This apron is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes - adding her own handmade embroidered or crocheted decorative trim. In March 1915 Eliza travelled to San Francisco to visit her son, James. She went by train to Melbourne ("a pleasant journey on the up express') and the next day caught the express train to Sydney. She noted in her letters home that a " number of young men were going to Sydney to enlist but they had to stop in the corridors most of the way as there was no room for them to sit down". She spent the night on the train and arrived in Sydney the next morning and on the following day she boarded the R.M.S. "Moana" (a steamer which took about twenty-four days to reach San Francisco). She returned from Vancouver about five months later on board the "Manuka". It is very likely Eliza took this "Travelling Apron" with her on her travels. Eliza was travelling by herself and had no one to help her with her dress or her hair. "Travelling Aprons" (also known as Toilet Aprons or Tourist Aprons) were designed with different sized pockets for holding a lady's toiletries - hairbrush, hair pins, comb and sometimes even soap and a powder puff. This allowed the owner, when travelling and getting dressed in small places such as an overnight train compartment or a ship's cabin, to have all her requirements at hand without needing to search for them or have them roll onto the floor. Some of the pockets are finished with buttoned flaps to keep the items in place and when not in use, the apron could be hung up or rolled up and put away. Articles about the "Traveller's Apron" appeared in numerous Women's columns in Australian newspapers in the early 20th century - often with instructions and sometimes a pattern. In the "Age" on Sat 5th October 1907 in a column titled "Feminine Facts and Fancies" the author wrote "No man can appreciate the difficulties of dressing in a "wobbly" train or trying to do one's hair while a ship is weathering a storm". A year earlier (Saturday 24th March 1906) in the same column, the author wrote "... you have to spend nights in a train... forever struggling to dress yourself in a wretched little lavatory. You know how your hairpins and combs jump all over the place ... a train is always at its liveliest when you're trying to do your hair. My travelling apron saved me many a rage."This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also an excellent (and rare) example of an early 20th century innovation that helped solve the difficulties of privacy and convenience that many women experienced at a time when travel was becoming more accessible to them. A half apron, made of ivory linen with two waist ties and seven pockets. Along the top are two smaller pockets with triangular, buttoned flaps labelled "Hairpins" and "Nailbrush" and one larger unlabelled pocket. Underneath are two larger pockets labelled "Brush & Comb" and "Work" and two unlabelled narrow pockets. The seams are machine stitched and the pockets are outlined with hand embroidered feather stitch. The labels on the pockets are embroidered in stem stitch."Hairpins" / "Nailbrush" / "Brush and Comb" / "Work"flagstaff hill maritime museum and village, nhill, eliza towns, apron, travelling apron, tourist apron, textiles, toilet apron, sewing, embroidery, travel, warrnambool, great ocean road, trains, ships, moana, manuka, feather stitch, stem stitch, fashion, handmade, clothing, charles towns, needlework

Purchased by donor in Interlaken in 1977Fine lawn embroidered in fine satin stitch and stem stitch, and shadow work.embroidery, mats, shadow work, switzerland, 1960-80

Designed and worked by Lady Hamilton Fairley, President of London Guild. Entire design is outlined in stem stitch.Beige linen with a large floral design. Worked in various drawn thread stitches. Fringed edge.embroidery, mats, drawn fabric, england, 1960-80

Purchased in the Avenue De L'Opera, Paris, France. Cream linen with blue embroidery in Palestrina knot, couching and stem stitch, with a blue bobbin lace border.embroidery, sachet, surface stitchery, 1920-40, france

Worked by donor's mother.Linen table cloth, cream, art deco design in satin stitch and stem stitch in cream and beige shades. Crochet edge.embroidery, satin stitch, crochet, linen, tablecloth

Front of cushion in blue linen embroidery with floss silks in blue and brown. Long and short, satin stitch and stem stitch in art nouveau style.embroidery, surface stitchery, early 20th century

Fine white linen mat edged with hem stitching. Central design embroidered using satin and stem stitch. Drawn thread embroidery is at the four corners.mat, embroidery - whitework

