A thousand years of Warrnambool history has been documented in this creative tapestry, woven in 1988. The Tapestry hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women with the help of Museum staff researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is 10 meters long and 70 cm deep and took 7 months to create. The tapestry introduces the seafaring theme of the Center and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling of the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. (Interestingly prior to being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left). All materials in the cotton and wool tapestry, includinghand-dyed dyed wool, were prepared for a cost of $33,000. (This information is from Flagstaff Hill Maritime Village's Exhibit fact sheet)Tapestry of the early history of Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand dyed. Made in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tapestry, warrnambool history, warrnambool textiles, south west victoria history, south west victoria timeline, indigenous people

Canvas Needlework also known as Needle Point. Done on canvas with the same stitch throughout so as to resemble tapestry - another name for Point Lace,Tapestry of canvas needlework in shades of creams into brown. Picture of double story house and trees. Brown velvet border. Mounted on stiff cardboard. Backed with brown cotton. Woven in wool. Crown woven in gold thread.Stitched into tapestry - 'E.E.T.'' '1860'handcrafts, tapestry

Tapestry beaded cushion.cushions, tapestries

This is a collection of stories written by girls who attended Presbyterian Ladies College.This is a collection of stories written by girls who attended Presbyterian Ladies College.genealogy, presbyterian ladies college

Framed embroidery, 68 Eglinton Street Kew. Undated. Home of the Bogle family during the First World War. Thomas Bogle Reg No. 479 Church of England, Single, Labourer, Father William Bogle (same address), enlisted 1915 29th Battalion B CompanyNoneSmall framed tapestry of 68 Eglinton Street, a single-fronted weatherboard cottage in Kew.68 EGLINTON STREEThouses - eglinton street - kew (vic), tapestries

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Coventry Cathedral Tapestry (1952), Coventry, England. (Architect: Graham Sutherland.)Coventry Cathedral / The Tapestry- Graham Sutherland / Encircled 23 (Handwritten)uk, slide

"The Bayeux Tapestry" - Dept of Education, International Wool Secretariat."The Bayeux Tapestry" - Dept of Education, International Wool Secretariat.ISSUED BY THE DEPARTMENT OF EDUCATION , INTERNATIONAL WOOL SRCRETARIAT, DORLAND HOUSE 18-20 REGENT STREET, LONDONwool marketing, international wool secretariat, dept of education

The Bailiwick of Guernsey Millennium Tapestry. One in a collection of ten tapestries produced by Island volunteers. Each canvas represents 100 years of Guernsey history. 'First Edition' The Fourteenth Century.White Mug with handle and depiction of The Bailiwick of Guernsey Millennium Tapestry (No. 4 in a Series of 10).mugs

Artist's Statement: "Every Wednesday at 10 o'clock in the morning, from the beginning of Winter, 2011 to the end of Autumn, 2012, I photographed the same scene in my Ballarat garden. While the main subject is the weather of the moment, it includes a walnut tree killed in the recent drought, and a deciduous ornamental plum. There are 52 Wednesdays recorded in the tapestry; and 4 frames showing the seasonal changes in the plum tree. The colours bordering each panel are those of deciduous leaves on trees in my garden that week. It is said we only know eternity in the pulse of the moment; and permanence in the cycle of the seasons."Millicent REED Initally training in tapestry from Sara Lindsay at an ATW community class Millicent Reed received a Diploma of Art (Tapestry) from South West TAFE in 2009. Her strength and direction comes from being part of the unbroken continuum of tapestry art from the beginning of recorded time. Similarly, the sameness and difference of time itself has become the focus of all her work. (https://americantapestryalliance.org/exhibitions/tex_ata/down-south-tapestry-in-australia/down-south-exhibitors-biographies/, accesed 03 April 2020)Woven tapestry in eight panels, each with seven images in each panel measured 212.0 x 57.5 cm. weaving, seasons, tapestry, ballarat, weather, millicent reed

Handmade tapestry showing a variety of businesses that were conducted in Buninyong in the nineteenth century. Research required to determine the maker of the tapestry.Framed colour tapestry with stylised design showing shopfronts of Buninyong businesses in the past. Includes a General Store, Bakehouse, Dillion's Hotel, Hairdresser etc.buninyong, businesses

