Framed cream coloured sampler on blue background presented in sections: Section 1: Blue coloured birds Section 2: Alphabet in upper case - Green Section 3: Alphabet in lower case - Blue|Section 4: Numbers 1-0 - Yellow Section 5: Flowers - Yellow, Pink, Blue Section 6: Name of worker and year: Worked by Lorna Vague 1989Worked by Lorna Vague 1989handcrafts, embroidery

Yellow enamelled child's tea cup and saucer with motifs of butterflies, flowers, birds, etc.Made in Hong Kong.toys, general

Article from Nunawading Gazette, 20 November 1985 on sighting of yellow tailed black cockatoo in Blackburn South, Mitcham and Nunawading.Article from Nunawading Gazette, 20 November 1985. yellow tailed black cockatoos, birds

From Till CollectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Bird claw with safety chain & clasp attached. Claw is set in stirling silver band with yellow stone. Tartan ribbon with pin also worn with brooch.Brooch and ribbon presented in small box.costume accessories, jewellery

Silver coloured metal badge with decoration on front surface in white, blue, green, yellow and red enamel. At back are two metal loops and separate metal pins for use in attaching the badge to a hat. ON FRONT;Image of a bird (Shrike) symbolising the South Australian Ambulance Service ON REAR " A. J Parkes" (Manufacturer)badge

c.1924 Arnott's Family Assorted biscuits were popular as they are today. The tin would have been reused as a storage container for other household items.An antique metal ARNOTT'S Famous Family Assorted Biscuits tin, NETT 5LBS 645. Trademark Registered. It is square shaped with a hinged lid. It has a paper label with black, yellow, red and white lettering, on the front, top and sides. 'Please keep the lid closed to preserve contents'. On the left side of the tin's paper label is a parrot sitting on a wooden perch eating a biscuit. Wheat stalks and flowers decorate around the bird. It is very rare.On the top of the tin is a paper label in black the red saying ' 'This tin is the property of Arnott's Biscuits Pty Ltd., N.S.W. Division. Forty Cents Deposit paid on this tin will be refunded on return in returned in good order and condition with this label attached. Keep the lid closed down. In red lettering 'Arnott's FAMILY ASSORTED'. Stamped on the base is ' 'This tin is the property of William Arnott Pty. Ltd. Homebush 5037'. No. 6095 stamped onto base. biscuits, biscuit containers, foodstuffs

H.C.E. Stewart , who first visited the plateau in 1919, produced the booklet, Flower and Feather, the Chalet has two copies. Published in the 1950's by the Victorian Railways Public Relations and Betterment Board, it is still an accepted guide on the the mountain bird's annd plants." (pg 132. Historica) The writer first visited Mt Buffalo in 1919 - & then after the war he decided to show all the unique flowers of Mt Buffalo through this book.Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Natural History. (Pg 169. Historica).2 x Yellow & white books with an eastern Rosella and a red & white flower on it. 21 pages of text & photos. Front page has a picture of an Eastern Rosella and flower, the Melbourne Bay. (.2 has holes punched in it.Yes

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen hand towel and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Cream linen hand towel, bordered at each end with bands of mustrad yellow linen. The towel is embroidered with a picture of a woman in period dress collecting flowers from a garden.lisa sylvan, household linen, supper cloths, fancy work

Set of two photographs of SW6 class tram 909 dressed in a Centenary of Electric Trams livery sponsored by Siemens. The artwork features stylized representations of older trams, books, birds, and abstract shapes in bold reds, blues, yellows, and oranges. Text on the side of the tram reads "Yarra Trams" and "Meet you in the heart of the city". Photo by Morris Moller Nov. 2006 at Southbank depot.Yields information about tram 909 decorated for the celebration of 100 years of Electric Trams in Melbourne.Colour print with a number on the rear - set of 2In ink on the rear "253/22 & 25"tramcars, 100 years of electric trams, yarra trams, sw6 class, tram 909

This White Goshawk is the white colour morph of the Grey Goshawk. Is a moderate-sized hawk that measures 38 - 55 cm in length, and has a wingspan of 70 - 110 cm. It is native to Australia, and found in rainforest, forests, open forest and thickly-wooded watercourses. It mostly occurs in southeastern and northwestern Australia, and in Tasmania, all Grey Goshawks are white-phase. 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 White Goshawk is white all over, with hints of beige around its eyes. The bird's legs are a yellow-beige colour, and its beak grey and white. This specimen stands on a perch, mounted upon a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, hawk, white goshawk, accipitridae

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Yellow silk satin, silk embroidery depicting birds and flowers in bright blues, greens, mauve, orange and pinks.embroidery, garments, silk embroidery, china, late 19th century, flowers, garden, bird

The ho-o bird (hōō or 鳳凰) is a legendary, phoenix-like creature from East Asian mythology, originating from the Chinese fenghuang. The name comes from Japanese, where hō represents the male bird and ō represents the female bird, symbolizing yin and yang harmony. Symbolism: Unlike the Western phoenix, the ho-o does not burn up and rise from ashes. It is a peaceful, divine spirit that appears only to mark times of peace, virtue, or the birth of a just ruler. Appearance: Traditional descriptions combine parts of many animals, featuring the beak of a rooster, head of a pheasant, neck of a snake, and tail of a peacock. Its feathers display five sacred colors (red, yellow, blue, white, and black). Eventually the two creatures merged into one and their combined name was used. The combined creature is still considered to be female, and is often partnered with the tatsu, which is considered to be male. The hōō is one of the most revered and holiest animals in Japan. Second only to the kirin in terms of power, it is the most sacred bird in the Japanese pantheon. Japanese dragon, known as ryū or tatsu (龍 or 竜), is a legendary, serpentine water deity in Japanese mythology and folklore. Physical Appearance: Body: Long, scaly, and snake-like without wings. Claws: Typically depicted with three toes on each foot (distinguishing them from Chinese five-clawed and Korean four-clawed variants). Features: Horns, long whiskers or a beard, and a fierce expression. Movement: Associated with water, oceans, rain, and clouds rather than fire-breathing. Meaning and Symbolism: Water and Weather: Viewed as benevolent water gods controlling rainfall, rivers, and tides. Wisdom and Power: Symbolize strength, protection, and good fortune. Imperial Lineage: Ancient legends state that Japan's imperial family descends from sea deities and dragon royalty like Ryūjin . A Japanese monkey (saru, 猿) in traditional or decorative embroidery symbolizes protection, good luck, cleverness, and the removal of evil. Core Meanings of the Monkey : Warding off evil: Historically, the monkey was viewed as a protector against demons and bad luck. Japanese macaques act as divine messengers in certain Shinto shrines (like the Hie Shrine). Fertility and safe birth: Ancient Japanese clay monkey amulets were used to pray for healthy children and easy childbirth, a meaning that carried into traditional folk textiles and garments. Mischief and playfulness: On a lighter note, single playful monkeys represent cleverness, agility, and lighthearted joy.Large Japanese metal thread screen depicting dragons, ho-o birds and monkeys.embroidery, japanese screen, metal work, surface stitchery

Photo and biography with Museum sheet. Embroidered by the donor's mother, Mrs Ethel Webb. Please notify the donor if/when the piece is displayed.Tablecloth of yellow linen embroidered in black and orange satin stitch with a buttonhole edge in a pattern of stylised birds and flowers.embroidery, table cloth