzie, author of a book on local shipwrecks that she'd seen as an eye witness from the late 1880s in Peterborough, Victoria. In the early 1950's Dr. Angus, painted a picture of a shipwreck for the cover jacket of Margaret's book, Shipwrecks, and More Shipwrecks. Dr. Angus and his wife Gladys were very involved in Warrnambool society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys' Club, Charitable Council, National Fitness Council, and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death on 28th March 1970, his family requested his practitioner's plate, medical instruments, and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the "W. R. Angus Collection". The W.R. Angus Collection is significant for the social and medical achievement's that Dr. William Roy Angus had accomplished in his lifetime and the collection of equipment that he and his predecessors had used to treat patients give an insight into the working lives of early colonial medical practices in rural Australia. This collection of medical artefacts is on display located at Flagstaff Hill Village and the Port Medical Officers building where Doctor Angus had practice as the last Port Medical Officer for Warrnambool.Crocheted double bedspread, from the W.R. Angus Collection. White cotton, hand crocheted 30 squares joined as patchwork then a border crocheted around edge. Each square is 41cm square.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, hand crafted manchester, crocheted bedspread, patchwork bedspread, household linen, early 20th century bedspread, dr. w r angus

Archibald James Bower enlisted in World War I in November 1915, and was killed in action in France in August 1916. Before he left Australia, he drew designs on linen for his mother, Harriet Bower nee Harper, to embroider a quilt - mainly flowers, butterflies and moths. Mrs Bower finished the quilt, which was then used for many years by her grandson, Archibald William Luxford. He went to sleep every night, knowing the designs were drawn by the uncle he had never known, after whom he had been named.This quilt has historic significance as a memorial to a soldier lost in World War I. It is important as a tangible reminder of loss in war, and an example of how memorials to those lost in war take many forms. It has aestetic significance as an example of needlework that is original in design, with an impressive range of different stitches used to execute the design. It has spiritual significance to the Luxford family and the Munro community (even though Archie Bower was from Sale and the quilt moved later to Munro), as the quilt that Arch Luxford, a prominent member of the community, often spoke about as one his most important possessions. He was born after the death of his uncle, and named in memory of him. He grew up sleeping under the quilt, and knowing the story of his loss in World War I.A bedspread made principally of three sections of white linen sewn together with panels of crochet, with a deep linen edging and crochet edging. There are moths, butterflies and flowers embroidered on all sections in white cotton, as a form of candlewicking.world war 1914-1918, craft, needlework

This patchwork quilt or bedspread is a modern creation along the lines of the traditional 1800s handmade English paper piecing patchwork quilting craft. It is made from reproduction fabric and quilt designs and represents the bed linen typical of a late 19th-century bedroom. Years ago, patchwork was a form of recycling, where leftover or previously used pieces of fabric were used to create other useful item such as quilts, rugs, cushion covers and jackets. Special projects were sometimes made with fabrics representing special memories, such as pieces from baby clothes, wedding gowns, and school uniforms. The maker would use a cardboard template shaped like a hexagon, place it onto the fabric and trace around it. Often the cardboard was cut from a box such as a cereal box. Women would gather to work on their patchwork while enjoying their social time together. As in the case of this quilt, members of the South Western Branch of the Embroiderers Guild in Warrnambool worked on the project, designing and quilting as a group to achieve their aim, of presenting the quilt to the recently opened Flagstaff Hill Maritime Museum. It was the first Group Project of the Branch which was formed in 1974. In 1975 the members decided to make a Quilt as a project to promote the formation of friendship and togetherness. Under the foundation Treasurer, Rita Williams, members sourced their own fabrics for the 'flowers' which were then stitched into the calico borders. Provision was made for the quilt to be hung for display, with the addition of loops along one edge. The local disability services employees and members cut out octagonal paper batches and used their own fabrics to piece them together. The Branch's first exhibition raised funds for buying fabric and equipment to assemble the patchwork. The quilt was perfectly suited to dress the bed in the Lighthouse Keeper's Cottage. This carefully created and designed, recently made patchwork bedspread typifies bedding and handcraft of the late 19th century. The English paper patchwork technique was used. The quilt was the first community project of the South Western Branch of the Embroiderers' Guild of Victoria, and presented as an addition to the Lighthouse Keeper's Cottage tat Flagstaff Hill. Patchwork quilt or bedspread, double bed size, made from hundreds of hexagonal-shaped fabric of various colours and patterns, carefully stitched onto a white background. It was made using the English paper patchwork technique. One edge of the quilt has loops dispersed at regular intervals. This would allow the quit to be used as a wall hanging. It was handmade by the South Western Branch of The Embroiders Guild, Victoria, and presented to Flagstaff Hill Maritime Museum and Village in 1976. An inscription is embroidered in blue on a patch of the quilt. "Made and Presented by The Embroiderers Guild, Victoria (S.W. Branch) 1976"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bedspread, patchwork quilt, quilt, embroiderers guild, bedding, bed linen, 1800's handcraft, quilting, south west branch, warrnambool embroiders guild, recycled fabric, 19th century, household textiles, english paper patchwork, paper patchwork technique

