Watsonia painter Felicity Gordon drew on nature in Banyule and Nillumbik to create a lifetime artistic career but turned to the humble vegie patch for her latest exhibition.News article 1 page, black text and colour image .felicity gordon, banyule, painters, watsonia, artists

Slouch hat with pugaree, Rising sun badge on side up, Clour patch opposite side, RAASC badge on front, chin strap, complete item.military history - souvenirs, passchendaele barracks trust, slouch hat, headwear

Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] indicates that Rank on Discharge was Cpl, but other AIF documents, from National Archives Australia [including Proceedings on Discharge - see pdf Media File above], indicate that he was Sergeant). Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Slouch hat with Australian Commonwealth Military Forces badge; cotton puggaree with 2/5 Battalion unit colour patch (Rectangle, black over red). Inside: hand-written name (W. A. HARRISON) Size 6 7/8, 1940 Maker's name stamped on leather lining (CORONET FELTS Pty [Ltd])

Maggie's Peak where the Chautauqua concerts were overlooked.The photo shows a rock ridge with a small peak at it's centre. There is a tiny patch of blue showing through the cloudy sky on the top, just right of centre.scenery, grampians ranges

Framed print of a soldier sitting on a rock with many montage of patches representing South Vietnamese Units. Print is of Statue Behind Cementry walls Bien Hoa.Mourning Soldier presented to HMAS Sydney & VLSV Association on 27th May 2018 by Footscray RSL ARVN Veteransprint, mourning soldier, south vietnamese units

Four material sewing samplers made by Molly Burns, Form 2D, at Williamstown High School, possibly in the 1940s. Samples are of: french seam, patching and darning.williamstown high school, 1940s, needlework, molly burns, sewing

A sheave is a wheel or roller with a groove along its edge for holding a belt, rope, or cable.Circular petrified wooden pulley sheave from the "Inverlochy" wrecked 1902 off Anglesea. Whitish patches of marine growth. Has been treated with a preservative.inverlochy, shipwrecks, petrified wood

BLACK AND WHITE TONED ORIGINAL PHOTOGRAPH OF SGT. A. CAMPBELL OF THE 8TH. BATTALION. PROMINENT ON HIS UNIFORM ARE HIS SGT. STRIPES AND 8TH. BATTALION COLOUR PATCH.SGT. A. CAMPBELL 8TH. BATTALION.local history, photography, photographs, military

Dress worn by Ellen Kelly aunt of donorBlue and black Coat and Dress. Four cm black trim around all edges, and two patch pockets, eight black buttons down front.Aphrodite Australian madecostume, female

Brown folding leather coin purse (0007.1) containing yellow and blue Medal bar (0007.2) with kahki material with red embroided patch with letters DVCpersonnel effects, insignia, badges, leather goods

Upon mechanisation in December 1941, 20th Light Horse (Victorian Mounted Rifles) was re-titled 20th Motor Regiment (Victorian Mounted Rifles). It was equipped with Bren Gun Carriers and deployed to airfield defence in Northern Territory. In 1943, the Regiment was deployed to Merauke, Dutch New Guinea, where it conducted patrols along the coast and up rivers using barges and canoes. Returning to Australia in April 1945, the Regiment was redesignated 20th Pioneer Battalion then disbanded several months later at the end of the war. Good quality reproduction.Khaki woollen tunic with colour patches of 20th Motor Regiment. Metal 'Australia' shoulder titles, metal Rising Sun collar badges and metal buttons.20th motor regiment, uniform

