Eva Pearce, 1888-1973, was a resident of Bacchus Marsh.Handsewn velvet jacket. Black coloured with gold coloured button.clothing and dress, eva pearce 1888-1973, pearce family

My work has always involved textiles. I began my art practice in the darkrooms of photography, but I often came back to textiles to expose my images on, with either cyanotype or daguerreotype processes. I love way textiles can be manipulated so quickly and how each piece of fabric can have a different feel and weight. I prefer to use old materials with an inherent history that I can repurpose and reinterpret, usually linen, cotton, silk and other natural fibers. My work has increasingly become about texture, an overload of visual complexity and the introduction of hard materials into the soft sculpture medium. Almost anything can be stitched into a piece and so far the inclusion of brass, bronze and copper as small components of the finished work has opened the boundaries of where my practice can go. I use stitches and beads and other things to ‘draw’ and make patterns on each work; I love the detail and the investment in each slow stitch it takes to reveal the final piece.Wangaratta Art Gallery CollectionA black, golden, white, and silver handsewn protection totem encased in a glass dome case.gillian bencke, textile

Used by child internee at Camp 3. Hand sewn.Handsewn, cotton lined, rabbit skin cap with chin strap (red and black). Fastening - Hooks and eyes (2)childs' cap, hoefer family, camp 3, tatura, ww2, children, headwear, rabbit skin

These items were made as part of an occupational therapy group at Heidelberg Repatriation Hospital post WWII. Two matching stuffed toy bears in cream coloured lambswool, with button eyes, handsewn. One smalller than the other.mervyn hutchins collection, rats of tobruk, heidelberg repatriation hospital, occupational therapy

This petticoat likely belonged to Ellen Dowsett (1858-1953) of Maidstone, Victoria. This style of clothing was common in the late nineteenth and early twentieth centuries, and this specific example was most likely in use in the 1890s. It could also have belonged to Ellen's daughter, Ruby May Selina Wallace (1891-1973), although this is less likely. It was donated by an Emerald resident who received it from Ruby. Petticoats and underskirts were worn for several purposes; this one may have been used to add warmth and/or comfort to a larger outfit. It was made with a sewing machine, but throughout its use was hand-repaired: handsewn stitches mark the addition of an extra piece of fabric or the repair of a deteriorating stitch near the hem.This petticoat is an example of 1890s fashion and the handiwork that went into prolonging its lifespan.This petticoat/underskirt is entirely constructed from black satin. Near the waistband, the underskirt is fastened with three press-stud buttons and a hook. There are five stitch lines down the length of the petticoat, where separate pieces of fabric were joined to create the finished product. At the hem, an additional piece of the same fabric is handsewn on the inside of the petticoat with green-brown string; this may have been added to repair or lengthen the skirt. The hem includes a ribbon of purple fabric adorned with a purple fringe on the inside of the skirt. While modern clothing sizes cannot be mapped exactly to those of the past, today it would be considered to be about a size 10.N/Aclothing, 1890s

Originally the garment belonged to the donor's mother, Mrs Arthur Hordern (Ethel), and the initials are hers.White cotton, all handsewn. Bib front is of lace and tucks, and lace edges, the neck and sleeves. Front opening under lace of hand-made buttons.E.H.embroidery, lace, heirloom sewing, garments, 1900-20, australia

Assorted handsewn patchwork pieces sewn by Grace Agnes Liardet (nee Bailey) late 1800's to early 1900's with along with paperwork giving provenance.handcrafts, needlework, patchwork, see attached paperwork

Navy blue felt beret with Prince of Wales Light Horse badge attached belonged to Lance Corporal Alfred GREGORY born 26/12/1932 3/711040 who was conscripted into the Army on 7/8/1951 to 13/11/1951. Served in the CMF between 14/11/51 and 15/8/1956 with the 8/13 VMR and PWLH.Dark blue felt beret with black leather trim with enclosed ribbon with white metal badge of coat of arms attached to red felt square handsewn at front.Badge - Prince of Wales Light Horse Inside - "Nasho" inside white map of Australianasho, 8/13vmr, pwlh, cmf, australian army

