The doily is part of a larger collection of textile items owned by Alice Matilda Barrie who was born in 1885. According to family members Alice was a talented crocheter and it would be presumed that she crocheted this doily as it is similar to patterns available in the 1940s. The doily is an example of a handcrafted crocheted object used to decorate homes in the late nineteenth and early 20th century.A hand crocheted oval doily in the pineapple pattern. To the left and right are two large 'leaf' shaped motifs which are repeated to a smaller scale on the top and bottom of the pattern. The four motifs are placed around a central flower shape. The whole piece is edged using an open crochet style.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, doily, crochet, crocheted doily, pineapple crochet pattern, pineapple whirl crochet pattern, late nineteenth century, early twentieth century, decorative household object

The exact creation date of this chatelaine is unknown, however the hallmarks and engravings on some of the attached objects indicate that this chatelaine was made in the late 1890s. The shark tooth and the liberty bell attached to the chatelaine suggest that the item once belonged to an Australian who had connections to America. The compact, scent bottle lid, and feminine design of the other objects suggest that this wasowned by a woman. The name on the plate indicates that this object may have belonged to someone with the surname Heine. The hallmarks on the scent bottle lid and the compact indicate that they were made in Birmingham, England in the late 1890s, and that the compact was made by H. Matthews. Chatelaines where used by both men and women, usually fastened to a belt or pocket, and small household objects were attached to the main body of the chatelaine by chains. They were only worn by the heads of the household as a display of position and power.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A decorative silver belt hook with small household object attached by chains to a suspended name plate. There are 8 chains and 7 objects; a vesta case, scent bottle lid, compact, shark tooth, bell, button hook handle, container.HEINE/ [plate] CHERRY./ from/ LEO/ May 12th 1899/ [inscription on vesta case] L??S/ Anchor symbol/ x symbol/ lion symbol/ [Hallmark on scent bottle lid] R/ HM/ Anchor symbol/ Lion symbol/ m symbol/ [Hallmark on back of the compact] SYDNEY/ [inscription on shark tooth] Proclaim liberty throughout all the land unto all inhabitants thereof/ By order of the Assembly of the Province of Pensylvania for the State House in Philada/ [inscription on bell] A01176/ burke museum, silverware, social history, heine

These two orange-coloured dishes are made of pressed glass to which an iridiscent surface shimmer has been added by the application of metallic salts. They are examples of Carnival Ware and the orange colour is known in the trade world as 'marigold'. Carnival Ware was first produced in 1908 as a relatively cheap version of decorative glassware in U.S.A. and this country was the main producer up to the 1940s, with the 1920s being the decade when it was most popular. Carnival Ware was also produced in other countries including Australia and the United Kingdom and is a collectable item today. These two dishes have no known local provenance and are retained as examples of vintage household items serving both a utilitarian and a decorative purpose..1 An oval shaped shallow glass dish with pressed patterns and handles at either end. The item is orange-coloured. .2 as abovecarnival ware, orange glass dishes, vintage decorative items

This item is an example of Carnival Ware glass. Carnival Ware is pressed glass to which an iridescent surface shimmer has been applied using metallic salts. The trade name of the colour is 'Marigold'. Carnival Ware was first produced in U.S.A in 1908 and production in both U.S. A. and other countries continued until the 1940s, with the 1920s being the decade when it was most popular. It was a cheaper version of a decorative item for the household as well as having a utilitarian purpose and is a collectable glass today.This vase has no known local significance but is retained as an example of an item likely to be found in many local households of the 20th century.This is an orange-coloured pressed glass vase. It is on a stand of three legs and has a fluted patterned top rim. The body of the vase has raised decorations of butterflies and berries.carnival ware, vintage glass ware, carnival ware glass vase

This watering can would have been used some decades ago to water pot plants and small plants in the garden requiring individual watering. Today watering cans are still used but mostly they are made of plastic although some cans are made in other materials for decorative reasons. Enamel is a hardy material but it chips when the object is knocked or dropped. This watering can has no known local provenance but is retained as an example of a common household item from early in the 20th century. This is an oval-shaped enamel watering can. It has two handles, a spout and a hinged lid. The can is very rusted. ‘Made in England’vintage household items, vintage watering can, enamel watering can, warrnambool