Casalguidi is an embroidery technique, rather than just a stitch. It consists of very heavy raised stem stitch worked in curves or lines, on a background of pulled thread four-sided stitching. A late 19th/early 20th century whitework technique from Tuscany, Italy.Cream linen envelope style bag embroidered in traditional Casalguidi style and five bobble tassels on the bottom edge.embroidery, casalguidi, bags, early 20th century, italy, flowers

Purchased by donor in Lisbon in 1969.Pale cream cotton, embroidered, design in light brown cotton (perle) in satin and stem stitches. Central heart has 4 sided stitch in centre. A peasant style design.embroidery, sachet, surface stitchery, 1960-80, portugal

An example of a handstitched decorative cloth from early to mid 1900s.The item is of social significance as an example of a hand stitched project undertaken to create a decorative domestic object.Pale yellow, hand embroidered small tablecloth. Tapestry thread in fawn, cream and yellow has been used to work star shaped designs in satin stitch, stem stitch and back stitch. Feather stitch forms a border around the overall pattern.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, tablecloth, embroidered, domestic object, textile

Probably English. ? Chalice cover.Exceptional drawn thread centre. Unusual border embellishments.White cotton mat with elaborate central drawn thread diamond shape patter. In each corner is a foliage design in whitework with eyelets, stem stitch and bullions. Three raw edges and one selvedge.

White fine linen embroidered by hand, with shamrocks. Satin stitch and stem stitch. There is a wide tuck above the hemline, and an opening at centre back waistline with a tape tie. May have been part of a dress.embroidery, garments, whitework, ireland, 1900-20

White work on off white linen, satin stitched leaves, eyelets and stem stitch. Buttonhole scalloped edge of front flap. Gusseted pocket with shamrocks at bottom left and right sides. Machine constructed with French seams.H.K.E.S. in satin stitch.embroidery, sachets, 1900-20, ireland, whitework

Thought to be made by the donor's mother.White linen table runner with white floral embroidery in stem stitch, bullion, buttonhole and French knots. The flowers appear to be made by inserting pieces of tape lace into fabric (holes) and holding them in place with buttonhole stitchembroidery, whitework, runners, mats, 1900-20, australia, surface stitchery

Bought for Guild by Lady Amies, and worked by her on her trip 1965-66.Hand woven linen, design of a circle with a lady inside, plus trees and plants. Lady embroidered in colours - pink, red, blue, gold and brown. Face stitched in circular stem stitch. Fringed border and rod through top.embroidery, surface stitchery, norway, 1960-80, flowers, lady, figure

Donated by maker, Miss Nancy Guscott along with several other pieces.Dark fawn linen. Semco transferred design of man and lady in period costumes (18th century) worked heavily in solid stem stitch mainly in dark blue and mauve. Edges of this full length apron are crocheted. Small pocket. Unused.embroidery, aprons, 1920-40, australia, surface stitchery

Given to the donor by Mr R.H. Cochrane who worked in Panama for 2 years with the food and agricultural organisation mounted by Mc Cochrane himself.A Mola panel from the San Blas Islands. Design is black on white to represent five cats with red and white eyes and delicate running stitch and stem stitch on the cats' faces. Panel is framed in plain wood and then set on another wood frame with a hessian mount.patchwork, panel, reverse applique, 1960-80, san blas, south america

Art Nouveau/Arts and Crafts period reminiscent of Charles Rennie Mackintosh, with stylised curving lines and nature inspired motifs.Art Nouveau Art Needlework drawstring embroidered sachet in coffee coloured linen. Two stylized roses in dark and light pink and green leaves, all embroidered in satin stitch. Stem stitch embellishment with satin stitch circles . String drawstring. Machine stitched casing.art nouveau, sachet

