This beautiful hand-cut crystal vase was made in Poland by Violetta Crystal Glassworks. Its design is decorative and functional. It reflects vases produced in the late 19th and early 20th century when hand-cut lead Crystalware was popular in England. The lead content in the glass makes the glass softer and easier to hand-cut. The crystal clear glass sparkles in the light. Crystalware was kept for special occasions such as weddings and religious events. The Violetta Crystal Glassworks was founded in 1864 by Franz Losky, at the district of in Stronie Śląskie. Its original name was Oransko-Nassawska Glassworks, then later named Oranienhütte. The Glassworks came under Poland's rule after World War II. In 1950 it was subject to the Central Board of the Glass Industry and Precious Ceramics, with its seat in Sosnowiec, and the Glassworks was called United Glassworks of the Lower Silesia Region – State Crystal Glassworks in Stronie Śląskie.In 1953 it began exporting its products. In 1970 the name was changed to Violetta Crystal Glassworks in the Polish district of Stronie Śląskie. The firm became the major exporter of Polish glass. From 1992, structural changes in the company resulted in the loss of production, which stopped altogether in May, 2008. Minex CEI SA bought the plant in 2011 and operated it until the end of 2018.This hand-cut lead crystal vase design reflects that of vases produced in the late-19th and early-20th centuries. It is representative of decorative domestic items used during that era, particularly for important and special occasions such as weddings and religious events. Crystalware was cherished for its beauty. The vase is also significant for its association with the renowned Violetta Crystal Glassworks established in 1864 by Franz Losky, which was at one time the greatest exporter of hand-cut crystal made in Poland.Vase; clear hand-cut glass, 24 per cent lead crystal. The vase is wide at the top with a scalloped edge. It tapers inwards to a round foot. A clear rectangular label with gold text is attached. It is branded Violetta hand-cut crystal, made in Poland. On the label: "MADE IN POLAND" "Violetta" "Hand cut 24 % lead crystal" "(R)" within a circleflagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, decorative object, functional object, vase, crystal vase, cut glass vase, hand-cut glass, violetta, violetta glassworks, polish glassworks, made in poland, vase with scalloped edge, crystal glassworks, franz losky, oransko-nassawska glassworks, oranienhütte, stronie śląskie, hand-cut crystal, crystalware

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

These articles were made during the Depression because Miss Guscott was unable to find employment. She learned to sew and embroider at school, and these pieces are her own design. The scalloped buttonholed edges were made using a threepenny piece as a template. Miss Guscott won a Silver Cup at the Wagga Show in 1936 for this work. (Cup No. 907)D. Circular powder puff cover. Blue lady centre, scalloped edge.embroidery, surface stitchery, small articles, 1920-40, australia, shoe trees, coathanger, powder puff and rouge cover

These articles were made during the Depression because Miss Guscott was unable to find employment. She learned to sew and embroider at school, and these pieces are her own design. The scalloped buttonholed edges were made using a threepenny piece as a template. Miss Guscott won a Silver Cup at the Wagga Show in 1936 for this work. (Cup No. 907)C. Coat hanger and cover attached with ribbons, 3 designs of ladies in a diamond shape, scalloped edge.embroidery, surface stitchery, small articles, 1920-40, australia, shoe trees, coathanger, powder puff and rouge cover

Used in early years (1900's) for covering the face of a baby in its pram, for protection from flies.Hand embroidered handkerchief, with scalloped edge.handkerchiefs

White Damask tablecloth, with scalloped edge.tablecloths., table linen.

lined silk embroidered bib, scallop edgeaccessory

Used by Mrs. W. J. SebireLarge glass patterned comport, with scalloped edge.comports, fruit bowls

Patterned blue and white plate with scalloped edge.china, plates

Long rectangle embroidered doily, with scalloped edges'F. L. SEBIRE'doilies

Pies with top crusts need to be vented, to allow steam to escape. Funnel-style steam vents have been placed in the centre of fruit and meat pies during cooking since Victorian times. Pie funnels were used to prevent pie filling from boiling up and leaking through the crust by allowing steam to escape from inside the pie. They also supported the pastry crust in the centre of the pie, so that it did not sag in the middle, and are occasionally known as 'crust holders'. Older ovens had more problems with uniform heating, and the pie funnel prevented boil-over in pie cooking. The traditional inverted funnels, with arches on the bottom for steam to enter, were followed by ceramic birds; and from the 1940s they have been produced in a multitude of designs. Creigiau Pottery of South Wales produced a 'Welsh Pie Dragon' in copper lustreware. This trend has been particularly noticeable in recent times, due to their increasing popularity as gifts and collectors' items rather than simply utilitarian kitchen tools. Adapted from Wikipedia: https://en.wikipedia.org/wiki/Pie_birdThis item shows how a simple object can provide a significant improvement of the final product.Pie Funnel, ceramic white glaze with scalloped edges.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pie funnel, ceramics, cooking