This lace modesty panel is believed to be late 19th century. Its original owner is unknown, but it was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc - all of which have been donated to the Museum. The donor was informed at the time of purchase that the garments were over 100 years old.This lovely hand-made modesty panel was typically worn by women to conceal a plunging neckline in the late 19th or early 20th centuries. Ecru coloured, fine lace modesty panel. Rectangular in shape with handsewn satin binding on the two short ends and lacy edge on upper part and bound seam on the bottom edge.female, lynne findlay collection, modesty panel

The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A quilt made of rectangular woven samples of polychrome woollen fabric. The samples are machine sewn together. It has a blue, red and yellow pieced backing which is loosely handsewn onto the quilt.Back: [handwritten] A Andersonhandicrafts, returned soldiers and sailors mill, wagga, samples, anderson, mr robert anderson, mrs lucy, geelong, victoria

This cushion belonged to Bert Vivian who was a saddler. His daughter, Betty Vivian, donated many items to the cultural collection including Bert's saddlery and leatherworking tools.Textile padded cushion with several needles inserted into it. The fabric is cream in colour with black and yellow lines creating a checkered effect. It looks to be handsewn and frayed around the edges. The needles in the cushion are of varying lengths and sizes. Some have thread attached.bert vivian, betty vivian collection, vivians saddlery bert vivian, leatherwork, portland, glenelg shire cultural collection

This petticoat dress was sewn by Mrs. van den Heuvel and her friend M/s Jos Tersteeg for Marjo van den Heuvel to wear under a white dress on the occasion of her cousin Peter Beeker's First Holy Communion.The material was obtained from one of the many parachutes that became available during the Allied offensive of 1944/45. This material was very welcome after the deprivations suffered during the 5 year German occupation. Petticoat to be worn under child's white First Communion dress, made of white parachute silk sewn in extremely tiny stitches by machine and hand. French seams are used for the sides and shoulders; the hem is handsewn. The garment is fastened at the neck with a narrow white satin ribbon.dutch, migration

Nippon dolls were made by Noritake in Japan.Stuffed doll with ceramic face, decolletage, hands and feet. Dress handsewn from emboidered and pleated cream material. Arms and legs made from rust colored linen type material. Pigtails painted blue. Eyes (blue/black), eyebrows (brown), hair (orange) and lips (orange) painted on.DI.464 on fabric is attached to back of right leg with sticky tape.toys, dolls, sewing

There is no information available on this dress which has been in the Historical Society’s collection for many years. It may have been a wedding dress. This is an interesting item as an example of a woman’s dress worn about the 1880s. It is a wonderful display item. This is a claret-coloured dress with a full length skirt with bustle. It is made of good quality heavy satin mounted on organza with a back fastening. There is a rosette in the same fabric with two pendant panels. There is a matching fitted jacket with hooks and eyes to fasten and full length narrow sleeves edged with claret lace (much tattered). The jacket is faded and torn in parts. Machine and handsewn. claret-coloured dress, warrnambool, 1860's ladies dress

The blazer pocket is an excellent example of the embroidered crest/motto for Clarendon Presbyterian Ladies' College in the 1930's. The House Prefect braid features school colours of the day with wide red, gold and navy blue bands interspersed with narrow white and gold stripes. Clarendon Presbyterian Ladies' College blazer pocket, featuring embroidered CPLC crest/motto and bearing House Prefect braid across pocket opening and emdroidered tennis insignia below crest/motto. Pocket is handsewn onto calico and mounted on cardboard. A CPLC school badge featuring crest and motto is sewn to calico/cardboard surround above pocket. Badge pin is missing.uniform, 1932, clarendon presbyterian ladies college, m a c crang, 1933, blazer pocket, school badge, suivez la verite, tennis, house prefect

