Domestic dressmaking for women.Style Paper Pattern No 4105 Dress pattern in off white paper sleeve with pictures of two models: one in white with long sleeves and the other model with pink and white spotted dress. Both dresses are in mini style length - 1970's Size 10 - Bust 83cm (32.5 inches) Miss $1-20 Suatralia $1.00 New Zealand. No exchange.As abovedressmaking, women's clothing, paper patterns, style patterns, c1970's

Maternity wear - dress or tunic Flared trousers Short or no sleevesStyle Dress Pattern NO. 4220 size 10 Bust 32 1/2 Maternity dress or tunic Trousers - flared legs Short or no sleeves 10 piecesStyle 4220 Prices Aust & NZhome dressmaking

Silver sewing chatelaines were a Victorian delight, scissors were an essential tool which were placed in a sheath to protect their points and the clothes of the wearer.An example of a an appendage to a silver gilt chatelaine which was donated to the Embroiderers Guild by Nerylla Taunton who was a significant Australian antique needlework tools authority and author. silver gilt embossed scissors sheath with velvet lining and chains to ring to attach to chatelaine chainFloral style pattern chatelaine, victorian', nerylla taunton

Silver sewing chatelaines were a Victorian delight, an attractive matched silver pin book was very desirable.An example of a silver gilt chatelaine which was donated to the Embroiderers Guild by Nerylla Taunton who was a significant Australian antique needlework tools authority and author.Silver gilt embossed rectangular pin cushionFloral style pattern with four lines to upper corner.chatelaine, victorian', nerylla taunton

Silver sewing chatelaines were a Victorian delight, an attractive matched silver note book - not in itself a sewing tool but a frequent additional appendageAn example of a silver gilt chatelaine which was donated to the Embroiderers Guild by Nerylla Taunton who was a significant Australian antique needlework tools authority and author.Note book with three ivory 'pages' in silver gilt embossed covers with ring to attach to chatelaine chainFloral style pattern with four lines to lower edgechatelaine, victorian', nerylla taunton

These items were used to send food parcels to troops overseasCircular metal tin with lid. Wattle style pattern on side; willow in relief on lid.Manufacturers stamp on base: Willow/made in Australiadomestic items, containers, foodstuffs

Vest knitted during WWII from darning wool which was the only wool not rationed in Britain during the war years.Maroon Fair-Isle vest with Nordic style patterns in white. Made with darning wool. Maroon metal zip on right hand shoulder.costume accessories, female

This bag from the late 1960s or early 1970s shows the influence of Eastern styles on Western fashion. This can be contributed to the rise of the 'hippie' movement of the 1960s.c.1970s tapestry/needlepoint style clutch in a traditional Turkish style pattern. Brown plastic kiss clasp Beige cotton lining.tapestry, clutch, ethnic, ethnic influence, turkish, hippie movement

Style Patterns used by Donor, made up and worn. McCall's - made slacks only and worn by donor.Four Dress Patterns from the 1970s. McCall's Dress Patterns Number one is STYLE 2553 from 1970. Number two is STYLE 1957 from C1970. Number three STYLE 1945 is from C1975 and Number four Style is McCall's 7887 from C1978.STYLE 2553.1957.1945.McCall's 7887handcrafts, dressmaking, domestic items, sewing

History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as recovered from the wreck of the Loch ArdGorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the recovered from the wreck of the Loch Ardtragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of recovered from the wreck of the Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into recovered from the wreck of the Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Ceiling rose, cast brass, with hole in the centre and raised arrow shape geometric style patterning around the centre part of the top side of the ceiling rose. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ceiling rose

Hook metal shoe button hook with handle. Relief printing (Get It At Read's Prahran. Made in USA) on back of metal handle. Handle features diamond style pattern. Donated by Barry Wilson, Koroit 1979.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shoe button hook

