Imitation Kashmiri shawls were produced in large numbers in Europe in the second half of the 19th and also in the 20th centuries. The first mechanised production of such shawls was made possible by the invention of the Jacquard loom in France in the 1820s. Machine woven paisley shawl, based on traditional hand-woven Kashmiri designs. paisley shawl, shawls

Partnered with young man in Pinstripe Suit, paisley tie, wearing Glasses B/W Studio bust from same StudioSepia Bust of a young woman - dark short wavy hair, wearing glasses in a white blouse and Dark JacketEmbossed Print reading Hilda Mitchell Paisley St Footsgray on front. To Mrs Hamilton with love from Elanor. on rear

The Melbourne Harbour Trust Commission purchased the steam dredge SIR WILLIAM MATHEWS on 10 October 1941 from the Western Australian Government. Although the dredge was described as a suction dredge it was in fact a bucket dredge. After an overhaul, the vessel was renamed the GEORGE KERMODE and commenced operation in Victorian waters on 22 June 1942. The vessel was hired out to the Port of Burnie in 1945-46 but continued in the ownership of the Trust until 1 April 1976 when it was scuttled by the Department of Conservation, Forests and Lands as part of their artificial reef program. This program resulted in a number of reefs being established in Port Phillip Bay, including one off Carrum containing the wooden steamer URALBA.Timber and brass ship's wheel from center ladder hopper dredge George Kermode (formerly Sir William Mathews). Built Paisley Scotland 1914.noneships wheel, scuttled vessels, artificial reefs, george kermode

.1 Cream cover with black and green floral design and leather spine with gilt patterns. The pages have a gilt edging and the spine is partly detached. The pages contain printed material and handwritten entries .2 Black cover with yellow and green floral design. The spine is leather and has gold printing and lines. The pages have a gilt edging and contain printed material and handwritten entriesnon-fictionTwo birthday books with entries of birthdates 19th century warrnambool people, beattie family warrnambool, beattie and phillips funeral directors

Book used for recording birthdaysSmall book used for birthdays. Front cover has a pink rose with following words: Forget me not -- let memory play her part And lock my image in thy inmost heart. Green binding with 'Golden thoughts' wording. Inside page "The Book of Golden Thoughts for Birthdays" book, birthdays

Paisley shawls were a fashionable item of women's clothing in Europe during the late eighteenth and nineteenth centuries. Many were made of intricately woven and delicate wool, as well as examples being printed onto silks, wools, and cotton. These pieces were highly decorative. Although now known as the Paisley pattern, the teardrop motif originated in Persia and India. There are various theories about the early history of the paisley motif, and it would appear that it originated in Iran during the early first millennium AD. At this date it was a bulbous, almond shaped form, which was often flowery and without the prominent hook so common in later examples. This motif is specifically known as a buteh. The end of the 17th century saw the hooked buteh becoming a popular motif in neighbouring Mughal India (c. 1526-1857). It was used especially on the fine woollen shawls that were hand woven and sometimes embroidered in Kashmir in northern India. The motif travelled from India to Africa, Southeast and East Asia, but in particular to Europe. In the late eighteenth century, the buteh became even more popular as it was featured on the Kashmir shawls that were being exported in vast quantities to Europe. Joséphine de Beauharnais, wife of Napoleon Bonaparte, for example, is said to have owned over 200 of these shawls. The buteh or paisley motif is actually one of the few non-geometric design forms that can be found throughout the world. It is worn by men, women and children of all ages, literally from the cradle to the grave. Moreover, it is worn by people of many different ethnic and cultural backgrounds. Silk/cotton paisley shawl with fringe. Cream background, brightly coloured Paisley motifs on borders, pieced borders - ? recycled from another item.

Shawl of Jane Francis (nee Piper) 1809-1891 This fine woven silk and woollen shawl is from Shetland, Scotland and belonged orginally to Jane Francis. Jane was born in Devon near the village of Bradworthy. She married Joseph Francis (1803-1878) in 1830 in the Bradworthy Parish, Devon, England and wore the shawl over her wedding dress on her wedding day. Jane and Joseph came to Geelong in 1853 with their family. Jane’s sister and brother were in Geelong and their eldest daughter Elizabeth had arrived in 1849. They arrived on the ship 'Euphemus' at Point Henry, Geelong, on July 20, 1853 and travelled across the bay in the steamer Duncan Hoyle. Jane was wearing the shawl on her arrival in Geelong. They went to live in Sharp Street Chilwell in a house owned by their son in law, John Price, which they later purchased. Jane became well known as a ‘midwife’ having had 10 children of her own. She is known to have delivered twin girls in Fyans Street; Ada and Myrtle Downie in 1884. Jane’s youngest son William (1848-1932) was a spinning master, timekeeper and pay clerk at the Victorian Woollen Mill (later the Godfrey Hirst Excelsior Number Two mill) and together with William Cook owned a wool scour on the Barwon River at Marnockvale. William’s grandson Arthur (1917-1992) was a wool classer undertaking his course at the Gordon Institute and became a wool valuer at Strachan & Co. For a time he taught part time in the Gordon course. Arthur’s son Robert was also a wool classer and worked at the Australian Wool Testing Authority. The shawl was used as a bed spread at 'Woodstock' by Jane's son William and then by his two children Laura and Eve. After their deaths, Eve in 1947 and Laura in 1963, the shawl was passed to their youngest sister Ethel (Effie) Frier (nee Francis). She had no children and it was passed on to grandniece Pat Norman (nee Hughan). Pat then passed the shawl to cousin Carollyn Williams (nee Francis) who donated the shawl to the National Wool Museum. - Donor, 2026 The Francis family were tenant farmers, and the donor speculated that the shawl could potentially have been a wedding gift from the land owners.Wool and silk fringed cream coloured shawl featuring a paisley pattern in tones of maroon, green, blue, brown and cream.shawl, 19th century, fashion, clothing, design, paisley, migration, geelong, point henry

