Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

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

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

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

Needlework Illustrated is issue 196 and cost 1/-. it was published quarterly. Australian Home Journal is the May 1963 issue. Women’s magazines just after WWII played a “reflecting role,” including topics of readers’ interests as well as containing news items. Women’s employment rate had grown during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly home crafts. Articles as well as advertisements presented information on keeping the family healthy with guidelines for thrifty shopping and advice on how to look good through it all. Patterns and instructions were provided for women to create home articles and clothing. The main sources for kntting and needlework designs available to women were in journals, magazines and pattern books. 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. These are examples of women's magazines. They give practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests --------------------------------------------------------------------------------------------------------------------------------------------------------- Two magazines. 3097.1 contains patterns, instructions, advertisements and photographs. It has a coloured cover - a pink background, black print an drawings of a woman wearing a top embroidered with roses and examples of needlework. 3097.2 contains patterns, advertisements, correspondence, and stories. It has a coloured cover with a photograph of a woman wearing a knitted jumper and three sewing patterns.magazine- needlework-illustrated magazine-australian-home-journal

Owned by Wilma Harris nee. Bowering resident of Merino Victoria.Small linen hand embroidered tablecloth bordered in decorative crocheted lacework. Embroidery is a large circle pattern of a lady in a full skirt and bonnet under a arch of light and dark pink flowers with yellow centres and dark green foliage, and rings of muli coloured flowers small and large. womens history, ros harris, merino, sewing, embroidery

this item was made to commemorate the coronation of Queen Elizabeth !! in 1953. In June 1953 , Elizabeth II was crowned Queen of the United Kingdom, Canada, Australia, New Zealand, South Africa, Ceylon (now Sri Lanka), and Pakistan, and became the Head of the Commonwealth. Many souvenirs were made to mark this occasion. Some were unique and hand-made. The main sources for crochet and other needlework designs available to women were in journals, magazines and pattern books.This milk jug cover reflects an important pastime for Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping flies and insects away from food. It is also a tangible souvenir of the coronation of Queen Elizabeth 11.A rectangular jug cover hand crocheted in white thread. It has blue and red beads sewn into the edges. the design is "JUNE" above a crown with "E 11 R 1953" below the crown.

This Item is one of four bedroom items hand made in circa 1900 by Amalihe Pierin. Her Son brought the item when he emigrated to Australia and members of the family still reside in the Kiewa Valley. Historically this item represents the requirement by families to manufacture a whole range of bedroom coverings due to the lack of professionally manufactured goods. Isolation from big towns or cities required local seamstress activities and therefore closer social bonding was a necessity. Although this item was transported from Italy to Australia by the son of Amalihine Pierin the significance still remains the sameLinen (white) cut work and embroidered central design tatting diamond shape with embroidered scrolls either side cut work leaves top and bottom L shaped tatting inner border with triangular tatting 2cm outer bordered hole patternembroidery, handcrafts, bedroom linen, trimmings, cut work

early (1940s?) hostess cap worn by Airlines of South Australia staffAirlines of South Australia hostess cap without peak. Light & dark olive green plaid pattern. Fine wool (blend?). Oval-shaped crown narrower & lower at front / broader & higher at rear. Olive green bemsilk lining & matching grosgrain sweatband. Matching fabric emblem 7cm high on left front, featuring metallic gold thread embroidery of 3mm thick initials "S" & "A " on crimson background with gold embroidered wings above. No visible evidence of manufacturer or ownersouth australian, hostess cap, wool plaid, gold wire embroidery, olive green

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Patons and Baldwins and contains knitting patterns and some embroidery patterns at a level suitable for young girls. It was sold by Buckley and Nunn Ltd, a Melbourne department store.Knitting for / THE JUNIOR MISS / by / Patons / 1'6d. BUCKLEY & NUNN LIMITEDhandicrafts - history knitting, patons and baldwins (australia) ltd buckley and nunn limited, handicrafts - history, knitting

This pattern book was published by Patons and Baldwins, UK and contains needlework and craft projects, as well as knitting patterns for womens garments.No. 157 / STITCHCRAFT / PRICE IN / AUSTRALIA / 1'-knitting handicrafts - history embroidery, patons and baldwins limited stitchcraft ltd, knitting, handicrafts - history, embroidery

This pattern book was published by Patons and Baldwins, UK and contains needlework and craft projects, as well as knitting patterns for womens garments.No. 164 / STITCHCRAFT / PRICE IN / AUSTRALIA / 1'-knitting handicrafts - history embroidery, patons and baldwins limited stitchcraft ltd, knitting, handicrafts - history, embroidery

