Oval, zinc steel shield with dome shape. Flanged edges with 5 holes and hand-painted floral motif on raised side.ornaments, metal, painting, floral motif, flowers, shield.

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red cardigan embroidered with decorative tuck stitches and floral motifs on front panel, crochet around collar in blue, white and green. Closes at centre front with 5 plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD ALL WOOL / 20 /CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, children's clothing, clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, hand embroidery, floral embroidery, floral motif, tuck stitch

Saxony‑made vase, cherished by a Lutheran family in the Lowan Shire. Crafted in Saxony and brought to Australia by early settlers, this vase became a valued possession within a Lutheran household in the Lowan Shire, reflecting both their heritage and the region’s migrant story.Vase from Saxony, treasured in a Lowan Shire Lutheran home. This finely made Saxon vase was preserved for generations by a Lutheran family in the Lowan Shire, symbolising the cultural continuity carried by German settlers into the Wimmera district.This is a decorative ceramic vase with an ornate, scalloped rim finished in a metallic silver tone. Two stylised handles rise from the shoulders, each shaped with soft curves that complement the vase’s overall elegance. The body is cream‑coloured with warm tan shading at the top and base, giving it a gentle gradient effect. The central decoration features a richly painted floral motif: yellow and deep red roses surrounded by green foliage and small white blossoms. Gold scrollwork frames the bouquet, adding a refined, almost Rococo touch. The underside shows wear consistent with age and use. It carries a green maker’s mark stamped in a shield‑like outline reading "PROV. SXE. E.S." indicating production by Erdmann Schlegelmilch, pottery factory in Provincial Saxony. This makers' mark was in use from 1920 to its close in 1937.green maker’s mark stamped in a shield‑like outline reading "PROV. SXE. E.S."hand-painted porcelain, made in saxony, vase, floral motif featuring roses

The decorative assembly from the top of the wedding cake of Archibald Burke and Eleanor McKew of St Arnaud, married in 1902. Typical of the period, the elaborate construction of floral and symbolic objects with partial shield originally carrying Australian Coat of Arms and Advance Australia. Much of the wax and icing items have disintegrated over the years but some such as the clasped hands, shoe, rising sun and paper floral motifs remain. Representative of a style of decoration for top of wedding cakes c.1900 no longer in practice.construction of floral motifs with symbolic shoes, clasped hands and other symbols of marriage and Australia all under glass dome on a circular wooden base.Nilburke, mckew, donald, starnaud, wedding, cake decoration, wedding ephemera

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Cream Children’s cardigan hand embroidered with pink flower buds with green foliage down the centre front edges. The round collar has pink picot/scalloped edge. Cardigan closes in the centre front at the base of the collar with a metal hook and hand-worked thread bar.[label stitched to back neck] Kathryn Reg’d / 100% Orlon / 22children's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, floral embroidery, floral motif, flowers, picot, scalloped edge

Limerick lace stole. C 19th CenturyCream embroidered floral motif on netting.Nillimerick, lace, stole

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Cream coloured lace with floral motif. hamilton-smith collection, hamilton-smith, ellwood, wodonga, sewing, domestic, lace, floral, clothing, edwardian

Shaped collar with a continuous border - floral motifs.embroidery, whitework, garments, 19th century

Used by Mr. J.H. Lord, Mr Neville Lord's father, with the "Rihoy" Bible.Silk Bookmark, with a religious floral motif and text."The Lord watch between me and thee, when we are absent one from another." "MIZPAH"bookmarks

From the collection of the late Dr. Georgina Sweet, who was the first woman veterinarian in Victoria and who travelled extensively in Middle Europe in the Early 20th century.Red silk on cotton, satin stitch floral motif.embroidery, stoles, middle east, surface stitchery

Purchased in Athens from antiques dealer (Pandrossou St, Monastirki) by donors sister in the 1970's. Guests in Turkey would be offered water to wash their hands and yagliks to wipe them. When everyone sat crossed legged at low tables, yagliks were also used to cover their laps from spills. They were also used to wrap items such as an important letter, sum of money, present, jewellery, gift of fruits or sweets, an article of clothing - all wrapped in an embroidered yaglik or bocha (square cloth). The richer the wrapping the greater the compliment. In wealthy households, as soon as a girl was old enough she would learn embroidery and start preparing for her trousseau and her home furnishings.Example of Ottoman EmbroideryTseure (Turkish towel), embroidered both ends with floral motifsflower, floral, geometric

