Showing 319 items
matching hand craft
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Tatura Irrigation & Wartime Camps Museum
Photograph, 1942
... and pieces of any old iron etc. camp 3 hand made objects camp 3 hand ...The ingenuity of the internees to fashion useful objects from bits and pieces of any old iron etc.Colour photograph of items made in Camp 3 including metal plate, cup, dipper, grater, petrol (at a guess steam) iron and a large circular item black on the inside. Part of a paiting on left.in German - Tatura near knifecamp 3, hand made objects, camp 3 hand crafts, templer society, tin objects -
Tatura Irrigation & Wartime Camps Museum
Photograph, 1942
... Camp 3 hand crafts ...A cross section of the artifacts of Camp 3. Templers.Colour photograph of a host of things. Dominant - precision weighing scales, wood fruit salad bowl and painting of a hut top right hand corner.most easiest to decipher is on the painting "Wagners Barracke"camp 3, templer society, camp artists, camp 3 hand crafts -
Tatura Irrigation & Wartime Camps Museum
Accessory - Men's Tie, 1940
... Baumann men's clothing accessory. Internment camp hand crafts ...Made by Internee Max Baumann in Camp 13.Hand woven brown wool man's tie.men's ties, max baumann, men's clothing accessory., internment camp hand crafts -
Tatura Irrigation & Wartime Camps Museum
Wooden Decoration, Ballerina, 1940-1945
... ornaments toys else-lore oertel internment camp hand crafts ...Else-Lore Oertel, with her mother, was a German internee in Camp 3A as a child, from 1940-1945. The ballerina & stand were made by persons unknown & given to Else-Lore while in the camp & was one of her childhood 'treasures'.Hand painted thin plywood decoration of ballerina inside a ring / circle, with wooden stand. Outer circle shape with insert for stand, cut out of ballerina posed inside. All carved from one piece of plywood. Circle is painted purple. Ballerina inside circle is plain plywood painted with mainly yellow, blue & white costume. Stand is flat disc with slot for ballerina cutout to insert into. Stand is painted gold. Handmade.internment, internee camps, ornaments, toys, else-lore oertel, internment camp hand crafts, childhood treasures, ballarina -
Tatura Irrigation & Wartime Camps Museum
Clothing - Child's Frock, 1940's
... Traude Hoefer knitted clothing internment camp hand crafts ...Handknitted by internee Helene Hoefer, at Camp 3, for her daughter Traude.Child's knitted long sleeved woollen frock, green in colour with bands of yellow and red at edgings. Has knitted tie belt and 4 bown wooden shank buttons on centre opening of bodice.traude glenk, traude hoefer, knitted clothing, internment camp hand crafts, children's clothing, helene hoefer -
Tatura Irrigation & Wartime Camps Museum
Artwork, other - Puppet, Crocodile
... at Christmas time. hand puppets internment camp hand crafts pow puppets ...The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Hand painted green paper mache head. Teeth and inside of jaw painted red with red fabric lining at back of jaw. Black painted eyes. The body is of green fabric, hand stitched to leather which is tacked to the crocodiles head.hand puppets, internment camp hand crafts, pow puppets, sharon lohe, ww2 camp puppet theatre, crocodile puppet -
Buda Historic Home & Garden Castlemaine
Artwork, other - Illustration - Poster Design, Australian Exhibition of Womans' Work 1907, 1907
