Patch work quilts were made by women to decorate a cot or bed and to use left over material. They were backed to increase the warmth of the bedding. It was a leisurely occupation sometimes done in the home or with a group. These two quilts are of a decorative nature using scrap material and do not have a theme or particular pattern to them. These two quilts were made by women in the Kiewa Valley and were hand stitched.1. Hand-made cotton patchwork of varying colours and shapes of squares and rectangles. Back by a flannel sheet of flowers on beige or blue background. Suitable for a cot. No filling and slightly damaged with a small tear. 2. Handmade cotton patchwork of a square whose sides have been extended with rectangular strips of material. The back is a coarse wool with a greenish tinge and thin colored strips along its length on the sides. Suitable for a cot. No filling.patchwork quilts, home sewing

Iron bed from home of Wandin Sebire, with ticking mattress and pillows and frilled hemstitched pillowslips. Patchwork Quilt mad by Local CWA for Mont De Lancey.White painted single iron bed with silver ornaments on bed head and end. Has wheels on the legs of the bed. Some paint scratched off. Has a colourful patchwork quilt and pillows on it. bedding, beds, quilts

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Two typed letters held together with a staple. The first letter has a grey printed letter head which includes a logo of a person with wings holding a heart.[printed] PATCHWORK QUILT TSUSHINquilt, wagga, home, house, housing affordability, design

Colour photograph of a patchwork quilt.tasmania, patchwork, quilt

Sunshine quilterDifferent styles of Patchwork. Patchwork quilt,

A silk patchwork quilt in a hexagons pattern originally owned by the Denbigh family of ‘Wimba’. The Denbigh family is recorded as living at ‘Park Villa’ ‘near Kew’ in 1856. John Denbigh was at this stage the superintendent of the local Baptist school. By 1869 they are listed as residing in Cotham Road. John Sharp Denbigh’s death in 1875 resulted in the sale of Wimba. This is an important early English silk hexagons quilt with outstanding technical workmanship, and is well-provenanced.The quilt is constructed in the popular hexagon pattern of silk off-cuts of an earlier period. Hexagon patchwork quilts were typically constructed of individual hexagons, which were formed using paper or card templates. Where these are visible, it would indicate that writing paper was used to form the templates. The quilt is unlined and has a green silk border, added at a later date. Early 19th Century patchwork quilts tended to use cotton to create the hexagons, whereas silk became the preferred medium mid-century. The quilt has been dated to the middle decades of the 19th century due to the colour range, and the exclusion of black silk hexagons. Most of the silk used in the quilt has a sheen, however there is some use of velvet in one or two larger hexagons. The exposed reverse of the quilt includes a large amount of very fine hand stitching.An unlined quilt was typically used as a summer spread. patchwork quilt, hexagon pattern, denbigh family, wimba, cotham road, kew, john denbigh, helen johnston, quilt, patchwork, textiles, migration to australia

Coloured photograph of main bedroom in Schwerkolt cottage bed and patchwork quilt.schwerkolt cottage & museum complex, nunawading & district historical society