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting and embroidery patterns for craft items such as tea cosies, dolls clothes etc.Gifts and / Crafts / "P&B" / BRAND / PATONS & BALDWINS' / SPECIALTY / BOOK / No. 43 / "P&B" / BRAND / PATONS & BALDWINS LTD. / SIXPENCEknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains three knitting patterns and instructions re: knitting and embroidery on knitting. It also contains ads for various different Patons wools, and provides lists and gives the contents of, other Patons knitting books.Let's / Knit / with / Patons / P&B / WOOLS / FOR FASHION WEAR / AND FAMILY WEARknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. Stitchcraft was a monthly craft publication containing knitting and embroidery patterns and was controlled by Patons and Baldwins (UK).STITCHCRAFT / No. 266 / PRICE IN / AUSTRALIA / 1'3knitting handicrafts - history embroidery, stitchcraft ltd, knitting, handicrafts - history, embroidery

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. Stitchcraft was controlled by Patons and Baldwins (UK) and was produced monthly with patterns for knitting, embroidery and crochet projects.STITCHCRAFT / No. 269 / PRICE IN / AUSTRALIA / 1'3knitting handicrafts - history embroidery crochet, stitchcraft ltd, knitting, handicrafts - history, embroidery, crochet

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. Stitchcraft was a monthly craft publication containing knitting and embroidery patterns and was controlled by Patons and Baldwins (UK).STITCHCRAFT / No. 274 / PRICE IN / AUSTRALIA / 1'3 / Free / inside / SPECIAL / SUPPLEMENT / OF / Italian / quicknitsknitting handicrafts - history embroidery, stitchcraft ltd, knitting, handicrafts - history, embroidery

T.A. Fautleys & Sons (Brunswick, Victoria) manufactured and sold needlework supplies, particularly stamped embroidery patterns from the late 1920's until 1950's. During World War 2 due to austerity measures, some Fautleys patterns were printed on coarser unbleached calico instead of finer fabrics (Australian War Memorial)Apron kit with stamped floral pattern on unbleached calico.Label - Fautley'sflowers, apron

"Fruits of Your Handiwork" from the 'Woman's Needlework Feature" magazine article 26 July 1937 designed by Dorothy Ellsmore Paul.Dorothy Ellsmore Paul (née Dorothy May Ellsmore; 3 February 1902 – July 1973)[1] was an Australian artist and cartoonist. Paul was born Dorothy May Ellsmore in 1902 in Hertfordshire, England. She trained as an artist at Portsmouth Technical College. She left for Australia at just nineteen years old, arriving in Sydney on 18 March 1921. Once in Sydney she trained under Julian Ashton. She had ambitions of becoming a sculptor though this never eventuated. She was first published in The Sun with the cartoon We Do Believe in Fairies in their Sunbeams section. By 1924 she was drawing cartoons for the soldiers' magazine Aussie alongside fellow female cartoonists Mahdi McCrae, Betty and Esther Paterson, and Lillian Pedersen. The same year she exhibited her work in a black and white show at Anthony Hordern and Sons' Fine Art Gallery with such artists as Norman Lindsay, Percy Leason, and David Low. In 1926 she was illustrating short stories for The Australian Women's Mirror and the Sydney Mail. Her illustrations also featured in The Bulletin. In 1929 she edited a book The Etched Work of Sydney Long which included a sketch of hers of the artist. They were both associated with the Australian Painters-Etchers Society. Paul wrote the introduction for the Society's publication The Charm of the Etching. From 1931 to 1934 Paul wrote a feature section for The Australian Women's Mirror. She started with the technique for linocuts and also wrote on pattern printing, embroidery, crafting cuddle toys, making evening gloves, and even a frog pyjama case for children. These crafts and designs were featured in The Sun and The Mercury. She wrote and illustrated the stories Portrait of a Dark Girl and In Search of a Grandmother. She married fellow artist Oswald "Mick" Paul in 1925, son of artist and social reformer Emily Letitia Paul. His portrait of her was a finalist for the 1929 Archibald Prize. Paul has works in the collections of the National Library of Australia, the National Gallery of Australia, the State Library of New South Wales, and a bookplate of Sydney Long in the National Library of New Zealand. https://en.wikipedia.org/wiki/Dorothy_Ellsmore_Paul Stamped linen design with oranges and baskets. Partly embroidered.Pure Linen stamp.