Funding from Bicentenary Committee. Valerie Kirk assisted with cartoon, PFG did the rest. Presented to Cr. Bernard Wallace, 11 December 1992, and unveiled at Portland Library.Large tapestry with central image depicting people, animals, landmarks and activities on the foreshore of Portland harbour. Surrounded by a yellow border with symbols of history, industry and immigration on both sides. Hung by a wood panel across top.Back: VKIRK RT JH RS DA - - (tapestry letters in varied colours, lower right edge) PS GWEC ODME OK MS (Tapestry letters in varied colours, lower left edge)textile, tapestry, tall ships, bicentenary

This postcard is a photograph of a section of a large tapestry , 1.8m x 1.9m, which hangs in the foyer of the South West Health Care. This tapestry was funded by the Geoff and Helen Handbury Foundation. It was woven at the Australian Tapestry Workshop, South Melbourne. The postcard “Concerning the Wading Birds of Warrnambool Wetlands” brings to a wider audience, the work of John Wolesley as well as the craftsmanship of the weavers in presenting his original watercolor in a different medium. The tapestry itself was commissioned by Warrnambool Base Hospital.Background is in muted shades of blue and browns with larger birds in foreground and smaller ones in the background. The texture of the tapestry is clearly visible. The back of the postcard has South West Healthcare logo in top left corner and credits in bottom section.South West Healthcare logo, Artist John Wolseley, Weavers, Chris Cochius, Pamela Joyce, Milena Paplinka, Photo credit, Jeremy Weihrauch. warrnambool, warrnambool base hospital, tapestry, john wolesley, south west health care, geoff and helen handbury foundation, australian tapestry workshop, weavers.

Hand-stitched tapestry by M. Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family has run Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.lismore, sheep breeding, tapestry

International Year of Peace TapestryTapestry depicting three outlines of doves, with depictions within their outlined shape of stars, flowers, and two sets of (depicted in white and brown) holding wheat and corn. The background is composed of rainbow colours arranged in horizontal strips, with red at the top and indigo at the base.textile, international year of peace, tapestry, wool, weave

Brought from Skye, Scotland, in 1850's by Malcolm McLeod, an early Orbost pioneer, and donated by his granddaughter, Margaret McLeod. The tapestry was worked by Miss Grace Cameron. This was possibly a repair job done when acquired by the donor. Grace Cameron was the daughter of John Cameron who selected the first land on the Snowy River flats. The McLeods and Camerons were early Orbost pioneers. This chair has aesthetic significance and reflects the needlework skill of Grace Cameron.Wooden rocking chair with chair cane It has a tapestry back with a floral design. Wire has been placed around the legs for support.chair rocking-chair mcleod-malcolm cameron-grace tapestry

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

The blouse was made in Greece about 1945. The method used to create this fine embroidery was to copy a design from a cross stitch embroidery book guided by fine white tapestry threads tacked onto the yolk; when the design was finished, the embroiderer would pull out each fine white tapestry thread until only the embroidery remained around the yolk of the blouse.Throughout the centuries and up until the 1970s-80s, the women of Ithaca spun, wove, embroidered and knitted. Mothers prepared their daughters' 'glory boxes' trousseau (prikia), weaving bedspreads, rag mats (koureloudes) for everyday use, finer wool rugs for formal use, as well as linen sheets, pillowcases, blankets, towels and tablecloths. Linen was also woven to make the mattress that the young brides would take to their future homes. Mothers also wove and embroidered the fabric for their daughters' underwear and petticoats, nightgowns, etc. Sewing of the garments was also done by hand. The girls embroidered handicrafts using various stitches, they crocheted lace, netted pillows and even linen carpets. The handicrafts were usually embroidered by hand in cross-stitch using linen and cotton fabric. At the time there were merchants who travelled to the villages to sell machine made goods for the trousseaus, but most of the dowries consisted of the beautifully crafted work of the women. In the 30's the SINGER Company came to Ithaca and taught the girls sewing on the machine. A handwoven silk blouse. Colour - ecru. Hand embroidered, hand sewn, very fine white tapestry was tacked round the yolk; a gusset was sewn under each short puff sleeve at the armpit; two-tone hand made silk thread cords were passed through the hollow border of the sleeves and neckline.

