Sepia toned photograph of group of men with shovels plus two horses and drays doing relief work on the road to Nungurner Victoriaroad construction and maintenance, roads and streets

Silk postcard from France written by unknown WW1 soldier from Milawa addressed to Mrs G Kittle/Kettle c/- Post Office Milawa. WW1 service records reveal Charles James KETTLE 29741 was born in Milawa and enlisted on 15/4/1916 aged 39 years. He embarked on the 3/10/1916 and served in France prior to being diagnosed with a tumour and whilst being repatriated home died on 10/8/1917 and was buried at sea. Listed place of association was Wangaratta. Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeRectangle cream cardboard postcard with embossed border containing coloured embroidered stitch work of a basket and in words “forget me not” on silk Handwritten inside - just a souvenir of your beloved France from one of the boys from Milawa addressed to Mrs G Kettle/Kittle Post Office Milawa via Wangaratta Victoria embroidered postcard, ww1, milawa

Black and white photograph of a forty foot work boat the type built for the army during the war taken at Regatta Metung Victoriaboats and boating, tourism, celebration

Black and white photograph of Tom Rowe Electrician beside his work trailer, his dog beside him Kalimna Victoriatrades, electrician

Names unknown, gathering held in protest at cutbacks to fundingBlack and white photograph group of teachers and parents holding plaques at a stop work gathering at shopping arcade in Lakes Entrance Victoriaschools, protest

Photo of the building team laying the bricks at the corner of the new centre. The work was voluntary at the weekends, but the building was growing quite fast. On the photo are:slovenian association melbourne, building, 1972

Main Gates at Central park Stawell Five Brick Colloms Iron work fence and Iron gates in centre whith shieldsOn the two central pillars. Central Park at hte top on the base erected 1903monuments

Fine white cotton with sprays of flowers in the corners. Continuous band of open work, and an edge of scalloped buttonhole with satin stitch dots.embroidery, ayrshire, scotland, mid 19th century

Heavy white linen embroidered with two different bands of drawn thread work. Large flowers in drawn thread and satin stitch.Y. WRIGHT (signature)embroidery, drawn thread, bedcovers, 1900-20

Made by Lynette McAlister (member). Acquired for the Collection from the 1990 Guild Exhibition. Nov 1997 washed and remounted on acid free card. Previously on masonite with far too much padding.Picture worked in blackwork embroidery, black thread on ivory linen. Original design suggested by pen sketches, illustrating a report on Malvern. embroidery, pictures, counted thread, 1980-2000, australia, blackwork

Embroidered by Mrs Ethel Oates and given to the donor.Pale pink organza with pink and blue shadow work in the centre panel, with side panels of lace insertion. Threaded with blue ribbon.embroidery, shadow work, small articles, australia, 1960-80

Late Ayrshire work (machined?) Applied machine made motifs with hand embroidered pulled thread. Scolloped border, Machine made.embroidery, ayrshire work, whitework, late 19th century, scotland

Fine white cotton sachet has front panel of cut-work in a floral design. All outlines are of tambour chain stitchembroidery, sachet, cutwork, 1900-20, australia

The Hepburn Springs Progress Association invited Edna Walling the the Hepburn Springs Reserve, and sandstone paths and bridges resulted. In 1934 there was a proposal to spend 2,000 to 3,000 poinds at the Hepburn Springs Reserve, with a govenrment loan suggested. Colour photograph of Hepburn Springs Reserve looking towards the Pavilion. The stone work bridges and springs were inspired by Edna Walling. hepburn springs, locarno, mineral water, hepburn springs reserve, locarno spring, edna walling, hepburn springs pavilion

Coloured photograph looking from Schwerkolt Cottage Reserve across Deep Creek Road as work begins on construction of new Bridge.deep creek road, mitcham

Fuji silk cream nightdress. Embroidered blue and pink motif on bodice repeated on shoulder. Crochet work on neckline and sleeve edging.costume, female nightwear

The photograph is a view of the Jacksons Creek downstream from Sunbury. The buildings are the Sunbury Sewerage Treatment plant, which is sited on the former Springvale Winery. It was built in 1974 when sewerage became a reality for Sunbury residents, thus doing away with the pan-man and septic tanks.Many settlements around Melbourne's urban fringe had sewerage systems installed in the 1970s as a result of Government legislation.A coloured photograph overlooking a river valley which is surrounded by hills with sparse trees on them. There are a number of work buildings on the river flat.sunbury sewerage treatment plant, jacksons creek, springvale winery

Blackburn Road level crossing removal is underway with work expected to be completed mid - 2017 by lowering the rail line beneath the road.level crossing removal authority, blackburn railway crossing

'Kew's' was a restaurant at 330 High Street, previously an ice-cream parlour and later Estivo. The restaurant was located opposite the Kew Recreation Centre. The artwork was purchased at auction by the donors and donated to Kew Historical Society in 2022. Donated by Heather Oliver, 2022Large framed watercolour and gouache originally hung in Kew's restaurant. [Frame 104cm x 108cm / Work 54cm x 75cm]'Kew's Creative Cuisine: Try our delicious Antipasto Platter ........" Artist's signature lower right.restaurants -- kew (vic.), commercial buildings --- high street -- kew (vic.)

Seven white cotton Richelieu cutwork serviettes with the embroidery worked on the bottom left hand corner. They have a filet lace border.tableware, serviettes, table napkins, table linen

Mass produced. Owned and used by Wandin Sebire. Iron framed "4 poster" bed with polished steel decorative work. Steel - mesh and wooden frame, includes mattress and bolster.bed, bedroom suites

These are unsorted photographs and negatives from the VSFPhotographs and negatives from the 1980s and 1990s - including family camps, Graduation ceremonies, Work experience and certificate groups - some with notes.

Colour photograph front view of dilapidated building boarded up. After restoration work, this building became the LDHS Resource Centre.ldhs resource centre, nelson bros. funeral parlour, buildings

Butterfly is a symbol of happiness and conjugal bliss. Peonies - flowers of happiness. 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.Old gold satin embroidered with blue flowers and leaves in silks. Butterflies worked in mauve, green, blue, cream, burgundy and aquamarine.embroidery, garments, silk embroidery, china, oriental, butterflies, flowers

This panel was acquired for the Collection from the designer and embroiderer Diane Lowther. The piece was part of her submission for 'Art of the Stitch" 2008 display. The piece is worked on white Lugano in dark blue thread (one stitch in red). The design is a modern abstract using a variety of stitches.blackwork, embroidery

White satin with a wide decorative band of silver metal thread work, sequins and pale floss silks. Matching silver fringe.embroidery, mats, india, oriental, metal thread, silk embroidery