This original poster design was produced as entry in the First Australian Exhibition of Women's Work 1907 in Melbourne. Dorothy Leviny was studying art and design at the Bendigo School of Mines at this time, under the tutelage of Arthur T. Woodward, who was recognised as one of Australia's foremost proponents of the Arts and Crafts Movement. Reference: Castlemaine Art Gallery and Historical Society (2007): Catalogue. Portrait of an Exhibition. Centenary celebration of the first Australian exhibition of women's work 1907, p. 44.One of the few original poster design entries known to remain in existence from the First Australian Exhibition of Women's Work, Melbourne 1907.Original poster design by (Bertha) Dorothy Leviny for the 'Australian Exhibition of Womans' Work', Melbourne 1907. Watercolour design showing Exhibition Buildings (Carlton) and five women in medieval costume blowing their trumpets with trees in background. Text top: 'Australian Exhibition', bottom 'of Womans' (sic) Work' and lower left corner 'Melbourne/1907/Oct, 23rd to Nov. 30.Lower right-hand of design - Dorothy Leviny's insignia: A 'B' inside a 'D' with and 'L'(bertha) dorothy leviny, first australian women's exhibition, 1907, exhibition building, carlton, australian women's work, watercolour design, poster, arts and crafts movement -
Buda Historic Home & Garden Castlemaine
Domestic furniture, Timber hand-carved boot stool, c1900
The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines -
Nillumbik Shire Council
Painting: Piers BATEMAN (b.1947, Perth - d.2015, NSW), Piers Bateman, Blackboys, 1989
Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape -
Tatura Irrigation & Wartime Camps Museum
Clothing - Woven Scarf
... with tassels each end. 10 stripes across width. internment camp hand ...Off white woven scarf with tassels each end. 10 stripes across width.internment camp hand crafts, winter clothing accessory -
Tatura Irrigation & Wartime Camps Museum
Domestic object - Sewing Box
The sewing box was owned by Ian Baumert's mother, Magdalene (Magda) Baumert nee Beilharz who was an internee in Camp 3 compound B in Tatura WW2.Handmade, 2 x 3 tiered sewing box, made from scrap wood found in the camp. Each tier is held together by 3 pieces of wood that when you pull the handles apart it opens to get inside. One long box and 2 x 2 smaller boxes with a lid on the top two boxes. The left hand lid has a kookaburra sitting on a tree branch with a green circle behind. The letter "M" is below and to the right of the kookaburra. The right hand side has a green circle with a Koala and her baby on her back. The letter "B" is below and to the left of the koala. Each lid is held on with two hinges."M" "B" Magdalene (Magda) Baumert (nee Beilharz)ian baumert, magdalene baumert, magdalene beilharz, magda baumert, magda beilharz, camp 3 internee, sewing box, internee craft -
Tatura Irrigation & Wartime Camps Museum
Clothing - Black Knitted Dress, 1944
... , Tatura. Rosa Rubitschung ladies dresses internment camp hand ...Made by internee, Rosa Rubitschung, at Internment Camp 3, Tatura.Handknitted woollen black dress , with belt. black shank buttons & white material collar. Plain knitting with full length centre panel which is patterned.rosa rubitschung, ladies dresses, internment camp hand crafts -
Tatura Irrigation & Wartime Camps Museum
Leisure object - Jigsaws in box, 1940's
... g hornung k wied internment camp hand crafts children's jig ...Used by internee children at Camp 3Wooden box with fern like leaves and stars painted on the sides and top. A burning candle also painted on the top. Contains 4 jigsaws, Karl Wied, Taturawooden jigsaws, g hornung, k wied, internment camp hand crafts, children's jig saws, children's toys, camp 3 children's toys, gisela bissinger, gisela wied -
Tatura Irrigation & Wartime Camps Museum
Craft - Cigarette holder, c1940
hand made and used in Camp 3 by interneeturned wooden cigarette holdercigarette holder, camp 3, tatura, woodturning, handcrafts, woodcarving -
Finnish Society of Melbourne
Hand crafted wallhanging, Marjatta Jormakka Maire Peltonen Aune Mantynen Aila Eskelinen AnneliRickards Orvokki Moffett Margeret Vliet irja West, Memories of Finland, 2004-2005
... melbourne Hand crafted wallhanging Memories of Finland Nine Panels ...The pictures represent the memories of Finnish migrants in Melbourne.Only one made by handNine Panels Handicrafts cross tits embroidery weaving Bordered and mounted May 2005 Margaret Vieth -
Vision Australia
