Belonged to Ellen Mary Ryan (Tierney). Wedding present 1932.Example of 1930's domestic kitchen equipment.Boxed metal icing set, container for icing with 8 nozzles. Label on box with Royal icing recipe.:Icing set" on box top lid. Information leaflet including " How to make..."kitchen, cooking, 1930's, domestic skills

Skippy St Elmo - Champion Skier and High Country Housewife. For much of the winter 1945 newly married Skippy St Elmo was alone in Wallace's Hut while her husband Toni worked as an assistant hydrographical observer for the SEC. During her first two weeks Skippy had her first ski lesson and promised herself that someday she would be able to ski. Before winter's end she was accompanying Toni around the snow gauges. The following year, Skippy and Toni became the first full time residents of Falls Creek. Along with a group of other SEC workers they built the first lodge at Falls Creek, “Skyline” in 1947. Not only did Skippy fulfill her promise to be able to ski but also went on to become the Victorian Women's 1949 Downhill & Combined Champion and in 1954 won the Albury Ski Club Men's championship. While modest about her skiing success, Skippy was very proud of her domestic skills and cooking prowess using a camp oven. She also was spent time sewing ski wear for both Toni and herself. Skippy definitely earned the title of “Falls Creek’s First Lady”.This item is significant because it documents a pioneering figure of Victorian skiing.Poster composed of photos and text explaining basic information about Skippy St. Elmo mounted on display board.skippy st elmo, key figures of falls creek, skyline

In 1867 the Singer Company decided that the demand for their sewing machines in the UK was sufficiently high to open a local factory. Glasgow was selected for its iron-making industries, cheap labour, and possibly because at the time the General Manager of the US Singer Sewing Machine Company was George McKenzie, who was of Scottish descent. The company obtained a lease on land near Queen Street Station and machinery and machine parts were shipped over from the US. Demand for sewing machines outstripped production at the new plant and by 1873 a new larger factory was completed near Bridgeton Cross. By now Singer employed over 2,000 people in Scotland but still, they could not produce enough machines. In 1882 George McKenzie, the soon to become President of the Singer Sewing Machine Company undertook the ground breaking ceremony on 46 acres of farmland at Kilbowie, Clydebank and the largest Singer factory in the world started to be built. Originally two main buildings were constructed. Built above the middle wing of the factory was a huge clock tower with the 'Singer' name displayed for all to see from miles around. Many miles of railway lines were laid throughout the factory to connect the different departments and to aid in the shipping of their goods. Railway lines from the factory connected Glasgow, Dumbarton, and Helensburgh stations. The factory was regarded as the most modern facility in Europe at that time. As different departments in the factory were completed, the workers moved from the old sites to the new one at Kilbowie and the factory was finally finished in 1885. With nearly a million square feet of space and almost 7,000 employees producing on average 13,000 machines a week, making it the largest sewing machine factory in the world. The Clydebank factory was so productive that in 1905 the US Singer Company set up the Singer Manufacturing Company Ltd. as a UK registered company. The invention of the sewing machine had several very significant impacts on the lives of many people. It changed the domestic life of many women as more households began to own sewing machines, women as the ones who traditionally stayed home to do chores including making and repairing clothing, found themselves with more free time. Previously several days a week would be dedicated to sewing clothing for herself and her family, a housewife could now complete her sewing in merely several hours, allowing for more free time to pursue hobbies and attain new skills. Sewing and clothing production, in general, became more industrialized activities, taking place less in the home and more in large factories. Industrial sewing machines, in combination with the cotton gin, the spinning jenny, and the steam engine, made clothing production much easier and much cheaper. Sewing machine, treadle operated, "Branded Premier" 5-7-9-2-0-0-" Serial Number Y6243048 (denotes 1922 year of manufacture) flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand operated, dressmaking, textile machinery, portable, premier sewing machine, premier, singer treadle sewing machine

