Students and staff of Ivan Franko Ukrainian Saturday school Black & white photograph, with a border of traditional Ukrainian needlework patternstudents, teachers, ivan franko, ukrainian saturday school

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). Bound copy of Weldon's Practical Needlework, retailed by W.C. Wright and Co., Booksellers & c., Broken Hill, New South Wales. The book includes advice for women on Knitting, Crochet, Drawn Thread Work, Netting, Knitted Edgings or Shawls, Mountmellick Embroidery with full working descriptions.Inscribed top right of title page: "E.M. Betteridge, Broken Hill, July 2nd 1891 / E. Weir".edith mary weir (nee betteridge), 84 princess street -- kew (vic), needlework patterns

These Tray Covers were made by women of the early settler families in Moorabbin Shire c1900 and show their needlework skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society These tray covers are examples of the dressmaking, crochet and needlework skills of the women of the early settler families in Moorabbin Shire c1900 4 oval and 1 rectangular small white linen Doilies with crochet and coloured and white needlework a) oval white with white needlework patterns and crochet edge; b) oval white with coloured flowers and crochet edge; c) oval white with coloured flowers and over-sewn edge; d) oval white with 2 coloured flowers crochet edge; d) rectangular, with coloured flowers and hemmed edgeclothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Weldon's Magazine of period needlework with the pattern used by Eglantine Gill to stitch the "Tree of Life" (E1843A) in 1936.Magazine with the Jacobean Tree of Life embroidered panel (1843A) on cover and its patterntree of life, crewel, jacobean, embroidery pattern

The fabric of this child's dress includes 'Broderie Anglaise, a form of needlework involving patterns of holes that are each stitched to form a finish that will not fray. The dress features a homemade button.. This handcraft dates back to the 1500s. It became popular in the 1800s and early 1900s, particularly for women's nightwear and underclothing.This child's dress has handcraft and needlework skills that were popular in the 19th and early 20th centuries. The dress also features a homemade button.Child's dress, white fabric, with short sleeves, gathered waist and scalloped hemline. The bodice and shirt have Broderie Anglaise embroidery inserts, with the holes formed into a star pattern. The bodice insert is a 'V' shape. The back has a ribbon tie and is finished with a homemade button.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, child's dress, clothing, embroidery, broderie anglaise, handmade button, handmade dress, child's fashion, dressmaker, handcraft, needlework, lacework

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

The handkerchief was on display at Flagstaff Hill reception area from 2008-2105 as an example of fine needlework with a lace pattern typical of the early 1900's. During that era the house mistress would often carry two handkerchiefs, one for blowing her nose and one out on show, perhaps in an apron pocket.This handkerchief is an example of fine handmade needlework. It is also an example of women's fashion accessories in the late 19th and early 20th century.White starched silk handkerchief, square shape, very soft fabric edged with 5cm embroidered net lace. Net was embroidered as a strip then joined at corners. The design is backstitched then the lace has been joined to the fabric using blanket stitch. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, silk handkerchief, fine handcraft, needlecraft, ladies' handkerchief, 1900s

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

This sampler booklet was made by Rose Plummer. She was born in Albury in 1886. During late 19th and early 20th centuries, women and girls made handicraft samplers as essential educational tools to learn and display needlework skills and record patterns. These embroidered pieces served as both a "textile Curriculum Vitae" for working-class girls and a public declaration of accomplishment and diligence for girls of all backgrounds. Simple samplers were a standard part of a girl's education and often simply recorded the alphabet, numbers, and more advanced stitches through a process of repetition and imitation. The samplers were also a way to record and share decorative patterns and stitches. They demonstrated a young girl's proficiency in needlework and sewing, essential skills for household linen and mending. For working-class girls, samplers acted as a practical "textile Curriculum Vitae," showcasing their sewing abilities to potential employers for domestic service or related employment. This book was donated to the Wodonga & District Historical Society by Nancy Beasley, daughter of Rose Plummer.A book filled with samples of embroidery and crochet work.embroidery skills, women's craft

Covers were used to place over a jug to keep insects out of the liquid (usually milk). This sort of item was used in days before refrigeration. It also demonstrated womens ability to make items for the home.Part of Ellen Brown collection. Ellen Brown lived her whole life in Bacchus Marsh - she died aged 103 in 2009. She never married and excelled at home duties, eg., needlework, cooking. She won prizes at local shows for cakes, jam making, and preserves. She was a well known identity in the town.Square white beaded jug cover in ecru colored cotton. Crocheted central bird pattern with triangular pattern top and bottom. White beads attached on perimeter.lace, ellen brown, milk, crochet, jug cover, home duties, blue wren, beads