Tablecloths were used as they are today for protecting and keeping a table clean and from being scratched, through use of tableware and sopping up spills. Later ones were a display of elegance to match the ornate furniture, especially white ones as they indicated the household could employ staff to keep them white.A white rectangular lace tablecloth, with floral and rectangular lace or crotchet style overall pattern.tablecloths, household textiles, table linen, cloths

This jacket was bought in England for Elsie Law (nee Russell) by her husband James Lindsay Gordon "Lin" Law in 1930. Elsie used it as a bridge jacket. Lin was born in Ballarat 1881, the eighth child of Scottish migrants James Nicol Law and Margaret Law (nee Bartholomew). BHS holds an evening dress belonging to Margaret Law in its collection (see T0006.1). After leaving school at the age of 11, Lin began working as a salesman. In 1906, he and business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928. Lin married Elsie Russell on 12 January 1915 at St Mary's Catholic Cathedral in Sydney and they lived most of their life in Brighton. In 1920 they moved into 'Blairgowrie', 306 St Kilda Street, The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished.Cream silk jacket block-printed with art deco style pattern in red, blue, black and mustard colours. Lined with soft apricot-coloured satin. Wide stand collar. Front fastens low on hip with four silk covered buttons. Label, woven brown on cream silk, centre back: Eileen / Mulholland / Ltd. / 43, Wigmore St., / LONDON. W1.elsie russell, james lindsay gordon law, brighton, pelaco, bridge jacket, 1930s fashion, eileen mulholland, art deco

Harriet Frances Wicken, 1847-1937 was a cookery lecturer and demonstrator in London and published her first book " Kingswood Cookery Book" in 1885. She migrated to Australia in 1886 and gave cookery classes at Warrnambool. Over the ensuing years she worked as a Technical Teacher in Sydney and published a number of books on cookery and domestic economy and housekeeping.The author is one of reknown in her field and spent a period of time in Warrnambool. The contents of the book show methods of cooking and typical fish dishes of the time.Small, hardcover book, cream with regency style pattern printed in grey. Spine bound in watermarked maroon. The title, "Fish Dainties by Mrs H Wicken," is written in dark green with gold capitals. Back cover is same colour but blank of any text. Written at the request of the Mutual Provedoring Company Limited 1891, Name MA Hawkins written in black ink. numbers, warrnambool, wicken, harriet wicken, fish recipes, kingswood cookery book, the australian home, cookery, mutual provedoring co.

This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique

Book contains history an photos of various lacesSoft covered book "The Identification of Lace" by Pat Earnshaw. Book contains history of lace and black and white photos of various styles and patterns of lace.Shire Publication Ltdlace

Limerick Museum item: DESCRIPTION: Limerick lace. Blonde work. Designed and made by Eileen O’Donohue of the Limerick Lace School. PATTERN: Eastern style pattern with diamond zigzag border followed by flower and leaf border at the two ends. The centre has a scattering of single flowers with leaves. Crochet edges and fringed at both ends. STITCHES AND TECHNIQUES: Limerick Lace & crocheted fringe. FIBRE: Raw Silk threads, possibly silk net. SIZE: Height 284 cm cm x Width 58 cm. DATE: 1900 – 1915.Limerick lace – By the Poor For the Rich: Lace in Context Blonde Limerick lace refers to a specific style of Limerick lace—an Irish embroidered net—that adopts the aesthetic of 18th/19th-century French "blonde" lace, often featuring fine silk or cream-colored thread on a net base. It is a mixed lace, combining tambour or needle-run embroidery on a machine-made net. Characteristics and Context: Definition: Limerick lace is a "mixed" lace created by decorating machine-made net with hand embroidery, specifically tambour work (using a hook) or needle-run work. "Blonde" Aspect: Traditionally, blonde lace was a French silk lace known for its natural cream/pale gold color. When applied to Limerick lace, this refers to the use of fine cream or écru threads to create intricate patterns. Types of Limerick Lace: Tambour: A hook is used to create chain stitches. Needle-run: Embroidery is applied using a needle. Design and History: Patterns often feature floral, foliate, and nature-inspired motifs, such as shamrocks, ferns, or butterflies. While the industry began in 1829, styles evolved to include varied fillings. Production: The Limerick Lace School has produced modern interpretations, including stoles and veils featuring this technique.Cream net with an all over design in cream floss silk embroidery in a bold floral design. 5 cm silk fringe. Similar piece is in the Limerick Museum Ireland - described as Limerick Lace and crochet edges.embroidery, silk embroidery, shawls, early 20th century, india