Textiles. Large pieces of linen, 119 cm x 96 cm edged with a border, 8.5 cm deep of cotton lace, matching the lace of the bedspread. This lace has a corded effect, outlining 'finger shapes' of floral pattern, alternating with an open chain stitch, looped effect. Like the bedspread, the pillowcase is embroidered with the initials in satin stitch and some cut work embroidery. A smaller rectangle of linen fabric is stitched to the back of the fabric, to hold a pillow in place. Measuring 81 cm. x 48 cm. This envelope is tied with three ties of cotton tape. It could be presumed that these pillow slips would be a decorative feature of the bed linen. As on the bedspread, lavishly embroidered initials may be the initials of Caterina (Ina) Lamaro, who married Giovanni (Jack) Favaloro, or Caterina (Kitty) Lopes, who married Salvatore (Salve) Favaloro.textiles, domestic, two embroidered and lace pillow cases

Textiles. Fine white linen bedspread embroidered at one end, which would fold back over the pillow of a single bed. Elaborate embroidery and cut work decoration The initials CF are embroidered in the centre. Hemmed on all sides. linen, bedspread, favaloro collection

Patsy Coverdale wrote on about the artwork which is found with the bedspread "This trousseau bedspread commemorates a century of our daily living, of four generations, a bedcover where many loves and lives have begun and ended. Once immaculate, its years of service, of blood, sweat and tears, have seen so many building washes that today's embroideries would shrink from. I rescued it, patched its tears and wears with needlework from ancestors and aunties to celebrate the International year of Women in 1975. It symbols include the IYW to the left, women's work and its rhythms and cycles, a pearl button for our pleasure centre. The male phallic symbol illustrates the organ's early development and its natural power with the energy of relativity behind it all."A quilt made for the centenary of the Hospital made for the International year of women 1975. Re-purposed from a quilt used at the hospital. Given to QVWC in 1997 for the grand opening. textile art, centenaries, hospitals

Susan Mary Tinkler was one of thirteen children born to Christina Simpson (born Scroggie in 1859) and Henry Robert Simpson (born 1852). His occupation was Blacksmith & Wheelright in the Balranald & Moulamein districts. This bedspread was knitted by Susan Mary Tinkler of Balranald in 1908 and was used by her family throughout the years. This item is an example of a handcrafted item and reflects the needlework skills of women in the families of early settlers.Abedspread, hand-knitted in pink cotton. It has a intricate design and is edged with a fringe.hand-knitted bedspread linen handcraft

The embroidered initials may be those of Caterina Lamaro or Caterina Lopez who married Favaloro brothers - hence the change of initials to CF. refer 11408.112a and 112bAn ivory coloured large linen bedspread with an 11cm deep crochet lace scalloped trim and a 9cm wide crochet lace band insert 7cm from bottom edge which expands into a triangular shape 32cms deep in the two corners. The embroidered initials CF are centered above the lace insert and are adorned with floral embroidery.favaloro, crochet lace, embroidery

Textiles. With the same lace edging as the pillowcases 11408.102, but no embroidered initial. These pillowcases, along with the bedspread (11408.101) complete a delightful set. Measuring 119 cm x 96 cm, the pillow slips have an envelope 48 cm x 80 cm stitched to the back, to hold the pillow. This is tied with three sets of two cotton tapes. The same corded and floral lace, 10 cm deep edges the pillowslip.textiles, domestic, two lace trimmed pillow cases

This dressing gown was made from a patchwork quilt begun around the 1880s or 1890s by the daughters of William and Polly Hodgens, owners of the Adelphi Hotel near Montague Station, South Melbourne. The quilt became a communal project, added to over many years by the Hodgens children, relatives, friends and guests. Together, they filled the colourful patchwork with images and figures from their everyday lives, giving us a unique glimpse into the world of early Melbourne.Crazy patchwork dressing gown made from a patchwork bedspread. Made from irregular pieces of silk, satin, velvet and brocades and embellished with embroidered and painted motifs. Fully lined with maroon silk. Neckline trimmed with thick silk cord. Right over left fastening with two large metal press studs. One of the pieces on the back has an inscription dated 11/7/94 (1894).dressing gown, patchwork, embroidery, hand painted

The bedspread (NA2862) and apron were owned by Maria Austin (born 25 August 1867 Buried at Box Hill Cemetery 15 November 1955) and used when she worked as a 'Nanny' in England. Many of the children she cared for kept in touch with her after she came to Australia with her family in 1914. They arrived on Show Day, 1914 on the last ship to leave England before the First World War was declared. She lived at 26 Nelson Road Box Hill now the site of the Box Hill R.S.L. Maria was born 25 August in 18?? and died in 1952 and is buried in the Box Hill Cemetery. She was the Great Aunt of the donor.White bib front apron with ties to back of neck - wide waist band ties - 12 cm hem line - also three 2cm pin tucks above hem line - two 12cm pin tucks at top of bib front. Pocket on right hand side.M Austin. 1.2.1901|Laundry mark in red 59costume, female working