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

This item is one of a collection of clothing items that belonged to the Stephenson family who lived at 22 McCracken Street, Kensington, Melbourne. Matthew Stephenson (1861 – 1943) who had grown up on the Bendigo goldfields and shifted to Melbourne in the early 1900’s was a train driver and later, a fireman with the railways. His wife Elizabeth Jane (Betsy) Wigley (1865 – 1953) also grew up on the goldfields around Majorca and Bendigo. They married in 1885 in Bendigo. They had two daughters – Ethel Evelyn Stephenson (1886 – 1956) and Lillian or Lila (1891 – 1977) who were milliners and dressmakers and who continued to live in the family home after the death of their parents. The family are recorded as living at 22 McCracken Street, Kensington, as early as 1914. It is not known who made or owned the clothing that makes up this collection but as it appears to be from the late Victorian and early Edwardian era, the different pieces were probably made and worn by any of the three ladies of the house – Betsy, Ethel and/or Lila. During W.W.2, a local Warrnambool couple (Meryl and Tony Everard) boarded with them – Tony was in the airforce training paratroopers to jump into (and survive) enemy territory and his wife Meryl worked in the Methodist baby Home. The Everards developed a close friendship with the Stephensons and were responsible for clearing out the house (and finding this clothing collection) after Lila died in 1977. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding lace to personalise and embellish a practical item of clothing.A lady's ankle length petticoat made in three sections. The top section is made from three rectangles of fine cotton (batiste) joined into a round with narrow french seams and inserted into a simple drawstring waistband with a small opening. The second section is made with rows of alternating strips of fine pin tucked lawn, white cotton cut work embroidery and a wider cotton lace design all joined in a diagonal pattern and lined with fine lawn. The bottom section of the petticoat has a horizontal strip of eyelet lace followed by a wider strip of fine pin tucked lawn and is finished with a deep hem of white cotton crocheted lace fabric and has the same lawn lining as the section above.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, petticoat, lady's petticoat, needlework, sewing, broderie anglaise, stephenson family, drawstring waistband

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". It 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, doylies, 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. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read. This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered, 16 page instruction book titled "Tatting Designs". It has black and white photographs and detailed patterns for tatted doilies, a tray mat, a chairback and arm rests, a cheval set, a luncheon set, collars and edgings for an underskirt, gloves and handkerchief. It is published by Paragon Art Needlecraft of Sydney.Front cover - "Paragon's No 105" "PRICE 1/3" "Tatting Designs" "Household Linens * Personal Wear" Plus a stylized drawing of a deerflagstaff hill maritime museum and village, great ocean road, warrnambool, shipwreck coast, tatting book, tatting patterns, craft, handiwork, handcraft, needlework, shuttle

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". It 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, doylies, 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. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book

Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she used these patterns to make clothes etc.for her family and the Choral Society. Madame Weigel who migrated to Melbourne in1877 with her husband Oscar; began publishing in 1878 and distributed paper patterns of the latest fashions, throughout Australia and New Zealand, She and Oscar became the first commercial manufacturers of paper patterns in Australasia, and to publish Weigel's Journal of Fashion (1880-1915) and Madame Weigel's Journal of Fashion (1915-1950). Madame Weigel had an enormous following of women who used her patterns across the generations, and across the life cycle from babies to 'matrons'. Madame Weigel died in 1940 aged 92 years. Finally, after 91 years of business and millions of patterns sold, Madame Weigel's paper pattern business closed in 1969.Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals in the City of Moorabbin and used these patterns for clothes etc for members of her family and the Choral Society. Madame Weigel was one of the most remarkable of early Australasian business women.A black and white booklet of 37 pages with advertisements, sketches, articles, photographs, knitting,crochet and tapestry instructions, dressmaking patterns and recipes. Volume LV111 pages 122 - 159 completeFront Cover ; Registered at the General Post Office Melbourne for transmission by post as a Newspaper / 4d / Published Monthly / MADAME / WEIGEL'S / JOURNAL OF FASHION / Vol LV111 No. 688 / A Delightful Home Journal / JUNE 1, 1937 / 58th YEAR OF PUBLICATION / Illustrated at Right - / Crocheted Cushion of / Unusual Design./popular Bed-Jacket. / ( Daisy Wheel Design) /Illustrated at Left - FREE Pattern ; / Lady's Costume Coat. / 34 Inches Bust Meas. Back Cover : Advertisement for Bushells Blue Label Tea / Printed and Published by Geo. Humphries for Madame Weigel Pty Ltd , Lennox and Rowena Sts., Richmond. Vic.haberdashery, cotton, lace, pillow cases, sheets, clothing, dressmaking, needlework, market gardens, dairy farms, lacework, craftwork, moorabbin shire, bentleigh, moorabbin, cheltenham,reed gladys, clark judy