Named for a charming village located in the Tuscan countryside northwest of Florence, Italy, Casalguidi embroidery is a distinctive three-dimensional form of needlework, which is worked in neutral colours and mimics sculpted marble. Traditional elements identify a piece of Casalguidi embroidery - the bastone (stick)—a heavily padded, three-dimensional composite of simple stitches referred to collectively as the Casalguidi stitch. The bastone can be worked in a straight or curved line, crisscrossed, or formed into a circle to create a definitive anchoring point for a design. Other characteristic Casalguidi stitches rise above the surface of the fabric to form naturalistic elements. all worked on a background of four-sided stitch. Piecework 2027Cream linen with design of vines in Casaguildi embroidery. Casaguildi work is from the Pistoia district of Italy. This style of work is very textural using drawn thread work, raised stem stitch bands, bullion knots, button hole stitch bars, padded cords and bobbles. embroidery, casalguidi, sachet, italy, late 19th century, vines, plants

This embroidered tray cloth is a souvenir of Warrnambool and may have been made to remember a holiday or as a gift. Embroidered silk postcards sent by soldiers in WW1 to their families back home, were an early example of embroidered souvenirs. In peacetime, tourists would buy embroidered teatowels, badges, scarves or hankies etc as souvenirs of their trip or to give to friends or family. These items often featured local land marks, flora or fauna, maps or emblems of a particular region. This example appears to be handmade using a plain tray cloth with a punctured border ready for the maker to add her own embroidered design and crocheted edge - rather than using a mass produced prestamped design.This item is a significant example of an Australian handmade embroidered souvenir designed and made as a remembrance of Warrnambool. It is also a significant example of Australian Women's domestic handcraft.Rectangular cotton tray cloth with the words "Greetings from Warrnambool" embroidered in lazy daisy stitch using an orange variegated cotton. A simple stem and leaf design in green stem stitch runs through the letters and the gently curved edge is finished with a white cotton crocheted border.GREETINGS / FROM / WARRNAMBOOLflagstaff hill maritime museum and village, warrnambool, great ocean road, embroidery, embroidered tray cloth, souvenir, embroidered souvenir, tray cloth

From the estate of the late Jean Ord, mother of the donor.A large square table mat with scalloped machined edging. Decorated with large blue satin stitch roses in diagonal corners with green outline leaves. In the other corners are blue chain stitch daises with yellow centres and green chain stitch leaves all lined with blue stem stitch.manchester, table linen, handcrafts, embroidery

Donated by Margaret ScarlettWhite cotton pillow slip. 'Baby' embroidered in white on left hand corner with green flowers on stem. Spoke stitched and crocheted on edges.toys, dolls' accessories

Published by Semco Art Needlework Pty.Ltd> Semco Park Cheltenham Road Black Rock S.9. Farrow Falcon Press Pty. Ltd. 226 Lonsdale Place, Melbourne. For Girls learning embroidery- home/schoolSemco Embroidery Text Book. White outline around Black cover. Large red circle with girl siting in front doing embroidery wearing Victorian style short puffed sleeved dress polka dot pattern and pantaloons red stockings and lace up ballerina style shoes1st Edition Semco Embroidery Text Book 3D Free sampler transfer inside. Booklet contains illustrations and instructions for each stich. Pages 2 and 3 have pencil squiggles across the top.: Stem stitch, Snail Trail, Back Stitch, Lazy Daisy Stitch, Thousand Flower Stitch, Buttonhole Stitch, Long and short buttonhole stitch, Chain Stitch Seed Stitch, Arrow stitch, Feather Stitch, Herringbone Stitch, Cross Stitch, French Knots, Lattice Stitch. Illustrations of designs with stiches referred to on previous pages. stawell