This black bodice likely belonged to Ellen Dowsett (1858-1953) of Maidstone, Victoria, or her daughter Ruby May Selina Wallace (1891-1973). It was donated by an Emerald resident who received it from Ruby. Sleeved whalebone bodices of this style were fashionable in the first decade of the twentieth century. If it belonged to Ruby - the most likely owner - she likely wore it towards the end of that decade and in the early 1910s, when it was a fashionable piece for a young woman. It appears some internal handsewn repairs have been made, ensuring greater longevity for the outfit.This bodice is a very elaborate and interesting example of 1900s fashion.This black bodice is adorned with elaborate patterns sewn into the lace that decorates the front, back and sleeves of the item. Its interior is lined with a lighter fabric and supported by several whalebones, providing structure to the bodice. The outside appears unstructured with deflated sleeves and a gathered front. While modern clothes sizes do not map accurately onto those of the past, today it would be considered about a size 10 or 11.N/Aclothing, 1890s

Neck tie issued to "397827".1. Shirt - light khaki colour polyester/cotton fabric. Collar, shoulder epaulettes, short sleeves, patch pockets with button down flap. Beige plastic buttons. White colour cotton fabric manufaturers label - inside below collar. 2. Necktie - khaki colour cotton knit fabric with unfinished ends, Insect damage noted. White colour cotton tape handsewn to necktie.Manufacturers information on label - black ink print. 1. "ADI/ VIC 1991/^/ SIZE 40/ 8405-66.133.5955/ SERVICE NO./ NAME/ 65% POLYESTER/ 35% COTTON/ DO NOT BOIL OR WRING/ MACHINE WASHABLE/ DRIP DRY, IRON LIGHTLY/ WITH WARM IRON. 2. Cotton tape - HANDWRITTEN IN BLUE INK PEN "397827"uniform, army, shirt, necktie

John Parkes avoids technology. This work expects the viewer to understand the importance of the hand and time… The blanket and the apron were gifted by friends in Germany. The apron was worn by Helen in her studio practice as a jeweller. The blanket was a find in the cellar of their Munich apartment. The red moleskin cloth was an OP shop find and originally a eucalyptic green. This cloth was discharged and overdyed. Cloth will often sit around the house, unattended, until ideas germinate. Is “Art” about “Art” or about the “Artist”?... There is a Buddhist notion of not writing in the first person, in that the Ego is not employed. There is a Japanese tradition “Boro” in which cloth is not discarded but repaired. These three cloths are now one.Wangaratta Art Gallery Collection - Winner WCTA 2017A square handsewn textile that features a white apron that has red running stitch squares, holes, hand paint stains across with initials in blue thread sewn in the bottom right corner of the apron which is in the center of the work. A brown wool cloth that features rows of white running stitches and red embroidery patches borders the apron, which is bordered by strips of red patterned fabric that has been dyed and features lines of red running stitches.wangaratta art gallery, textile, wcta, john parkes

Fine white cotton, embroidered cotton. Cap type shoulder/sleeve.Totally embroidered. Yoke has Vshaped panel of finely embroidered cotton, edged with a cotton panel, edged in fine embroidery. These strips are repeated down the long organdie skirt. A deep panel of embroidered cotton organdie type fabric reaches from the hemline to the yoke. Handsewn, extremely fine seams. White cotton tape tie at back neckline, and back yoke. Garments from the Executor of Estate of late Frieda Kahland. See also 11400.122, 11400.363, 11400.364, 11400.365.costume, children's, babies christening gown

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

This child's dress 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 as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

Made especially for the Late Mr. Rickard about 1900.1 & .2 Pair brown bespoke leather lace boots size 8, lace on left boot missingOn sole of each boot Made in Australia Cork filled Waterproof F.A.C. Hand sewn Sticker marked "137"boots, rickard, handsewn boots