117 pp : illustrated : Appendices Chapters: Preface / Robert Baker p4. The collection / Robert Baker p5. Cartwheel penny / Robert Baker p6. Creek and old watering stage / David White p10. John Carson: Mayor 1863–4 1 / Julie King p4. Wedding dress / Suzanne McWha p18. Back to Kew 1875 / Judith Scurfield p22. Barnard’s clock / Margaret Robinson p26. Denbigh quilt / Suzanne McWha p28. Fragments of art decoration / Robert Baker p32. Mr Richardson’s sock / Felicity Renowden p36. Kew Volunteer Fire Brigade / David White p38. Kew Where We Live / Judith Scurfield p42. [MMBW} Detail Plan No. 1580 / Judith Scurfield p46. Adeney Avenue / Suzanne McWha p50. Young Workers’ Patriotic Guild / Margaret Robinson p54. Roll of Honor [Thomas Rand] / Robert Baker p56. Alice Anderson in her tourer / Felicity Renowden p60. Kew War Memorial / David White p62. Beaded dance dress / Suzanne McWha p 66. The great flood of 1934 / Desley Reid p68. Depression-era toolbox / Robert Baker p72. War Savings Street / Julie King p74. Kew Public L.ibrary / Suzanne McWha p78. Signature supper cloth / Desley Reid p82. View from the garden of Rockingham / Desley Reid p86. Cr Marie Dalley / Felicity Renowden p90. Centenary of Kew / Robert Baker p94. Doris Dickinson’s gown / Julie King p98. [Model Dairy] Milk bottles / Robert Baker p100. Kew Civic Centre / David White p102. Bicentennial tapestries / Margaret Robinson p106. Crest of the City of Kew / Desley Reid p110. Town Crier [outfit] / Desley Reid p112. Acknowledgements p114. List of works p115.non-fiction'Stories They Tell : A history of Kew through objects' explores diverse narratives from European settlement to the first decades of the twenty-first century. These stories use as their starting point artworks, texts and artefacts from the nationally significant collection of the Kew Historical Society. Limited to 100 copies.collection -- kew historical society, museum catalogues, henty family, cartwheel pennies, kew lunatic asylum, patchwork quilts, john carson, george bouchier richardson, gb richardson, coombs family, james dannock, back to kew 1875, francis barnard, denbigh family, cullis hill & co, ordsall, southesk, kew volunteer fire brigade, jfc farquhar, henry kellett, mmbw detail plan 1580, william nicholls anderson, young workers patriotic guild, roll of honor -- town of kew, alice anderson, kew war memorial, flapper dresses, fairfield bridge, chandler highway bridge, warren trestrail, furniture -- 1930s, war savings streets, kew library, children's libraries, voluntary aid detachments - kew (vic.), rockingham, james govett, centenary of kew, mayoresses -- kew (vic.), model dairy -- kew (vic.), doris dickinson, crests -- city of kew (vic.), town criers -- kew (vic.), joy stewart, australian bicentennial -- kew (vic.), kew civic centre, ak lines mcfarlane marshall, adeney avenue -- kew, wwi

From Rosemary Cameron - This quilt has been made in 100% wool to celebrate the diversity, durability and beauty of pure wool, especially the lightweight cool wools. The woollen patches were kindly donated by Mr. David Jones, managing Director of Fletcher Jones and Staff which were pre-cut samples of European Fabrics in various weights, textures and colours. I had the task of creating a design around the fabrics available, some of which I only had to sample. I chose to surround my design with dark shades to encompass at the top of the quilt, the lightness of the sky and the trees, in the middle the warmth of summer, the dryness of central Australia and at the bottom the rick tones of Opals, our mineral wealth and the internal heart of earth. To add excitement and texture to this design I chose 31 Australian Wildflowers including all the Australian Floral Emblems, some unusual wildflowers and favourite small wildflowers. Twice life size, these flowers have been made of silk wool and cotton, embroidered, painted and beaded by our creative and talented Hamilton Quilters, their results are fantastic! The brilliance and timeless quality of these Australian Wildflowers intensify and complement the colours of the Wool Quilt. The Quilt was hand pieced and hand quilted at quilting bees. It has a woollen batting, binding and backing which was a delight to work with and very easy to quilt. The flowers were assembled and attached in small working bees. To the fifty-two Hamilton Quilters who have worked on this quilt for six months thank you for you hard work and creativity especially Joan H. Lyons for her time, enthusiasm and knowledge when difficulties arose. Joan M. Lyons has worked with me on various stages of this Quilt, her help and support has been tremendous. To my family who have tolerated scraps of wool and silk, photographs, wildflower books and specimens and drawings which have at times almost taken over our house, a year from ideas to completion, thank you for your support and help in many ways.Multi coloured patchwork quilt with native flowers protruding from centre in a diamond shape.Embroidered on back - "The Celebration Quilt" Made in 1990 by The Hamilton Quilters, Designed by Rosemary A.O. Cameron. Made of Pure Wool. Beryl Anderson, Joan Askew, Bett Basham, Marilyn Baulch, Rau Blaby, Pauline Boyd, Aileen Beckwith, Dorothy Beveridge, Ros Brommell, Rosemary Cameron, Gwen Cook, Anne Cordner, Kaylene Cowland, Elaine Denby, Barbara Dolman, Rosalie Duffield, Helen Fry, Glennys Gardner, Nola Gunning, Margaret Irvine, Bev Jeffrey, Emma Jensen, Betty Lacy, Helen Lampard, Joan H. Lyons, Joan M. Lyons, Elaine McDonald, Carole McEwan, Joy McLeod, Joyce McLeod, Mary May, Joan Mallinson, Susan Mason, Anne Menzel, Val Mills, Betty O’Brien, Di Pettigrew, Therese Read, Sherry Robertson, Lee Rowland, Irene Saddler, Nanette Templeton, Glenys Tindall, Liz Wallis, Ruth Walter, Marion Warburton. Alison Waterman, Pat Wilmot, Nola Malcolm, Ann Nicholls, Margaret Rowe, Jill Hillier.celebration, flowers, hamilton quilters, quilt, native flowers