This blazer was worn by John Freckleton at the Ballarat Teachers College in 1949. The Ballarat Teachers' College was established after the Victorian State Government and the State Education Department decided to establish two provincial teachers' colleges, at Ballarat and Bendigo. On 04 May 1926 W.H. Ellwood (Principal), Miss A. Bouchier, and Mr A.B. Jones, welcomed the first enrolment of 61 students to undertake the one year course. In 1927 the College moved to the former Ballarat East Town Hall in Barkly Street, which was remodelled for their use. It closed in December 1931 due to the Great Depression. In 1946 Ballarat Teachers' College reopened and relocated to the Dana Street State School. It was originally planned to open as a women's college, for whom the residence at 130 Victoria Street was purchased, but the decision was made to admit resident men from Ballarat. Mr T.W. Turner was appointed as Principal in 1951 and directed the introduction of a two year course for the Trained Primary Teachers' Certificate. The former one year course was terminated at the end of 1951. In 1958 the College was relocated to a custom built facility at Gillies Street, in close proximity to the Ballarat Botanical Gardens. Numbers increased with the introduction of the Trained Infant Teachers' Certificate course under the guidance of Mary Egan. With the introduction of a three year Diploma Course in 1968 accommodation became cramped. The introduction of the Diploma of Teaching (Primary) led to the Trained Infant Teachers' Certificate being discontinued in 1969, and the end of the Trained Primary Teachers' Certificate in 1969. Secondary Art and Craft students began studies at Ballarat Teachers' College in 1969 under Mr Ted Doney. In 1971 Mr D. Watson was appointed Principal. The State College of Victoria was proclaimed by Order in Council on 24 July 1973, and Ballarat Teachers' College became a constituent college of the State College of Victoria, and was known as State College of Victoria, Ballarat. By 1975 the College moved to Mount Helen as part of the Ballarat College of Advanced Education. Pre service teachers currently undertake their studies on the Mount Helen Campus of Federation University. ("Ruffians Attempted to Carry of the School Tent: A History of State Education in Ballarat", 1974, p73-4.)This unlined, 3 buttoned, royal blue woolen blazer is bound with twill tape in a matching colour. It has a patch pocket on either side near the bottom hem line and a breast patch pocket with an embroidered emblem of the Ballarat Teachers College. Under this emblem is embroidered in stem stitch 'B B' in brown and yellow. The pockets are all bound at the top and the sleeves have a trim binding about 8.5 cm from the cuff. The inside seams are all bound.The fabric label says - Paterson, Powell Pty Ltd Ballarat Attached to the shoulder seam is a tape with a handwritten - Georgeballarat teachers' college, blazer, costume, textiles, uniform, embroidery

Unusual design wool flannel wrap, blanket stitch edging. Floral design embroidery in stem and satin stitch. Embroidery in cream silk.embroidery, 1900-20, australia, surface stitchery, garments - childs

Natural coloured silk ground, embroidered in silk floss in green, orange, purple, turquoise, yellow and beige. Leaf and stem design, Hem stitched. Indian style?silks, embroidery, surface stitchery

Sash was worn at all meetings except where the program made it in impractical.MGC004.1 Chief Ray gold Sash with gold fringed ends and blue appliqued ivy with gold stitched "C.R." 1st Degree circle, 2nd Degree star, 3rd Degree cross and crown gold metal symbols. This sash does not confirm to the standard outlined in the Methodist Girls' Comradeship Constitution. MGC004.2 Chief Ray gold Sash with gold fringed ends and "C.R." in satin stitch inside royal blue stem-stitched circle. This sash does not confirm to the standard outlined in the Methodist Girls' Comradeship Constitution MGC004.3 Chief Ray gold Sash with gold fringed ends and "C.R." in satin stitch inside royal blue stem-stitched circle. Satin. This sash does not confirm to the standard outlined in the Methodist Girls' Comradeship Constitution. MGC004.4 Chief Ray gold sash with gold fringed ends and "CR" in satin stitch inside a royal blue appliqued ivy leaf. The sash has gold 1st Degree circle, 2nd Degree star, 3rd Degree cross and crown gold metal symbols attached to the sash with safety pins. This sash does not confirm to the standard outlined in the Methodist Girls' Comradeship Constitution. MGC004.5 Chief Ray gold sash with gold fringed ends and a blue "CR" in satin stitch inside a blue circle. The sash has gold 1st Degree circle, 2nd Degree star, 3rd Degree cross and crown gold metal symbols attached to the sash with safety pins. methodist girls' comradship rays section

Cynthia worked this piece at Dookie in 1996 with Betty Chen LewisJapanese design of ribbons outlined and fixed in dusky pink stem and satin stitch and filled with variuos stitches in cream and also pink flowers. Double mount gold frame. Designed by Betty Chen Lewis.A stamp with the date 1999 beneath it. Cynthia Shillinglaw EGV memberembroidery, japnese, linen, ribbons