"Fruits of Your Handiwork" from the 'Woman's Needlework Feature" magazine article 26 July 1937 designed by Dorothy Ellsmore Paul.Dorothy Ellsmore Paul (née Dorothy May Ellsmore; 3 February 1902 – July 1973)[1] was an Australian artist and cartoonist. Paul was born Dorothy May Ellsmore in 1902 in Hertfordshire, England. She trained as an artist at Portsmouth Technical College. She left for Australia at just nineteen years old, arriving in Sydney on 18 March 1921. Once in Sydney she trained under Julian Ashton. She had ambitions of becoming a sculptor though this never eventuated. She was first published in The Sun with the cartoon We Do Believe in Fairies in their Sunbeams section. By 1924 she was drawing cartoons for the soldiers' magazine Aussie alongside fellow female cartoonists Mahdi McCrae, Betty and Esther Paterson, and Lillian Pedersen. The same year she exhibited her work in a black and white show at Anthony Hordern and Sons' Fine Art Gallery with such artists as Norman Lindsay, Percy Leason, and David Low. In 1926 she was illustrating short stories for The Australian Women's Mirror and the Sydney Mail. Her illustrations also featured in The Bulletin. In 1929 she edited a book The Etched Work of Sydney Long which included a sketch of hers of the artist. They were both associated with the Australian Painters-Etchers Society. Paul wrote the introduction for the Society's publication The Charm of the Etching. From 1931 to 1934 Paul wrote a feature section for The Australian Women's Mirror. She started with the technique for linocuts and also wrote on pattern printing, embroidery, crafting cuddle toys, making evening gloves, and even a frog pyjama case for children. These crafts and designs were featured in The Sun and The Mercury. She wrote and illustrated the stories Portrait of a Dark Girl and In Search of a Grandmother. She married fellow artist Oswald "Mick" Paul in 1925, son of artist and social reformer Emily Letitia Paul. His portrait of her was a finalist for the 1929 Archibald Prize. Paul has works in the collections of the National Library of Australia, the National Gallery of Australia, the State Library of New South Wales, and a bookplate of Sydney Long in the National Library of New Zealand. https://en.wikipedia.org/wiki/Dorothy_Ellsmore_Paul "Fruits of Your Handiwork" from the 'Woman's Needlework Feature" magazine article 26 July 1937 designed by Dorothy Ellsmore Paul. Stamped linen design with oranges and baskets included.

Thought to have been embroidered by the grandmother of the donor.Three canvas work samples on different weights of evenweave linen canvas, different patterns sewn onto a cotton fabric backing.canvas work, samplers, mid 19th century, australia

Smocked full length lined coat, fine cream fabric, floral design on front and bottom edges. Cream silk surface embroidery and filled eyelets. Smocking on waist and cuff. 60 mm band of smocking at waist, embroidered collar. Bonnet with matching embroidery pattern, lace trim, frills and rosettes.embroidery, 1900-20, australia, smocking, surface stitchery, garments - childs

From a collection from the former Larnook Teacher's College. They were collected in the 1960's and used as teaching aids. They were passed on the Rusden (finally at Burwood campus).Mat with stylised pattern in olive greens, pinks and blue wools on crewel linen with unusual buttonhole edge.embroidery, mats, crewel work, australia

Lady Amies had a distinguished medical career. Born on 26 August 1906 at Delft, Holland, she was educated in Europe, and in Edinburgh where she qualified L.D.S.R.C.S. (1928); L.R.C.P., L.R.C.S. (1938). Prior to her marriage she had practised dentistry in Scotland and in Harley Street, London. After she came to Melbourne she established a medical practice and in 1946 became honorary medical officer in charge of the diabetic clinic at the (Royal) Children's Hospital. She died on 13 November 1982. Born Geraldine Christein Wilhelmina Collee.Cream linen embroidered in red. Alphabet is worked with alternate squares in a variety of patterns.GCA 1963embroidery, cross stitch, 1960-80, australia

Worked by donor after a trip in 1965 and described by her in News Sheet No. 38 June. A Japanese Embroidery called Kogin.Navy blue woollen material with pattern darning in Kogin style in blue, green and white.MITembroidery, stoles, 1960-80, australia, darning, kogin

"Doc" Rowe and his wife "Mora" were Australian entertainers who performed worldwide, including the Far East, during 1910-1930. The embroidered costumes were purchased in China and used in their performances in Australia and overseas.Front/band for a woman's robe. Royal blue satin embroidered Taoist and Buddhist emblems with pekin knot stitch edged with couched gold and white or black thread. Braids along inner edges. Reverse applique butterflies in four corners. Gold-cast button and roulette cords and loops on front. Lined with blue, woven patterned silk. embroidery, china, oriental, garments, late 19th century, silk embroidery

A burse is a flat, square, fabric-covered case in which a folded corporal cloth is carried to and from an altar in church. Made of yellow furnishing linen using pattern on fabric as basis for the design with couched cord, bronze beads and pearls.Edna Wark 1975embroidery, australia, creative, ecclesiastical, 1960-80

White linen with cutwork pattern of scrolls and daisies back and front. Edges are scalloped and finished in buttonhole stitch. Tied with small ribbons on each side.embroidery, tea cosies, 1920-40, australia, cutwork

White linen with cutwork pattern of large flowers and buds, back and front. Edges are scalloped and finished in buttonhole stitch.embroidery, tea cosies, 1920-40, australia, cutwork