A selection of 2 of 5 coloured photos of exhibition displays of patchwork quilts, cushions, knitted bears.Rhyll Craft Group Bicentennial Exhibition. 12-13th March, 1988rhyll craft group, rhyll, bicentennial celebrations 1988, crafts

The quilt was made by Maria Ann Knight, born in England in 1829, died in 1908. She was buried in Castlemaine Cemetery. She came to Australia in 1855. Married to Henry Lancelot Goldsmith, born 1826 died 1912 and also buried at Castlemaine Cemetery.Large patchwork quilt, multi-patterned and multi-coloured. Made of large oblong and square pieces.manchester, bath linen, handcrafts, needlework

Multi coloured multi material patchwork quilt with star pattern, incomplete, original owner (not known) died in 1843.manchester, bedding

This patchwork quilt or bedspread is a modern creation along the lines of the traditional 1800s handmade English paper piecing patchwork quilting craft. It is made from reproduction fabric and quilt designs and represents the bed linen typical of a late 19th-century bedroom. Years ago, patchwork was a form of recycling, where leftover or previously used pieces of fabric were used to create other useful item such as quilts, rugs, cushion covers and jackets. Special projects were sometimes made with fabrics representing special memories, such as pieces from baby clothes, wedding gowns, and school uniforms. The maker would use a cardboard template shaped like a hexagon, place it onto the fabric and trace around it. Often the cardboard was cut from a box such as a cereal box. Women would gather to work on their patchwork while enjoying their social time together. As in the case of this quilt, members of the South Western Branch of the Embroiderers Guild in Warrnambool worked on the project, designing and quilting as a group to achieve their aim, of presenting the quilt to the recently opened Flagstaff Hill Maritime Museum. It was the first Group Project of the Branch which was formed in 1974. In 1975 the members decided to make a Quilt as a project to promote the formation of friendship and togetherness. Under the foundation Treasurer, Rita Williams, members sourced their own fabrics for the 'flowers' which were then stitched into the calico borders. Provision was made for the quilt to be hung for display, with the addition of loops along one edge. The local disability services employees and members cut out octagonal paper batches and used their own fabrics to piece them together. The Branch's first exhibition raised funds for buying fabric and equipment to assemble the patchwork. The quilt was perfectly suited to dress the bed in the Lighthouse Keeper's Cottage. This carefully created and designed, recently made patchwork bedspread typifies bedding and handcraft of the late 19th century. The English paper patchwork technique was used. The quilt was the first community project of the South Western Branch of the Embroiderers' Guild of Victoria, and presented as an addition to the Lighthouse Keeper's Cottage tat Flagstaff Hill. Patchwork quilt or bedspread, double bed size, made from hundreds of hexagonal-shaped fabric of various colours and patterns, carefully stitched onto a white background. It was made using the English paper patchwork technique. One edge of the quilt has loops dispersed at regular intervals. This would allow the quit to be used as a wall hanging. It was handmade by the South Western Branch of The Embroiders Guild, Victoria, and presented to Flagstaff Hill Maritime Museum and Village in 1976. An inscription is embroidered in blue on a patch of the quilt. "Made and Presented by The Embroiderers Guild, Victoria (S.W. Branch) 1976"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, bedspread, patchwork quilt, quilt, embroiderers guild, bedding, bed linen, 1800's handcraft, quilting, south west branch, warrnambool embroiders guild, recycled fabric, 19th century, household textiles, english paper patchwork, paper patchwork technique