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Pair to 3850.Cut glass lamp bowls, decorated in criss-cross pattern around bowl, creating numerous facets. Circular base and brass top with metal tags.Front: Rd. No 5373 (stamped in base) Rd. No 218630 (stamped in top)birmingham collection, lamp, decorative, household, lighting

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.Wall decoration gilded gold ornate frame under glassPrinted proverb+ with Varied type face each line.warrnambool, shipwrecked coast, flagstaff hill maritime museum, wall decoration, print of proverb, scripture decoration, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

During the Victorian era, the period (1837-1901) in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society.An item that reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Wall decoration white china with relief circular hanging pieces, paper folds pinned back to reveal words Paper is pinned by metal studs. Paper folds create star shape. (set of 2)Watch and Pray and Come Unto Meflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration

Dressing tables (also known as Vanity Tables in the U.S.A.) have been around since the beginning of the seventeenth century, however it wasn't until the early to mid 20th century that they began to be found in the homes of the middle class and they were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery and trinket boxes and trays. The origins of this tray are unknown however its design is reminiscent of trays (and Dressing Table Sets) produced by two English firms in the mid 20th century - "Delina" and "Regent of London". A paper (written by the Warwickshire Industrial Archeology Society) notes that the products items produced by "Regent of London" in the 1940's "satisfied a demand for previously unattainable items, offered to the general public aching for change after wartime privations, post war austerity and years of having to 'make do and mend'." This tray is composed of several decorative elements and materials. The metal border is gilt brass with two filigree bow handles, the main part of the tray is two pieces of circular glass and the encased doily is a mix of embroidered net and petit point. It was suggested in the paper written by the Warwickshire Industrial Archeological Society that the different pieces would have probably been produced elsewhere and brought to the factory to be assembled into the finished product. This vanity or dressing table tray is significant as it is a rare example of an accessory available to and used by women in the mid 20th century. It is also significant as an example of an everyday household item which would have been a valued possession and was made in a style that reflected the importance placed on it to be decorative as well as functional.Round footed dressing table tray with a gilt brass border, filigree bow handles and an embroidered net and petit point doily encased in glass. The gilt border is decorated with a stylized leaf design on the side and a floral design on the top. The petit point embroidery in the center is of five flowers in pink, mauve and yellow surrounded by buds and leaves.vanity tray, dressing table tray, glass tray, gilt brass, petit point, embroidery, net embroidery, doily, filigree, brass tray, flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table

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

Starch is used during the laundry process to give fabric a feeling of stiffness. It is used often for linen, shirts and blouses. This box still has the remnants of starch inside it.Starch was used by many households in the late 19th and the 20th century to give linen and uniformsa firm feeling.Box: cardboard rectangular box, blue and white with star graphic. Contents inside. "The Silver Star Starch" Robert Harper and Co Ltd . "The Silver Star Starch" "Robert Harper &O Co."flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, starch, silver star starch, blue star, robert harper and co ltd ., laundry, laundering, washing, bed linen, table linen, decorative linen

This teaspoon is believed to belong to the household of Chiltern writer and historian, W.C. Busse. The teaspoon displays a level of tarnish indicating it may be comprised of silver or silver plate. It has no evident hallmark to determine its maker or date of manufacture, but may pre-date World War Two as mass production methods and the growing popularity of stainless steel in cutlery and other tablewares saw a reduced reliance on silver in such goods after this period. Wilfred Clarence Busse was born in Chiltern in 1898. He went to school at Wesley College in Melbourne, studied law at the University of Melbourne and became a barrister. Additionally, after spending time on a Victorian station in his early twenties, he wrote two historical novels about bush life. His first novel was 'The Blue Beyond: a Romance of the Early Days in South Eastern Australia', written in 1928 and published in 1930. Busse's second novel was titled 'The Golden Plague: A Romance of the Early Fifties'. The judges of the Henry Lawson Society's T.E. Rofe competition to advance Australian literature unanimously awarded it the Gold Medal in 1931 for the best historical novel of 1930. Newspaper articles about the award mention the writer's meticulous documentary and oral history research regarding life on the Gold Fields in the 1850s. It became a best-seller. Busse also wrote a series of articles about local history for "The Federal Standard" newspaper in Chiltern. He was a member of the Chiltern Athenaeum. He died in 1960. This spoon is significant for the detail it conveys of ordinary domestic life in the household of a significant Victorian writer with special reference to Chiltern and the surrounding region. Teaspoon with decorative pattern on handle and tarnished patina. w.c. busse, chiltern, wilfred clarence busse, chiltern athenaeum, gold fields, gold rush, gold mining, mining history, historical fiction, cutlery, tableware, silverware, spoons, henry lawson society, t.e. rofe, t.e. rofe gold medal, federal standard newspaper, 1930s, 1850s, barrister, north-east victoria, indigo shire