In 1867 the Singer Company decided that the demand for their sewing machines in the UK was sufficiently high to open a local factory. Glasgow was selected for its iron-making industries, cheap labour, and possibly because at the time the General Manager of the US Singer Sewing Machine Company was George McKenzie, who was of Scottish descent. The company obtained a lease on land near Queen Street Station and machinery and machine parts were shipped over from the US. Demand for sewing machines outstripped production at the new plant and by 1873 a new larger factory was completed near Bridgeton Cross. By now Singer employed over 2,000 people in Scotland but still, they could not produce enough machines. In 1882 George McKenzie, the soon to become President of the Singer Sewing Machine Company undertook the ground breaking ceremony on 46 acres of farmland at Kilbowie, Clydebank and the largest Singer factory in the world started to be built. Originally two main buildings were constructed. Built above the middle wing of the factory was a huge clock tower with the 'Singer' name displayed for all to see from miles around. Many miles of railway lines were laid throughout the factory to connect the different departments and to aid in the shipping of their goods. Railway lines from the factory connected Glasgow, Dumbarton, and Helensburgh stations. The factory was regarded as the most modern facility in Europe at that time. As different departments in the factory were completed, the workers moved from the old sites to the new one at Kilbowie and the factory was finally finished in 1885. With nearly a million square feet of space and almost 7,000 employees producing on average 13,000 machines a week, making it the largest sewing machine factory in the world. The Clydebank factory was so productive that in 1905 the US Singer Company set up the Singer Manufacturing Company Ltd. as a UK registered company. The invention of the sewing machine had several very significant impacts on the lives of many people. It changed the domestic life of many women as more households began to own sewing machines, women as the ones who traditionally stayed home to do chores including making and repairing clothing, found themselves with more free time. Previously several days a week would be dedicated to sewing clothing for herself and her family, a housewife could now complete her sewing in merely several hours, allowing for more free time to pursue hobbies and attain new skills. Sewing and clothing production, in general, became more industrialized activities, taking place less in the home and more in large factories. Industrial sewing machines, in combination with the cotton gin, the spinning jenny, and the steam engine, made clothing production much easier and much cheaper. Singer sewing machine treadle type wooden stand with six drawers plus instruction manual Lotus decoration to machinewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing-machine, clothes repair, singer sewing machine

Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Wertheim sewing machine in carry case, hand operated with two spindles, handle with locking pin, which turns lever between spokes of main handle, hand brake. The machine is table-mounted with a Turkish walnut base. The base can be attached to a cast iron table with a foot treadle as an optional extra. The walnut base has marquetry to the front set out as a measure for material. There is also an accessory box inside the carry case containing 20 additional items for use with the machine. Wertheim brass trademark badge riveted to the body of the machine of a crouching dwarf with a hammer with the name of the company Wertheim and Frankfurt. Gold filigree decoration in gold paint adorns the main body of the machine. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand operated sewing machine, crank handle sewing machine, wertheim, dressmaking, taylor, domestic, clothing, hugo wertheim, joseph wertheim

This bucket was made from vertical planks of wood with bands of metal around it for strength. Buckets such as this were made by coopers, who had expertise in making wooden barrels. Wood or animal skin was used to make buckets in colonial times when other materials were unavailable. Buckets had many uses in domestic and agricultural life including carrying, measuring and storing. Cooper tradesmen used carpentry and blacksmithing skills to make a wide range of wooden containers and other objects. They sometimes used water or steam to bend and mould the timber.The bucket is an example of a product made from wood and iron by an experienced Cooper. In early colonial timeswhen ready-made products were scarce so the trades of coopers, blacksmiths, metal smiths, carpenters, builders and others were necessary for domestic, commercial and industrial establishment.Wooden coopered bucket; three metal bands around vertical wooden planks that form the body of the bucket. Two lugs extend higher than the planks and have a rope joined between them.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, bucket, wooden bucket, container, domestic bucket, cooper, cooper trade, coopered bucket

The two embroidered pillow shams were made by Betty Stones's mother Daisy (nee Dale) Welsh. A number of crocheted and embroidered articles were donated to Flagstaff Hill Museum by Betty Stone who advised that they cover a period of three generations from Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen, both Sarah Lees (born 1844) and her daughter, Ann (1865) these women crocheted a wide variety of articles for use in their homes. Today we have a few surviving examples of their skill that has survived the years.This item and others in the collection donated by Betty Stone are significant for their association with the early Warrnambool pioneering families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, and published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework and handmade domestic items.A pair of white pillow shams, rectangular in shape with a shallow scalloped crochet edge. The embroidered central design includes a bird motif. Made by Daisy Walsh (nee Dale). Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, pillow shams, bed linen, pillow covers, daisy dale, daisy welsh, betty stone's mother