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. A deep forest green bookmark with gold embossing of a floral motif.On bottom centre of bookmark: "MADE IN ITALY".hamilton-smith, hamilton-smith collection, ellwood, wodonga, book, books, reading, book mark, italy

Two pieces of black taffeta silk ribbon embroidered with floral motifs.weaving, ribbons, early 20th century

Bronze medallion depicting the heads of two young girls with floral motif.Nonematcham skipper, medallion, bronze, jewellery, girl

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Grey paper photograph album, front covered embossed with a floral motif. photo, photograph, family photograph, albumm, photograph album, hamilton-smith, wodonga, ellwood

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Panels probably part of jacket, floral motifs and birds, satin is red and purple.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Given to member Carole Clough from a friend - apparently was her grandmothers.Punch needle embroidery with nylon/rayon thread. Black background with floral motifs.

Examples of pattern darning and needle weaving. Small floral motif with bow in the centre.embroidery, darning, sampler, early 19th century, england

- Reticella lace edging on rectangular handkerchief - Probably c 19th century Italian originExample of European 19th century handkerchief- Cream net rectangular handkerchief with applied lace edging - Floral motif throughoutNilitaly, reticella lace

A brimless short rounded cap worn by men in Africa, Middle East and South Asia. Although associated with many Islamic cultures, in the United States it is also worn with people of West African heritage, whether Christian, Islamic or a traditional African religion.Brimless navy velvet cap hand embroidered with pink, green and blue floral motifs.caps, met

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 scrapbook album belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. Ilma died in childbirth in 1928, leaving her husband Louis Alfred Haeusler (b.1878), and one surviving son, John Alfred Lyell (b.1922). The scrapbook was gifted to Ilma from her Aunt and contains Tasker family photographs, and postcards and greeting cards Ilma received in the 1910s-1920s.This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women's history.An olive green photographic album with a red, green and yellow floral motif on the front cover. First page inside front cover, handwritten pencilled inscription: "Ilma Margaret Ernestine Tasker/ To Ilma/with love/from Auntie Annie/wishing her a happy/Birthday". album, scrapbook, family, family album, wodonga, haeusler, haeusler collection, photographs, photograph, postcard, christmas card

Ticket printed for use by people attending a banquet held during the official opening celebrations for the Buninyong Railway line on Thursday, 12 September 1889. Printed ticket in a bronze coloured frame, with floral motif around the ticket edges. Not used.Unused. Issued by Robert M. Harvey, Hon. Secretary.trains, railways, buninyong railway

During a visit to Ulimaroa in 1994, Dr Richard Howell (Coventry, West Midlands), Griselda Cooper (Queen Elizabeth Hospital, Birmingham) and David Greaves (Ashington Hospital, Northumberland) presented the College with a Royal Brierley etched vase. This gift was accepted on behalf of the college by the Registrar, Mrs Joan Sheales. Royal Brierley is a crystal glass manufacturer based in Brierley Hill, Dudley, West Midlands. It is one of the oldest crystal glass manufacturers in England which dates back to the early 17th century.Medium sized round shaped crystal vase, hand made, decorated with etched floral motifs.[LABEL] SINCE 1776 / Royal Brierley / HANDMADE / IN / ENGLANDdr howell, dr cooper, dr greaves, royal brierley

1 Square White Linen & Lace Tablecloth With Floral Motifs & Curlicews In All Four Corners.handcrafts, country crafts, tablecloth, https://www.lynxlace.com/pulledthreadgallery.html

Shirley HumphriesAttachable white muslin collar embroidered with small white flowers and two large floral motifs.shirley humphries, collar

Purchased in Athens from antiques dealer (Pandrossou St, Monastirki) by donors sister in the 1970's. Guests in Turkey would be offered water to wash their hands and yagliks to wipe them. When everyone sat crossed legged at low tables, yagliks were also used to cover their laps from spills. They were also used to wrap items such as an important letter, sum of money, present, jewellery, gift of fruits or sweets, an article of clothing - all wrapped in an embroidered yaglik or bocha (square cloth). The richer the wrapping the greater the compliment. In wealthy households, as soon as a girl was old enough she would learn embroidery and start preparing for her trousseau and her home furnishings.Example of Ottoman EmbroideryTseure (Turkish towel), embroidered both ends with floral motifs in pink, blue, green and yellow threadflower, floral