This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Two small square crocheted doilies. One has a rooster pattern, the other a square symmetrical pattern.doily handcraft crochet

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 item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Small square-shaped hand crocheted doily. White with linen centre and large crocheted border in diamond patterns.doily handcraft crochet linen

This item is an example of the needlework skills of women in early settler families.Hand tapestry pattern for a pair of slippers. on canvas and ready to be cut out. Floral design on crimson background. Light purple canvas.tapestry canvas handcrafts slipper-pattern

Ruth Woodward was the daughter of Alan Richardson a sawmiller at Tabbara. Richardson Helped build and held ticket for paddle steamer "Curlip". 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. This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Small handmade star-shaped milk cover with a white tulle centre and beading coming down to points off the centre. Beads are clear and black.milk-cover handcrafts needlework beading richardson

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

Women’s magazines during WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate skyrocketed 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 on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all.This is an example of an English women's magazine published during WW11.It gives 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.A 64 pp magazine, titled Woman and Home and Good Needlework Magazine. The front cover has a a coloured picture of a man in a uniform and woman sitting at a round table drinking tea and photographs of knitted jumpers, the patterns of which are inside the magazine.Handwritten on front cover in pencil -Mehlert

Women’s magazines just after WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate had skyrocketed 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 on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all.This is an example of an English women's magazine published post WW11.It gives 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.A 64 pp magazine, titled Woman and Home and Good Needlework Magazine. On the front cover is a coloured drawing of a fashionably dressed and made-up woman with red hair and holding a bunch of similarly coloured flowers (gerberas?) At the bottom left are knitted baby clothes - pattern inside - as well as a man and woman wearing fashionable clothing - suggesting patterns are inside the magazine. The magazine cost 1/6 and is dated October 1951.magazine-woman-and-home

This shawl may have been used for Marjorie Burton or earlier. It has been passed down fcrom the Whiteman family through the Burton family. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from a middle-class, working, church-going family. Her mother was a milliner who made many of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of a handmade item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A square crocheted silk shawl with a lacy pattern. It is cream coloured and has rounded corners.crochet handcraft shawl burton-marjorie

Isabella Mary Beeton (née Mayson; 14 March 1836 – 6 February 1865), also known as Mrs Beeton, was an English journalist, editor and writer.In the 19th century, the craft of embroidery became a pastime for women. Needlework creations were crafted to be displayed in the home.This book is an example of a popular book of ithat time.A hard back book with a dark green fabric cover. The title is in gold print -"Beeton's Book of Needlework" inside an ornate gold border. It contains descriptions and instructions for tatting patterns, crochet patterns, knitting patterns, netting patterns, embroidery patterns and point lace patterns. There are six hundred illustrations / engravings. some of the patterns are fold-out.inside cover - "Special first prize to Catherine J. Horne by Mrs William for Needlework" Tarang State Schoolbeeton-isabella needlework-knitting-lacework

This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily, square white cotton with floral cutwork pattern, embroidery and scalloped edges. From 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, doily, embroidery, needlework, handmade, craft, manchester, linen, haberdashery, cutwork

CONTEXT Embroidered and Crocheted Items This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily, oblong white floral pattern weave fabric with crocheted edging. From 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, doily, needlework, crochet, handmade, craft, manchester, linen, haberdashery

This crocheted sauce bottle cover was made by either Sarah Lees or her daughter Ann Dale (nee Lees.) In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework and handmade domestic items.Sauce bottle cover; white crocheted tube shape, drawn together at the top. The letters "SAUCE" have been crocheted into the pattern. Part of the Chamberlain Dale Lees Collection.Worked within the pattern "SAUCE"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, miss a.e. emery dressmaker, sauce cover, bottle cover, sauce bottle cover, sarah lees, ann dale (nee lees)

The jug cover has beads on the border, which are used to weigh the cover down and keep it on the jug. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug Cover, crocheted square shape, diamond pattern in the centre, with alternate blue, green and clear beads on the edge. From 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, miss a.e. emery dressmaker, needlework, crochet, jug cover