This apron 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 - adding her own handmade embroidered or crocheted decorative trim. In March 1915 Eliza travelled to San Francisco to visit her son, James. She went by train to Melbourne ("a pleasant journey on the up express') and the next day caught the express train to Sydney. She noted in her letters home that a " number of young men were going to Sydney to enlist but they had to stop in the corridors most of the way as there was no room for them to sit down". She spent the night on the train and arrived in Sydney the next morning and on the following day she boarded the R.M.S. "Moana" (a steamer which took about twenty-four days to reach San Francisco). She returned from Vancouver about five months later on board the "Manuka". It is very likely Eliza took this "Travelling Apron" with her on her travels. Eliza was travelling by herself and had no one to help her with her dress or her hair. "Travelling Aprons" (also known as Toilet Aprons or Tourist Aprons) were designed with different sized pockets for holding a lady's toiletries - hairbrush, hair pins, comb and sometimes even soap and a powder puff. This allowed the owner, when travelling and getting dressed in small places such as an overnight train compartment or a ship's cabin, to have all her requirements at hand without needing to search for them or have them roll onto the floor. Some of the pockets are finished with buttoned flaps to keep the items in place and when not in use, the apron could be hung up or rolled up and put away. Articles about the "Traveller's Apron" appeared in numerous Women's columns in Australian newspapers in the early 20th century - often with instructions and sometimes a pattern. In the "Age" on Sat 5th October 1907 in a column titled "Feminine Facts and Fancies" the author wrote "No man can appreciate the difficulties of dressing in a "wobbly" train or trying to do one's hair while a ship is weathering a storm". A year earlier (Saturday 24th March 1906) in the same column, the author wrote "... you have to spend nights in a train... forever struggling to dress yourself in a wretched little lavatory. You know how your hairpins and combs jump all over the place ... a train is always at its liveliest when you're trying to do your hair. My travelling apron saved me many a rage."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 an excellent (and rare) example of an early 20th century innovation that helped solve the difficulties of privacy and convenience that many women experienced at a time when travel was becoming more accessible to them. A half apron, made of ivory linen with two waist ties and seven pockets. Along the top are two smaller pockets with triangular, buttoned flaps labelled "Hairpins" and "Nailbrush" and one larger unlabelled pocket. Underneath are two larger pockets labelled "Brush & Comb" and "Work" and two unlabelled narrow pockets. The seams are machine stitched and the pockets are outlined with hand embroidered feather stitch. The labels on the pockets are embroidered in stem stitch."Hairpins" / "Nailbrush" / "Brush and Comb" / "Work"flagstaff hill maritime museum and village, nhill, eliza towns, apron, travelling apron, tourist apron, textiles, toilet apron, sewing, embroidery, travel, warrnambool, great ocean road, trains, ships, moana, manuka, feather stitch, stem stitch, fashion, handmade, clothing, charles towns, needlework

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

Early settler women used their dressmaking and craft skills to make clothing and homewares for their homes and familiesA pair of white cotton pillowslips with pin-tucking and broderie frillclothing, brighton, moorabbin, linen, pioneers, haberdashery, dendy henry, market gardeners, dressmakers, craft work, risstrom lorna

A butter churn is a device used to convert cream into butter. This is done through a mechanical process, via a crank used to manually turn a rotating device inside the barrel shaped churn. The agitation of the cream, caused by the mechanical motion of the device, disrupts the milk fat. The membranes that surround the fats are broken down, subsequently forming clumps known as butter grains. These butter grains, during the process of churning, fuse with each other and form larger fat globules. Air bubbles are introduced into these fat globules via the continued mechanical action of the churn. The butter grains become more dense as fat globules attach to them while the air is forced out of the mixture. This process creates a liquid known as buttermilk. With constant churning, the fat globules eventually form solid butter and separate from the buttermilk. The buttermilk is then drained off and the butter is squeezed to eliminate excess liquid and to form it into a solid mass. Then rinsing could be done simply by washing in water, followed by draining, salting and working or "kneading" the butter with a pair of wooden butter pats, or with bare hands. This is a paddle churn, a barrel that contains a paddle, which is operated by a handle. The paddle churned the butter inside the container when the handle was turned. Early settlers had to be self sufficient, growing their own vegetables, making tools and clothing and usually had a house cow to produce their milk supplyThis domestic butter churn is an example of the skill of the pioneer craftsman, carpenters and tool makers c1900. As pioneers and early settlers had to be self sufficient they usually kept a dairy cow or 'house cow' to provide milk for drinking and for butter and cheese to made by the family.A small wooden, domestic butter churn with a lid and a crank that manually rotated the paddle inside. E. CHERRY / MAKER / GISBORNE / VICTORIA / Apioneers, early settlers, market gardeners, moorabbin, brighton, cheltenham, dairy products. dairy farmers, milk, butter, dairies