1. Shirt - light Khaki colour cotton/polyester fabric. Short sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. Left sleeve - fabric patch, embroidered Rising Sun Badge "THE AUSTRALIAN ARMY". Fabric patch, embroidered 'Crossed Rifles'. Right sleeve - fabric patch, embroidered, 'Parachute Wings'. Left and right sleeves, fabric patch embroidered, Australian Coat of Arms. Warrant Officer, 1st class. White manufacturers label, back below collar. 2. Trousers, khaki colour wool/polyester fabric. Service dress style with fob pocket, two side pockets, one back pocket with concealed button down flap. Plastic buttons and metal zipper fly khaki colour polyester fabric lining waist and pocket lining. White cotton manufacturers label back pocket lining. Manufacturers information on labels - black ink print. 1. "ADA/4500297929/FEB 2006/ NSN: 8405 66 133 5954/SIZE: 39/NAME/ SERVICE NO/ 65% POLYESTER/ 35% COTTON/ MADE IN AUSTRALIA" 2. "ADA/ VIC 1996/ ^/ 8405 66 ?? 7101/ SIZE 90T/ NAME/ SERVICE NO/ 50% WOOL/ 50% POLYESTER/ DRY CLEAN ONLY/ REPRESS ON ORIGINAL/ CREASES/ USE DAMP CLOTH OR / MEDIUM TO HOT/ STEAM IRON.uniform, army, service dress

This uniform was worn by Sandra "Sally" Allmand circa 1953-57 as a member of the 3rd St Andrews Girl Guides company in Brighton. Sally Allmand went on to serve on the Brighton Council from 1977 to 1983 and was mayor in 1981.1950s Girl Guides uniform consisting of a dress, belt and beret. Blue cotton dress with long sleeves and high collared neck. Various patches sewn onto sleeves and front breast. Three front pockets fastening with black plastic buttons featuring Girl Guides trefoil logo. Breast pocket has two vertical white stripes. Brown leather belt with silver metal buckle with embossed Girl Guides logo and the text "Girl Guides Association / Be Prepared". Navy blue felt beret with two sewn-on patches. Included with the dress are a Girl Guides 'test card' dated 1953 and a rectangular De Reszke cigarette tin containing a collection of Girl Guide ribbons, patches and buttons. .1 - Dress .2 - Belt .3 - Beret .4 - Test card .5 - Box of patches and ribbonsDress label: "The Guide Shop / STATE HEADQUARTERS / RUN BY GUIDES / FOR GUIDES".girl guides, sally allmand, 1950s

Material labels that were sewn on as shoulder patches to signify nationality of Service people. Belonged to Peter Stoklahsa who enlisted 1966. Refer Cat no. 7674P for details.Material labels with; 1. & 2. Khaki green labels with Australia embroidered on top. Material is in a loop. Australia colour is dark blue. 3. Light blue label loop as above. Name also in dark blue."Australia" embroidered into one side.raaf, uniform

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

Hard Cover, with images of soldiers on horseback.THEY WATCHED AND WAITED. On front cover above colour patches Author: Dr. Amoury Vane Publisher; Australian Military History Publications. 2000ww2. northern australia

Short Battle Dress Jacket, not common in Australian Army in WW2. Issued to Albert Oliver in WW2.Short Khaki Battle jacket Metal Australia shoulder titles. No colour patches. Rising sun collar badges. Three blue service stripes on right lower sleeve.

1. "AACS" - Australian Army catering Service. 2. "RAE" - Royal Australian Engineers. 3. "A FLD BTY RAA" - Royal Australian Artillery B.C.O.F. Japan 1946-1948.1. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, PALE GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTION, COLOUR PATCH CENTRE, GREY, PALE BLUE AND WHITE. 2. BANNER FRAMED, COTTON FABRIC, MID BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTION, COLOUR PATCH CENTRE, FUSCHIA WITH GREY SURROUND. 3. BANNER FRAMED, COTTON FABRIC, NAVY BLUE BACKGROUND, WHITE COLOURED TASSLE FRINGE, WHITE FABRIC INSCRIPTIONS, COLOUR PATCH CENTRE, RED AND BLUE WITH GREY SURROUND. 1,2,3, Frames - timber, block colour print, glass front, cardboard backing.1. White embroidered inscription. AACS. 2. White embroidered inscription, "RAE/6 Welding PLT/10 Bomb disposal/13th Army Troops/14th WKs PKs/1st AWT/17th CRE/42 & 43 Port Operating/28th FIELD COY" 3. White fabric inscription. "A FLD BTY RAA"/ "345 Aust LAD".military, ww2, japan, banners