Displayed at History House.378.1 Large teacup with a "willow pattern" style design around outside edge and at base of cup. Blue and white. Worn gold rim around edge and on handle. 378.2 "Willow pattern" style design in blue and white on saucer, with decorative gold line on edge and set 2cms within edge.

Set of two identical swords, rapier style sword with straight, patterned blade "Made - Spain/ Toledo"

Set of two identical swords, rapier style sword with straight, patterned blade "Made - Spain/ Toledo"

Enid Gilchrist Pattern Book showing seventy styles, from a basic pattern.Enid Gilchristbooks, magazines

Cream net decorated with gold metal. Egyptian style figures, all over pattern.costume, female

These tea warmers were used to keep the teapot warm when it was filled with tea, hence the name. This one was owned and used by Mrs M Larer, New Gisborne "Elderslie" in the 1920's.A silver plated round single burner tea warmer with a removable top grid with five support arms. It has a retractable metal 'wick' operated by turning a small round flat knob attached to the side. This knob is joined to the 'wick' with a long silver rod on the outside of the mechanism so the operator does not burn their fingers. The reservoir has two curved small handles on the side and an ornate filigree style pattern at the top rim. Inside the 'wick' section there is also a small knob with a tiny hole in the top to turn which releases pressure in the reservoir. stamped on the base is 'EPNS A1 London'containers, teapots, teapot warmers, tea accessories, pots

"Easy to make" nightdressC 1950 - Vogue Pattern no. 7839 - Nightdress pattern, 2 styles, long & short - Various sizes 12 - 20Vogue Pattern - instructions on reversehome dressmaking pattern

Example of a popular style of evening clutch in the 1950s. Its beaded design shows a stark difference from the austerity of the 1940s and there strict wartime restrictions.Cream satin clutch with pearl style beads in flower pattern. Press stud closing White lining with 1 compartment.evening bag, beads, beading, 1950s, nineteen fifties, clutch

Harriet Frances Wicken, 1847-1937 was a cookery lecturer and demonstrator in London and published her first book “Kingswood Cookery Book” in 1885. She migrated to Australia in 1886 and gave cookery classes at Warrnambool. Over the ensuing years she worked as a Technical Teacher in Sydney and published a number of books on cookery and domestic economy and housekeeping. The author is one of renown in her field and spent a period of time in Warrnambool. The contents of the book show methods of cooking and basic dishes of the time. Small 12 page booklet with pale green cover. Title in different text styles inside square patterned border. “Harrison typ ..Castlemaine” in small fine print at the bottom edgeJ. W. Harrison, Printer and stationer, Castlemaine. warrnambool, wicken, harriet wicken, kingswood cookery book, the australian home, cookery, j. w. harrison, castlemaine, fish dainties

No historical information, but most likely used in a house in the Orbost district, as a display or occasional table.Towards the end of the nineteenth century, there was a revival of the taste for bamboo furniture featuring pseudo oriental styles. Bamboo furniture was mass-produced by several London firms. This item has aesthetic value.A smallish round table with four legs made from brown polished bamboo. A smaller round shelf is located near the bottom of the legs and below the table top. The table top is decorated with an oriental-style lacquered pattern with a bird and flowers and an edge pattern. The lacquer has the appearance of having darkened with age and there are a few chips in the surface.table-round table oriental-lacquer

- Example of circa 1960's girls' fashion - Example of domestically produced clothingC 1960's Butterick Sewing Pattern No. 6860 size 4 years - Girl's formal and short length slip patterns - Various styles & trimsVarious, some instructions, fabric requirements on reversedressmaking, women's clothing, c1960's