The darning mushroom would have been an essential tool in an era when women were constantly repairing worn socks.Before the common use of synthetic materials, socks and other items of clothing were in constant need of repair. Darning would have been considered a necessary skill for girls and young women, part of their education as future wives and mothers. The mushroom was used to make repairs to clothing and bed linen.This darning tool was an essential item in 19th and early 20th century household as self-reliant women often had to make and repair all their clothing.A mushroom-shaped piece of smooth wood used to stretch and support material being darned.darning-mushroom needlework handicraft domestic

Made by Mrs McKeown (nee Ford) and used in her house.This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A small pillow sham, square shaped, made from a coarse weave cream fabric front and a backing of bright yellow fabric. Four sprays of pink & yellow flowers with green leaves are embroidered onto the front. Around the edge is a border of drawn thread work which allows the bright yellow backing to show through.table-linen home-manchester hand-embroidery

Julia Eaton was the daughter of George Thomas who lived with his family at Newmerella on Grand View Road until the 1950's. The family was a very well-respected local Aboriginal family.This item is an example of a common domestic item hand made by an Orbost local. It reflects the needlework skills of women in the early to middle 20th century. White/cream coloured soft thread macrame cloth with tassels around the edge.cloth tablewear domestic linen

This item has aesthetic significance and reflects the handcraft skills used in creating domestic ornaments in the first half of the 20th century.Black ornate raffia plant holder.holder-ornament handcraft raffia

This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, One pair of hand embroidered white linen pillow shams. Crocheted edge. Decorated with embroidered flowers in assorted colours.pillow shams bedding manchester handcrafts needlework embroidery

In the early 20th century, smocking appears in women’s magazines and sewing manuals on garments, domestic textiles and children’s wear. The 1930s and 1940s were the heyday of patterns and innovative stitch development. Embroidery has always had a great appeal to women, as it needs few tools. Historically the skills were taught within the family or in primary schools. Articles to make or embroider had been available in kits since the 1850s. Fancy work, the opposite of plain sewing, enjoyed great popularity in the 19th and 20th centuries. Companies which manufactured threads often produced instruction guides and patterns. This instruction book has been well-used. A small 30pp book with no cover. It contains instructions for embroidery stitches, including smocking.book-embroidery smocking handcraft needlework

A pillow sham is a decorative pillow case. This is a handmade pillow sham especially crafted for a household in early Orbost.This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A rectangular lace pillow sham. the centre rectangle is white and made of pulled thread lace. The edging is pale pink and blue lace,handcraft pillow-sham needlework

This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A white / cream coloured linen tablecloth, edged with crochet. It has scalloped edges and is embroidered with orange stylised water lilies which have green leaves.needlework table-linen handcrafts

This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, A hand made rectangular shaped white table cloth made of fine linen. it has lace insertions which are flower shaped. The flower stems and leaves are embroidered.table-linen handcraft needlework

This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes, A cream linen circular doily with scalloped edges. It is hand embroidered with a kookaburra and wattle design. It has some lace edging. doily needlework handcraft table-linen

Thimbles have long been used as a shield for the fingertip when hand sewing. In the Victorian period, an ornate silver thimble would be given as an engagement gift. This thimble is part of a thimble collection which was owned by Kallista woman, Beryl Collett (1925-2018) and may have originally belonged to her mother (Hettie Collett nee Thorn) who was a talented milliner and from whom Beryl first learnt her considerable handicraft skills. These thimbles form part of a large and varied range of objects which were either collected by or hand-made by Beryl, and which have been donated to the Museum. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Honeycomb pattern on the side of the thimble and a spiral honeycomb pattern on the top. Plain narrow band around the rim. Silver.On the outside of the band: '6' and (?)'CM' and three (?)hallmarks. The first one is of an animal. beryl collett, hettie collett, thimbles

Thimbles have long been used as a shield for the fingertip when hand sewing In the Victorian period, an ornate silver thimble would be given as an engagement gift, but silver proved too soft for withstanding pins. In 1885, Charles Horner patented a new silver thimble with a steel core which became the Dorcas thimble and enabled a functional but still decorative thimble. This particular thimble was made by Charles Horner post 1905 and is part of a thimble collection which was owned by Kallista woman, Beryl Collett (1925-2018). Some may have originally belonged to her mother (Hettie Collett nee Thorn) who was a talented milliner and from whom Beryl first learnt her considerable handicraft skills. These thimbles form part of a large and varied range of objects which were either collected by or made by Beryl. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Silver thimble with a dense floral design on the side and top of thimble. Plain band around rim of thimble. Markings indicate it is a Size 4, Charles Horner thimble.Bottom band imprinted: 'CH 4 / DORCAS'. beryl collett, hettie collett, thimbles, charles horner