The quilt was made by members of seventeen Soroptimist International clubs across Victoria to celebrate the Year 2000. The quilt squares illustrate some of the projects initiated, funded and supported by Victorian Soroptimists as well as illustrations of broader affiliations and responsibilities, including to the UN. Examples include the S.I.A.M. (Soroptimist International Aids Mediation) project by SI Berwick in Northern Thai villages which established industries and health programs for women and girls as viable alternatives to the sex industry. Revegetation of woodlands, wetlands and cleared land by SI Deakin. Donation of toiletries to women's shelters, police lock ups and church emergency centres in the western suburbs of Melbourne by SI Cut Paw Paw. Founded in 1921, Soroptimist International is a global volunteer movement with a network of around 72,000 club members in 121 countries. Advocating for human rights and gender equality, at the heart of Soroptimist International’s advocacy is its work across seven UN Centres, where UN representatives ensure that the voices of women and girls are heard. Memberships work on grassroots projects that help women and girls achieve their individual and collective potential, realise aspirations and have an equal voice in communities worldwide. It has a flourishing Club in Geelong. The quilt was displayed from 2001 until 2023 in Soroptimist Headquarters Victoria at 383 Toorak Road, South Yarra (Soroptimist House) since touring the State of Victoria in 2000. Soroptimist House has been sold with the funds raised to go to furthering the objectives of Soroptimism.Cream patchwork quilt with 31 squares depicting various scenes and motifs. The Soroptimist logo features in the bottom right corner.quilt, women, soroptimist, victoria, community, clubs, human rights, gender equality, united nations

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 quilt sampler was made before 1900 by Rosina Ellwood. Crazy quilts were fashionable in the late Victorian era. The rise of the trend is attributed to the display of Japanese art and ceramics at the 1876 Philadelphia Centennial Exposition (U.S.A.) that featured asymmetrical designs. Inspired, quilters began sewing pieces of fabric of different sizes and textures together into abstract, asymmetrical patterns. The craze spread from America around the world. Embroidery, ribbon and silk embellishments, and hand stitched applique birds and flowers were popular additions. One magazine estimated that a detailed crazy quilt could take over 1,500 hours to complete. Crazy quilts remained in fashion in metropolitan cities until about 1910, though the style endured for longer in rural areas. This item is unique, handmade and has 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.A colourful patchwork quilt sampler using mixed fabric types including velvet, cotton, brocade and satin, backed on cardboard.hamilton-smith collection, hamilton-smith, stiching, needlework, sewing, handmade, domestic, quilt, quilts, crazy quilt, crazy quilts, women's history

Patchwork quilt consisting of small hexagons, printed and woven cottons with red cotton border. Embroidered with feather stitch. Backed with cottonhandcrafts, needlework, manchester, bedding

Article advertising an exhibition of patchwork quilts in shop fronts along Watsonia Road, Watsonia 13/08/2004Newspaper clipping, text with colour illustrationquilting, debra layt, patchwork gallery, watsonia road watsonia

Part of the "Wagga" collection. Made by Gwen Giles c.1930 and given by her to Running Stitch. Her husband was an upholsterer and and one of the sources of her cloth.Patchwork quilt of pastel coloured damask squares with dark grey central satin square edged in black. Contains felting fabric. Back is covered in upholstery fabric. Mrs Giles husband, an upholsterer, was one source for her fabrics.quilting history, running stitch group, running stitch collection, giles, mrs gwen, quilting - history