Tapestry is a form of weaving and is most commonly made on a loom, but traditionally, from 11th to the 19th centuries, made by hand. When used as a table cover, items such as this one were often covered and protected by a lighter weight, easily washable tablecloth. This tapestry tablecloth has a soft velvet feel. It has seen many days and has been lovingly repaired in several places with dark patches on the underside. This tapestry tablecloth represents heavy duty table coverings used to protect furniture and as a form of decoration. It is an example of what was used in the Colonial and Early Settler days in Australia.Tablecloth or table cover, rectangular tapestry in burgundy and red tones. A burgundy is around all sides with a floral inner border, framing a decorative oval centrepiece of floral design on a red background. the short sides are reinforced with tape on the underside. The cloth has been carefully repaired on the underside. There are pin marks on the tape in one corner.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum and village, maritime museum, tablecloth, tapestry, table cover, table linen, manchester, vintage, arts and crafts

Made by Portland Fibre Group, 1996-2004: specifically Mary Sharrock, Dot Kelly, Ollie Dellar, Doris Amor and Ede Bailey.Tapestry woven in wool on twine warp. Cream coloured background with pale blue flecks of colour, central motif of coat of arms - features two birds standing on grey platforms to either side of shield. Central to the shield is a masted sailing vessel sitting atop blue and white horizontal lines representing the ocean. Around the sails of the vessel are radiating yellow rays and a blue surrounds representing sunburst against blue sky. The top third of shield shows a pair of sheep heads against a red background. Above the shield is depicted a helmet, crowned with a whale. Blue plumage is shown coming from the helmet and framing the whale.Front: (Weavers' initials, except Ede Bailey, woven into tapestry and are seen on the hem). Back: (no inscriptions)town of portland, textile, tapestry, weaving

Donated by the artist, 1977Needlework tapestrygippsland, artwork, permanent collection

David Fletcher Jones (1895-1977) was a travelling hawker who opened a business in Liebig Street, Warrnambool in 1924. In 1931 he opened The Man's Shop at the corner of Liebig Street and Koroit Street. He sold suits and overcoats tailored in the work rooms upstairs. In 1948 his factory known as Pleasant Hill was opened in Flaxman Street in Warrnambool, the site of an old quarry. In 1951 the company Fletcher Jones and Staff was formed with the staff owning 51% of the shares, By the 1970s Fletcher Jones and Staff had become one of the largest clothing companies in Australia with 55 shops and 3000 employees. In 1992 the Warrnambool City Council bought the factory and gardens with the site now a tourist attraction. Although the name is retained today for trading purposes the original Fletcher Jones company has been dissolved. The screen is a representation of the Fletcher Jones factory post 1967. It a wool tapestry by Martin Prider who was a painter and caretaker what the Fletcher Jones factory. He lived in one of the Fletcher Jones cottages on site. (Robin Boyd Age Small Homes Scheme, today Heritage listed.)This is an interesting memento of the Fletcher Jones company and the factory. It was done by a local resident and features the famous Fletcher Jones gardensTapestry fire screen in a rectangular light timber frame depicting the Fletcher Jones Factory Gardens. The screen has two timber feet, non relective glass and appears to be a wool tapestry. The image of the gardens is after 1967 as the silver ball is included and that was erected in 1967. Nilfletcher jones company and warrnambool factory, pleasant hill warrnambool, martin prider, fletcher jones, tapestry of fletcher jones factory

Framed linen tapestry Souvenir of Eqypt, God Save The King and Arabic writing

Tapestry has been woven on a electrical driven machine.|Belonged to Mrs. A.E. Hepburn 1933 - 1988. Formerly of Mont Albert.Wall hanging tapestry in brown toning. Scene of an old room with three women sitting at a table sewing with a child standing near them. All women wearing fitted caps. Room heavily detailed - chairs, fireplace, dresser, windows, half open door, lectern, wardrobe, etc. One woman wearing glasses. 3/4 backed in heavy cotton with opening for wooden rod. Long fringing on one end. Wooden rod.handcrafts, tapestry