This fork is believed to belong to the household of Chiltern writer and historian, W.C. Busse. It displays a level of tarnish indicating it may be comprised of silver or silver plate. It has no evident hallmark to determine its maker or date of manufacture, but may pre-date World War Two as mass production methods and the growing popularity of stainless steel in cutlery and other tablewares saw a reduced reliance on silver in such goods after this period. The handle of the fork appears to display the initials 'WB', potentially indicating it was made to order. Wilfred Clarence Busse was born in Chiltern in 1898. He went to school at Wesley College in Melbourne, studied law at the University of Melbourne and became a barrister. Additionally, after spending time on a Victorian station in his early twenties, he wrote two historical novels about bush life. His first novel was 'The Blue Beyond: a Romance of the Early Days in South Eastern Australia', written in 1928 and published in 1930. Busse's second novel was titled 'The Golden Plague: A Romance of the Early Fifties'. The judges of the Henry Lawson Society's T.E. Rofe competition to advance Australian literature unanimously awarded it the Gold Medal in 1931 for the best historical novel of 1930. Newspaper articles about the award mention the writer's meticulous documentary and oral history research regarding life on the Gold Fields in the 1850s. It became a best-seller. Busse also wrote a series of articles about local history for "The Federal Standard" newspaper in Chiltern. He was a member of the Chiltern Athenaeum. He died in 1960.This fork is significant for the detail it conveys of ordinary domestic life in the household of a significant Victorian writer with special reference to Chiltern and the surrounding region.Fork with decorative pattern on handle and tarnished patina, design may include owner's or maker's initials. WB w.c. busse, chiltern, chiltern athenaeum, gold fields, indigo shire, gold mining, gold rush, henry lawson society, fork, silverware, cutlery, tableware, 1930s, 1850s, wilfred clarence busse, historical fiction, t.e. rofe, t.e. rofe gold medal, north-east victoria, federal standard, golden plague, blue beyond

No specific information is available for this item. However, ivory was common in early 20th century household items, which were often purchased overseas as souvenirs. Many ivory items originated from Asia. Letter openers are still used today; however, they are now made out of steel as ivory is illegal.This item is an example of the use of ivory in domestic households early in the 20th century. A long, cream-white letter opener made out of ivory with a plain blade and rounded handle.There is decorative patterning on the handle consisting of holes and circles.ivory, letter opener, letters, chiltern athenaeum museum, mail

No specific information is available for this object. However, fountain pens originated in France in 1827, with the first patent attributed to a Parisian student named Romanian Petrache Poenaru. The fountain pen typically has a fine stainless-steel tip that is filled with ink via an ink well. Widespread production of fountain pens occurred from 1857, with new designs having improved filling techniques. Fountain pens became popular with professionals, such as barristers, professors, doctors, and accountants for over 100 years. The only downside to using fountain pens was their tendency to sometimes leak onto documents, so in the 1950s, they were made with disposable cartridges. The cartridges made the pens more popular, especially with university students. For this reason, in the early 1960s, fountain pens were renamed cartridge pens and were deemed the best writing instrument in most schools.This object is an example of the use of fountain pens in domestic households and professional workplaces since 1827.A solid and complete green and gold patterned fountain pen.There is green shimmer-like decorative patterning on the body with gold-coloured veining.pen, fountain pen, ink, france, chiltern athenaeum museum, victoria