Thimbles have long been used as a shield for the fingertip when hand sewing. In the Victorian period, an ornate silver thimble would be given as an engagement gift. The thimble collection was owned by Kallista woman, Beryl Collett (1925-2018). Some may have originally belonged to her mother (Hettie Collett nee Thorn) who was a talented milliner and from whom Beryl first learnt her considerable handicraft skills. These thimbles form part of a large and varied range of objects which were either collected by or made by Beryl and which have been donated to the Museum. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Silver thimble with a honeycomb pattern on the side and a raised leaf pattern around the rim. Decorative blue glass top. On the body imprinted: 'STERLING GERMANY 9'. beryl collett, hettie collett, thimbles

Thimbles have long been used as a shield for the fingertip when hand sewing. In the Victorian period, an ornate silver thimble would be given as an engagement gift. This thimble was owned by Kallista woman, Beryl Collett (1925-2018) and may have originally belonged to her mother (Hettie Collett nee Thorn) who was a talented milliner and from whom Beryl first learnt her considerable handicraft skills. These thimbles form part of a large and varied range of objects which were either collected by or hand-made by Beryl and which have been donated to the Museum. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Honeycomb pattern on the side of the thimble and a spiral honeycomb pattern on the raised top. Below the honeycomb pattern are two rows of plain bands with a groove between the bands. Silver. No visible hallmarks.beryl collett, hettie collett, thimbles

Thimbles have long been used as a shield for the fingertip when hand sewing. In the Victorian period, an ornate silver thimble would be given as an engagement gift. This thimble was owned by Kallista woman, Beryl Collett (1925-2018) and may have originally belonged to her mother (Hettie Collett nee Thorn) who was a talented milliner and from whom Beryl first learnt her considerable handicraft skills. These thimbles form part of a large and varied range of objects which were either collected by or hand-made by Beryl and which have been donated to the Museum. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Honeycomb pattern on the side of the thimble and a spiral honeycomb pattern on the top. Plain wide band around the turned-up rim. Brass. No visible markings.beryl collett, hettie collett, thimbles

Thimbles have long been used as a shield for the fingertip when hand sewing. This thimble was made in Taxco, Mexico, a place famous for its silver work blending pre-Columbian motifs with baroque and art deco aesthetics. This thimble is part of a group of eight thimbles which belonged to Beryl Collett (1925-2018), a local woman with considerable handicraft skills and interests. These thimbles form part of a large and varied range of objects which were either collected by or hand-made by Beryl and which have been donated to the Museum. This varied thimble collection has been collected during the long lifetime of a local woman who enjoyed needlework and lacemaking.Taxco handmade sterling silver thimble with a very ornate pattern on the side. No band at rim. Thimble has a seam. The top has been damaged and repaired with solder. Inside thimble is imprinted '15' followed by indiscernible maker's marks.beryl collett, thimbles, taxco, mexico

This butter mould/pat may have been manufactured post 1967(year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce. This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This well crafted circular wooden butter mould could also be used as a butter pat.The handle in the middle of the mould was not added after the crafting but has been fashioned from the initial block of wood when the bowl was crafted. The bowl structure has a rim around the edge.The top of the handle has an ink stamp "T. & W. Dav" on the top line and "Tawonga 3697" underneath.domestic food preparation, wooden butter pat, butter mould circular, dairy industry

This butter pat profiler may have been manufactured post 1967(year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce.This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This butter Pat/Profiler has on its base two patterns. On each end it has horizontal grooves cut into the wood which produce distinct lines onto the surface of the butter. between these grooves there is a section of two double lines crossing in the middle and separated by eleven horizontal lines The base has an elongated rectangular shape. The upper body has been sanded into a smooth convex shaped form where a wooden circular hand grip has been fashioned.On the top of the hand grip is stamped in black print"T. & W. Davies" and under this"TAWONGA 3697"domestic food preparation, wooden butter pat, butter mould circular, dairy industry

This butter pat profiler may have been manufactured post 1967 (year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce.This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This butter pat is one of two,see KVHS 0071 (B). It has been crafted from wood. One side has grooves running from the handle to the square shaped bottom. These grooves would stop the wet butter from clinging to the pat. The top side of the pat has been bevelled on both sides and the bottom edge. The hand grip is flat and curved to allow for a comfortable hold.domestic food preparation, wooden butter pat, butter mould circular, dairy industry, butter