Pat Grainger (1930-2023) had a distinguished career as a graphic designer. In the 1960s she lived in Brighton and was working with her husband Les Mason in the influential Les Mason Graphic Design studio in South Melbourne. This was one of three Norma Tullo outfits she owned at the time; she believed it would have been around 1967. Pat was a founding member of Port Melbourne Historical and Preservation Society and was active in local history and environmental and social justice causes. Norma Tullo (1936-2019) was an influential Melbourne fashion designer circa 1960s-1980s, part of a new wave of younger designers creating youthful, modern and affordable styles for a young market.Black and white paisley nylon hot pants dress (.1) with collar. Front button fastening with seven fabric covered buttons; short sleeves and accompanied with short red wool scarf (.2).Label, white text on black: "TULLO".pat grainger, paisley, melbourne designers, pat mason, norma tullo, 1960s

James Douglas Northey (1890 - 1975) was born in Adelaide. He attended Adelaide University and Parkin College. Ordained in 1916 at Kensington Gardens, S.A. Appointed: Luhrs Rd. Evandale S.A. 1917 - 1921, Victor Harbor 1921 - 1929, Canterbury Vic. 1929 - 1939, Principal of the Congregational College of Victoria 1940 - 1960. Pastoral oversight Burwood 1945 - 1951, East Preston 1952 - 1960, Northcote 1958, South St. Kilda 1962 - 1967. B & W head and shoulders studio portrait of the Rev. J.D. Northeyjames douglas northey, principal congregational college of victoria

Example od crochet patterns for tablecloths- Printed instructions for 3 tablecloths - X3 various motifsVariouscrochet patterns, tablecloths

Frith Picture Frame, 11 Paisley St. Footscrayroyal sunshine lodge, the loyal orange institution, lodge

Plain turkey red fabric with paisley border and pine cone floral style in red, blue, green and yellow. Paisley border has been let in, and fringe attached to it.weaving, scotland, 1920-40, shawls

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number donated to the collection by Rosemary Vaughan-Smith. Full-length cream and purple paisley pattern evening dress.Nilwomen's clothing, caftans, evening dresses, australian fashion - 1960-1969, rosemary vaughan-smith, australian fashion - 1960s

Silk shawl worn by Miss Jean Young at her marriage to Mr. William Hill 0n 13th January 1843.Shawl in paisley pattern in cream, red and green. Majority of the fringe is missing.costume, female

Donor note - label attached "Bag given to Grandma Williamson by an old sweetheart - date about 1840"Small brown velvet drawstring bag, with a paisley style design and fringe in steel beads. beadwork, bags, mid 19th century, england

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration

A. Frith; picture frame manufacturer; 17 Paisley St Footscray; phone Footscray 398.anzac, world war 1, ww1, wwi

These shawls were copied from the embroidered shawls of Cashmere made in India. At the height of their popularity nearly every bride was given one on her wedding day.Paisley shawl with silk warp threads of pink, red, black and yellow, weft of white wool.textile, weaving, shawls, 1860-80, scotland

Brought to Australia by a pioneer family, 1849-51. Well usedClassical Paisley harness [loom} shawl woven in many colours with a red background and Persian style motifs.weaving, shawls, 1840-60, scotland

Beaded egg cosy (possibly beaded on to canvas) with a design of flowers and paisley motifs. The top has a small green silk tassel.beading, beadwork, small articles, late 19th century, england

From Fiona Seager's family (Stewart)Light blue satin dress, full-length (ballgown). Gold thread patterns across dress, floral paisley pattern. Crown decorative buttons.ladies dress, ballgown, satin

The brooch belonged to the Martin family, originally from Paisley, Scotland. The were pioneers in South Gippsland.Gilt and black enamel oval brooch. Hair enclosed in centre with 'Prince of Wales' design and with tiny pearls. Can be used as a brooch or hung on a necklace. The gold design around black enamel has curling design around edge.Memory plus symbolscostume accessories, jewellery

Originally belonged to the wife of William Pitt, first Earl of Chatham, 1708-78, and has been handed down from generation to generation and was the property of the donor.William Pitt, 1st Earl of Chatham (15 November 1708 – 11 May 1778) was a British Whig statesman who served as Prime Minister of Great Britain from 1766 to 1768.Large silk shawl with 130 mm black silk fringe. Black centre with colourful, dense floral or paisley (Jal) patterned border on 4 sides.embroidery, weaving, shawls, mid 18th century, france?

Brooch from the Martin family - originally from Paisley, Scotland. They were a pioneer family in South Gippsland.Curleche gold design with 6 purple and two green stones, can be worn as a brooch or used as a necklace or chain perhaps. The gold has been embossed. Suggest that the peridot (green) and amethyst (purple) stones have been incorporated in the scroll design.costume accessories, jewellery

Brooch from Martin family originally from Paisley, Scotland. They were a pioneer family in South Gippsland.Small oblong gold brooch. Centre has a small compartment containing human hair. The compartment has a border of black enamel and a glass front.costume accessories, female