No specific information is available for this object. However, fountain pens originated in France in 1827, with the first patent attributed to a Parisian student named Romanian Petrache Poenaru. The fountain pen typically has a fine stainless-steel tip that is filled with ink via an ink well. Widespread production of fountain pens occurred from 1857, with new designs having improved filling techniques. Fountain pens became popular with professionals, such as barristers, professors, doctors, and accountants for over 100 years. The only downside to using fountain pens was their tendency to sometimes leak onto documents, so in the 1950s, they were made with disposable cartridges. The cartridges made the pens more popular, especially with university students. For this reason, in the early 1960s, fountain pens were renamed cartridge pens and were deemed the best writing instrument in most schools.This object is an example of the use of fountain pens in domestic households and professional workplaces since 1827.A solid and complete black patterned fountain pen.There is black decorative patterning on the body.pen, fountain pen, ink, france, chiltern athenaeum museum, victoria

Lane's pottery was established in Burwood in 1936 at 109 Highbury Rd. Burwood. In1962-1966 it was located at327 Warrigal Rd. Burwood. The company was known as Lane, Kemp, Willis Potteries p/l, but was trading under Lanes Potteries in 1940. The company produced household pottery including lamp bases and artware vases.Pink shell shaped vase. Yellow and silver paper sticker on front. 213 on base of vase.Lane Potteries Burwood Victoria. Sticker 213ornaments, ceramics

Nineteenth century household object employing an Aboriginal shape with art nouveau figurative designDiecast metal plate. Impressed with the figure of a naked figure with a wand in his or her hand touching the nose of a head (the moon?), causing it to sneeze. Lady lying on a bed of flowers. Three stoppers on the reverse to hold the plate above the surface.metal dish, art nouveau - australia

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Rust coloured oval, pure silk throw or shawl. The fabric is very fine and decorative rather than functional. There are no joins in the fabric as it is made of one piece. Its cultural provenance is unclear.table cloths, table covers, shawls, throws

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity.White crocheted doily that commemorates the twenty-fifth jubilee year of the reign of George V (1910-35)1910 - 1935 / GEORGE V / JUBILEEdoilies - patriotic, commemorative souvenirs, ephemera, george v

The Fashion & Design collections of Kew Historical Society include a number of art or household textiles manufactured or created in the United Kingdom as well as in Australia. As other cultures opened to Australian travellers in the 20th century, members began collecting and donating textiles produced in a number of other countries.Embroidered doily in the shape of Australia commemorating the ‘Royal Visit 1954’. The multicoloured embroidered images used on the include koalas and eucalyptus flowers on a cream fringed ground. doilies - patriotic, doilies - symbolic, soft furnishings, royal visits

In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseau Set of partially worked doilies. They are comprised of daisy wheels of two sizes. A central circular motif is surrounded by smaller motifsdoilies, household textiles

In the early 20th century it was common for ladies to work doilies in lace or embroidered cloth. They were used to decorate sideboards or dressing tables and also on trays underneath crockery and on plates under food. These could be made from purchased kits or pattern books. They may form part of a trousseauSet of two white embroidered doilies. Scalloped edge has crotcheted finish. An embroidered leaf and half flower pattern on two opposing corners and embroidered quarter flower on the other two corners. There is an embroidered flower in the centre. There are six sets of embroidered holes to thread a ribbon through to gather the larger doily.doilies, household linens

This bowl was used in the home of Mrs. Laura Sommer nee Costa grandmother of one of the life members of Wodonga & District Historical Society who donated this item to our collection. It is representative of decorative household items in the early to mid 20th century.This item is an outstanding example of popular decorative household items from the 19th and early 20th century.A large ceramic decorative bowl featuring rural images. The primary colours of the bowl is a deep blue with gilt edges and markings. It features 2 rural scenes showing men with horses and a cart. The top edge is slightly contoured. There is a maker's mark underneath the bowl.Maker's map on base: A small flower within and larger flower shape with "MADE IN ENGLAND" written around it.decorative bowls, domestic items, ceramics, english ceramics and porcelain