Concert program of entertainment as aprt of fundraising for the Jacka Appeal, held on 17 February 1932 at St Kilda Town Hall. The headline performer was Gladys Moncreiff, 'Australia's Queen of Song'. Albert Jacka, a St Kilda Councillor, collapsed on 14 December 1931 after a council meeting and was admitted to Caulfield Military Hospital. He died on 17 January 1932 at the age of 39. He is most well-known for his military service in WWI, having received the Victoria Cross medal for his actions during the Gallipoli campaign and two more decorations for his bravery on the Western Front. He received a hero's welcome on his return to Melbourne in January 1920 and an estimated 50,000 people turned up to watch his funeral procession to St Kilda Cemetery, where he was buried with full military honours. The Albert Jacka Fund had two objectives: the erection of a simple, suitable and inexpensive memorial stone over the grave of the dead hero; the placing of the residue of the fund in the hands of trustees for the benefit of his widow and child.Folded cream card with scalloped edges and printed in purplealbert jacka, jacka appeal, gladys moncreiff

Two round Brass Trays with Scalloped edges. Etchedstawell

Circular, white cotton, crocheted doily, with scalloped edges.Nonedoilies, table linen

Cut glass vase from Scammell shipwreck. Relics from the wreck of the Joseph H Scammell were found in 1971 by Barry Poole of the Geelong Skin Diver Club. The items were originally part of a consignment for Hawkes Bros store of Geelong.Cut glass vase with scalloped edge in shape of triangles.scammell collection, shipwrecks great ocean road victoria

Clear cut glass salt container, circular with scalloped edge.domestic equipment, table setting, kitchen

Linen doily with orange crochet with spoke stitched scalloped edges.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, doily, doiley, doyly, doyley, haberdashery, manchester, linen, decorative napkin

Doily - square white linen with eyelet embroidery and a scalloped edge.doilies

This is a handmade item reflecting the style of baby wear in the early 20th century.A crocheted baby's cap. It is hand made in ecru cotton with a scalloped edge.headwear baby's-clothing bonnet

The table cloth belonged to Mrs Paul Spidaro and were brought from Italy. They were given to her as a wedding gift in 1920. Paul Spidaro was a bootmaker in Orbost in the 1930's. The donor, Mrs Meevwenoord, was a bowling friend of the Spidaros.This item is aesthetically significant as an example of needlework in the early 20th century.Hand embroidered tablecloth with very large ornate design and scalloped edges.cloth handcraft needlework table-linen manchester

This item is an example of a domestic tableware commonly used in the first half of the 20th century.Small round ornate glass jam dish and lid. Scalloped edges.dish glassware tableware

White china plate with green floral design around scalloped edgeTokio 1790 K&Co Ltd Late Mayers 3-09domestic equipment, food consumption, plates

The third Earl of Stradbroke was Governor of Victoria from 24 February 1921 to 7 April 1926. The ticket was to an event at St Kilda Pier to welcome him and his wife upon their arrival in Victoria. They and their three children had entered Australia at Fremantle on 17 February 1921.Aqua coloured card with scalloped edges, printed on one side in blueStamped '31'governor earl of stradbroke

Crocheted , cotton table runner with floral design and spiky scalloped edgescotton thread, table runners

Tablecloths were used to protect the table from damage when in use with cutlery, chinaware and general use. More decorative white cloths were used for special occasions and to show general position in society or wealth. The trousseau of a young woman in the 1900's consisted essentially of how many tablecloths she had collected - her dowry in many ways showed the more linen she had the wealthier she was. Included were napkins, bed linens, tea towels and various cloths for every household function and were to sustain the bride and her future family throughout their lifetime together.A white lace rectangular tablecloth with a floral pattern and wide scalloped edge.tablecloths, cloths, table linen, household textiles