A pink satin and cream machine lace bedspread made from alternative 13 to 14cm wide strips in a rectangular pattern with central rectangle set at 45 degrees. Three sides are edged with silk chenille bobbles in pink and cream. The central rectangle and the four corners surrounding the central rectangle have a floral cut work pattern in the silk overlaying the lace which has couched cornelli work.. The third satin rectangle from the outside has a looped and wave pattern in couched cornelli work, missing on one corner.favaloro, bedspread, satin, chenile bobble trim

The background history to this quilt is unknown as, like several of the Running Stitch quilts, it was found in an op-shop, this time in Ballarat. However, the technique used to bind it together and the rarity of the materials make it a valuable piece of our 'thrifty history'. The quilt insert has been made with layers of recycled bed coverings. It would have most likely had a cover made of a fabric (such as cretonne) as the layers have only been loosely held together with large quilting stitches. The outer layer is made of "marcella": a heavily woven cotton damask. These types of bedspreads were quite expensive and hardwearing. They were often handed down through the family and it is not surprising to see that the use for this particular bed covering has been continued past the 'presentable' stage on a bed.Detail of edge showing layers and stitching method. Deatail of corner showing layers.quilting history, running stitch group, running stitch collection, quilting - history

The RDNS Sister is applying a splint to the lady's leg after attending to any other nursing care required. This photograph depicts one of the types of nursing care carried out by the Royal District Nursing Service (RDNS). The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelistis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.On the left of this black and white photograph is a Royal District Nursing Service, (RDNS), Sister wearing a white gown over her grey uniform. She is bending over and slightly towards her right; her face is not visible, only the crown of her grey peaked hat is seen. On her right is a lady sitting in a wheelchair with her right leg extended resting on a bed. The Sister has her left hand on, with her fingers holding the strap, and her right hand on the strap below, of a Splint on the upper right leg of the lady who is watching the procedure. The lady has short dark hair and is wearing a grey buttoned up cardigan and dark skirt; she is wearing a black shoe on the foot of her extended leg. Her left leg is bent at the knee and the top of a splint with some of the straps are visible. Part of the bedspread covering the bed has a grey and white pattern. A pair of crutches and a dark drape can be seen behind the Sister and wheelchair. photographer stamprdns, royal district nursing service, rdns patient care

Sister Prentice is visiting Mrs. Morgan in her home and is applying a lotion around the outside of Mrs. Morgan's leg ulcer. Following this application Sr. Prentice dressed the wound with the dressing material as ordered by Mrs. Morgan's Doctor. Under her gown, Sister Prentice is wearing the RDNS winter uniform introduced in 1971, which was a grey/blue skivy under a blue/grey herringbone woollen V neck tunic.From its inception in 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) provided wound care to their patients, who ranged in age from the very young to the elderly. The methods and medication applied to wounds changed as research developed better products. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed programs, such as the Leg Ulcer Management Program, to provide their trained nurses (Sisters) with methods of best quality care. The Sisters liaised with the patient’s Doctors and Hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. RDNS introduced Wound Care Specialists who did assessments and provided advice and support to the District Sisters working in the field. On the right of the black and white photograph is Royal District Nursing Service (RDNS), Sister Cheryl Prentice, who has dark shoulder length hair and is wearing a white gown over her RDNS uniform, the sleeves of which are seen. On her left Mrs. Morgan is sitting propped against a pillow at the top of her bed and has her knees slightly bent with legs extended. Sr. Prentice, who is looking at her right hand, is holding a small open bottle in her left hand and has her right arm extended across Mrs. Morgan's legs, with the fingers of her hand touching the skin on the far side of an open ulcer wound on the right leg of Mrs. Morgan. Mrs. Morgan, who has short light coloured hair, is wearing a cardigan over her floral frock, is looking at the procedure. The bedhead has fine turned wooden slats and the bed coverings are a checked rug and chenile bedspread with a floral towel under Mrs. Morgan's legs.. Photographer stamp. Quote No. DN 77 Handwritten informationroyal district nursing service, rdns, rdns wound care, mrs morgan, sister cheryl prentice

This bolster sham is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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.Calico bag of assorted fabrics, trims and sewn pieces (originally donated together with sewing machine). Items include clothing, lace, tablecloth, tray cloth, collars, oversleeves, trims, jug cover, lace inserts. (part of the Giles Collection)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, linen, fabric, dressmaking, sewing materials, 19th century sewing, 19th century fashion, giles family, 19th century hand craft, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century clothing, 19th century linen, 19th century handcraft