Banners - BCOF - British Commonwealth Occupation Force (Japan) 65/66/67th BTNs Formed in the islands from the 7th Division AIF for service in Japan 1946 - 48.1. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND BLACK WITH GREY SURROUND.. 2. BANNER FRAMED, COTTON FABRIC, DARK BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, OFF WHITE INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND PURPLE WITH GREY SURROUND. 3. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTIONS, COLOUR PATCH CENTRE, GREEN AND BROWN WITH GREY SURROUND. 1,2,3, Frames - timber, black colour print, glass front, cardboard backing.White embroidered letters and numbers - 1, "65 BTN. ROKU JU GO" Fabric letters and numbers - 2. "66 BTN. ROKU J.U. ROKU" white embroidered letters and numbers - 3. "67 BTN. ROKU JU NANA" military, ww2, japan, banners

L. Schilling collection..1) Cloth badge patch, black background with x 2 red cotton crossed sea anchors surmounted by a crown. .2) Cloth badge patch, black background with x 2 gold cotton crossed sea anchors with letters SC above them. .3) Cloth badge patch, white background with x 2 blue cotton crossed sea anchors with letters SC above them. .4) Badge combination, dome shaped, black cloth. Gold laurel wreath, gold stylized rope around a silver anchor rope. Letters SCC in gold thread above the centre section..4) Has number “541” on rear.numismatics-badges-military, military history - navy, cadets

Framed memorabilia from Afghanistan conflict 2011/2012 containing 5 separate pieces 1 - A worn Australian Federal Police Cap, heavily stained appropriately to active use. 2 - Photograph of members of the AFP Contingent of "kamp holland". Features US Marines who guarded AFP members while they were teaching Afghan National Police Recruits. 3 - Embroidered "Australia" Patch stating counter of origin and flag. 4 - Embroidered Rank Epaulette Patch with service number 19054, and other embroidery signifying rank of Commander. 5 - Embroidered patch stating CTU, Combinied Teamwork Uruzgan. Tarin Kowt Afghanistan 2011/12 on plate within frame. Donated to Tramways/ East Melbourne RSL by Cmdr Gavin Ryan APM (Rtd) on plate fixed to exterior of frame. australian federal police, afp uniform cap, afghanistan, kamp holland, service patch, combined team uruzgan, cap, hat

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of Bentinck Street from foreshore with a female face and top of vehicle in the foreground. The female has red hair and lips, yellow face and blue clothing. The vehicle is red and blue. An extensive patch of grass separates the woman and vehicle from Bentinck Street. The buildings have patches of green, yellow, white and red added. Behind the buildings is a clear light blue sky.Front: 10/14 Kingsley, Gordon & Catherine signature '83 Back: 44

CEMA Art Collection Winner of 1968 Portland Art Society Prize for the category of other media.The painting is depiction of a field which is predominantly yellow with patches of red. The largest red patches are in the lower right corner and centre left side. Another focus point of the work is a large yellow mound slightly off centre which may represent a haystack. The background is a light blue sky. The work has a painted wooden frame with material mount and glass covering only the paint surface.Front: Huntington (signature, lower left) Back: ISABEL HUNTINGTON "POPPIES IN FLANDERS FIELD" (1968) (typed label) Yellow Sticker: 1968-cema, portland artists society, wwi, female artist, world war i, the great war

Worn by Lt. Austin FeoreBrown felt "slouch" hat with cloth hat band and leather head band. Rising Sun bronze badge affixed Colour patch of the 26th Infantry Batallion

Item issued to John Raymond Bruns VX88627, refer Cat No 5592 for his service history.Pugaree cloth greenish colour for a slouch hat, has 38th BN WW2 colour patch sewn on the band, the band iteself is joined by a brass clip on the inside.uniform, puaree, 2nd 38th

Uniform relating to A.C.Jury VX66822, refer Cat No 2080 for service detailsJacket, wool Kahki colour brown metal buttons, 4 pockets, “Australia” shoulder badges, “T” shape unit colour patch on each upper arm.uniforms, battle dress

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a drawing of a building. The details of the building are done in thick black lines with patches of green, yellow and brown. The background has been left as the plain paper.Front: Darren Pumpa (lower left) Steam Packet Inn (upper centre) (pencil) Back: 50