Part of the Running Stitch Collection. Possibly made at Ballarat.Patchwork quilt, made with small rectangular pieces of printed cotton dress fabrics in predominant shades of blue. Machine quilted and filled with woollen handknitted garment pieces. Backing is a cream cotton fabric printed with blue and green and brown floral pattern.quilting quilting - history, running stitch group, running stitch collection, quilting, quilting - history

A soft covered book dark blue book, dark blue pages with white writing on each page. Also on the cover is a photo of Mary Henshelwood Davenport ( in her latter years) sitting in a chair (which has a brightly coloured patchwork quilt over it) looking towards the camera.non-fictionThis is a auto biography of Mary's life from birth 1920 till her 90th. birthday in 2000.history, memories, stories, auto biography, tasmania, caulfield, elwood, bentleigh, school days, myers, clothes, birthday party.

The apparently haphazard arrangement of fabric pieces in a quilt made of scraps doesn't always preclude a conscious sense of design. The pieces in this quilt have been carefully arranged according to size and colour, possibly indicating that it was intended to go on a bed as a spread without a cover. Placed in a room that may not have been adorned with many other decorative items, this quilt would have been a colourful and inexpensive home furnishing solution.Patchwork quilt made from large pieces of wool suitings, colourful clothing off cuts and woollen blankets. The quilt has been hand stitched together with stitches that hold the front and back sides together. Either a large single bed size or small double bed size.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

‘Dressage Quilt’ was made by Jan Ross-Manley for the Running Stitch exhibition Wool Quilts Old and New in 1985. The quilt is made from the sashes of winning female participates of Equestrian Sports in Victoria. The central diamond is divided into quarters, one for each woman who won the ribbons. The piece is about dedication, strength, exertion and achievement. The artist's statement reads: "I have been collecting pennants and sashes for some time now, intending to collate a series of pieces on Australian country life and people. This is a woman's quilt, made entirely from 'horse' sashes won at competition. The central diamond is divided into quarters, one for each lady who won the ribbons. 'Hurdles' are set into the inner borders. The piece is about dedication, strength, exertion and achievement. The all pervading yellow letters cast a tawdriness over the otherwise clean colour scheme." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989.Large quilt consisting of numerous winning horse sashes sewn together to create a patchwork quilt separated into quarters, bordered by a royal blue trim. The centre of the quilt is a diamond shape made from various pink cotton strips and bordered by multi coloured horses heads. The quilt is backed with blue cotton and has a polyester fill.quilting history, patchwork history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), ross-manley, ms jan, quilting - history, patchwork - history

Pair of women's leather boots given to the donor by Miss Denbigh of 18 Gordon Avenue, Kew in the 1950s. The Denbigh sisters were the daughters of John Denbigh, a pioneer of Kew, and the first resident of 'Wimba' in Cotham Road. The mid nineteenth century silk patchwork quilt in the collection also comes from the Denbigh family via a different donor.Pair of comparatively rare Edwardian women's bootsPair of women's black leather boots. Leather insoles and soles. Mid-calf length with a 2-3 inch heel. Inside in biro "3286 / G. Smitt"footwear, fashion and design --1900s, fashion and design 1910s

This dressing gown was made from a patchwork quilt begun around the 1880s or 1890s by the daughters of William and Polly Hodgens, owners of the Adelphi Hotel near Montague Station, South Melbourne. The quilt became a communal project, added to over many years by the Hodgens children, relatives, friends and guests. Together, they filled the colourful patchwork with images and figures from their everyday lives, giving us a unique glimpse into the world of early Melbourne.Crazy patchwork dressing gown made from a patchwork bedspread. Made from irregular pieces of silk, satin, velvet and brocades and embellished with embroidered and painted motifs. Fully lined with maroon silk. Neckline trimmed with thick silk cord. Right over left fastening with two large metal press studs. One of the pieces on the back has an inscription dated 11/7/94 (1894).dressing gown, patchwork, embroidery, hand painted