Fire screens were developed early in the 19th century to prevent sparks from flying into the room or logs rolling out when a fire was left unattended. They also served as ornamental or decorative items, particularly ones such as this fire screen made from beaten or forged copper. Their decorations often depicted rural scenes.This item is representative of fire screens used in Australian homes to protect them from fire during the 19th and early 20th century when open fires were the main form of household heating.A fire screen made from beaten copper with a wooden frame. The screen design depicts a group of people sitting outside an Elizabethan building with a dog in the foreground and trees either side. The building is possibly a tavern as the people are seated on barrels. The frame is made from wood and has wrought iron legs screwed in place on either side and a handle attached at the centre top edge.forged copper, fire screens, decorative household items

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This item is from the Haeusler collection. It is a stoneware, urn-shaped vase. The mark "V210" underneath the vase identifies it as an Antique Majolica Green Glazed Victorian Mantle Vase. Majolica is an earthenware pottery decorated with a clear lead glaze. It became very popular during the Victorian era. This item is from the Hauseler Collection which documents social life of early settlers in the Wodonga community.A stoneware, urn-shaped vase. It has a waisted square foot, urn shaped body, trumpet neck and two curved side handles. It is decorated with scrolling leaves on the body and leaves on the foot, glazed with a monochrome dark green glaze.Underneath Base V210household items, decorative arts, ceramics, haeusler collection

This pan or pot is a heavy, but small object and does not seem to have been used in a kitchen or for cooking. It is more likely to have been used for decorative purposes, holding artificial flowers or a pot plant or it may have had some commercial use. This object has no known local provenance and is held because of its quality and its potential as a display itemThis is a brass open pan or pot, circular in shape, tapering to a larger shape at the top. A metal handle (copper?) is attached with metal studs and soldering to both ends of the top opening. The inside of the pan is discoloured and stained.vintage household objects, vintage pots

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Linen table cloth with printed images of birds of Australia with a two-tone green borderlisa sylvan, household linen, table cloths, australiana, australian birds

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen hand towel and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Cream linen hand towel, bordered at each end with bands of mustrad yellow linen. The towel is embroidered with a picture of a woman in period dress collecting flowers from a garden.lisa sylvan, household linen, supper cloths, fancy work

This glass epergne was first owned by John Sanderson's grandmother, who lived in Wandin (Clegg Road) until the 1940s. She first purchased it in 1920 and used it as a vase before passing it on to her daughter Norma Spicer. Epergne's were first created during the early 18th century France as a table centrepiece to display 'exotic' fruits and cakes from France's colonies. They were originally made of silver, however, the late 18th century saw a rise in epergnes made of porcelain due to the growing status of the European porcelain industry. The late 19th century saw another shift as Victorian and Art glass became the name of the day, and most epergne's became increasingly more complex glass works, no longer used for holding food. This epergne is the product of these later glasswork vases, reflecting 1920s interest in uranium glass and clouded geometric patterns. Epergnes like this filtered out of popularity after World War II as large dining sets and table centrepieces became less important to every day life. Those that remained transferred to more useful roles within the household: this one being used as a vase for most of its life. Green tinted glass epergne with white clouded vertical stripes. Glass thick and slightly opaque, possibly uranium glass. Base is a fruit bowl with scalloped/ruffle edges and middle coming up into a triangle. The very edges of the fruit bowl and clouded with white and blue. A golden metal notion attaches to the middle of the fruit bowl with a globe shaped connector. Notion looks like a flat gold flower with six petals and three small leaves, with middle of the flower having a screw on which to screw the largest flute. The flower has three small bucket-shaped containers attached to it in which the smaller flutes are placed. Four flutes attach from the very middle, all bell shaped with very ends flaring out into a scalloped/ruffle edge. One large flute is screwed into the middle of the fruit bowl and stands straight up. Three smaller flutes are placed in around the larger one leaning slightly away from the centre.vases, epergne, 1920, 1920s, 20s, twenties, glass, glassware, uranium glass, radium glass, clouded glass, art deco, decorative objects, tableware, wandin, clegg road