Photograph (item) - Image, Elderly woman weaving on loom
Weaving is a craft activity that has been a part of many day centres. In this image, a blind woman sit in front of a loom, holding the threads, her lips slightly pursed, as if in conversation. Another woman stands beside her and looks down at the work, her hand holding the weaving slightly forward as she looks at the stitches.royal victorian institute for the blind, day centres -
National Wool Museum
Sample, dyed wool
This sample is one of five donated by Mrs Walker who dyes her own yarns to knit into hats which she felts herself (in a washing machine) and sells to craft shops. She runs workshops and also teaches home dyeing. She uses a Landscape and Earth Pallette and also uses food colourings and jelly and cake decorating colours.Sample of hand dyed wool produced by Mrs Robin Walker, 1999.handicrafts, walker, mrs robin -
National Wool Museum
Sample, dyed wool
This sample is one of five donated by Mrs Walker who dyes her own yarns to knit into hats which she felts herself (in a washing machine) and sells to craft shops. She runs workshops and also teaches home dyeing. She uses a Landscape and Earth Pallette and also uses food colourings and jelly and cake decorating colours.Sample of hand dyed wool produced by Mrs Robin Walker, 1999.handicrafts, walker, mrs robin -
National Wool Museum
Sample, dyed wool
This sample is one of five donated by Mrs Walker who dyes her own yarns to knit into hats which she felts herself (in a washing machine) and sells to craft shops. She runs workshops and also teaches home dyeing. She uses a Landscape and Earth Pallette and also uses food colourings and jelly and cake decorating colours.Sample of hand dyed wool produced by by Mrs Robin Walker, 1999.handicrafts, walker, mrs robin -
National Wool Museum
Textile Handcraft, The Afternoon Tea Party: Celebration Cake
The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party", designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to form a group and be able to demonstrate a number of wool crafts in at least five different items. The covering of the cake was woven by Anneli Rickards, the plate woven by Jean Inglis, Mary Donnan and Val Ingeme made and assembled the floral trimmingsagricultural shows handicrafts textile art knitting weaving, geelong handweavers and spinners guild inc., spinning - hand, felting, weaving, ingeme, mrs val inglis, jean - geelong handweavers and spinners guild inc. rickards, anneli - geelong handweavers and spinners guild inc. donnan, mary - geelong handweavers and spinners guild inc., melbourne, victoria, agricultural shows, handicrafts, textile art, knitting -
National Wool Museum
Journal, Madame Weigel's Journal of Fashion, Dec. 1, 1936
This book and a number of others like it were owned by the mother and aunts of the donor, Mrs Dorothy Boyle. They were prolific producers of hand knitted and hand made items of clothing and also knitted and sewed for the armed forces during the Second World War. This book is a monthly journal of fashion, craft and general interest published by Madame Weigel's Pty Ltd.Registered at the General Post Office Melbourne, for transmission by post as a Newspaper. / 4D / Published / Monthly. / MADAME / WEIGEL'S / JOURNAL OF FASHION / A Delightful Home Journal / Vol. LVII., No. 682. / DEC. 1, 1936. / 57th. Year of Publication.knitting handicrafts - history crochet fashion, madame weigel pty ltd, knitting, handicrafts - history, crochet, fashion -
Stawell Historical Society Inc
Craft - Quilt, Catherine Main (nee McClure), Hand Knitted Quilt 1880, 1880
... grampians Quilt Craft Hand Knitted Quilt 1880 White Cotton knitted ...Hand Knitted 1880, 44 Pieces Passed down through generations. Catherine Main (nee McClure) knitted it. Passed on to Elizabeth Russell Martyn (nee Main) then passed on to June Mary Martyn then passed on to Robyn June Dunn nee Treogett Great Granddaughter of Catherine then to Catherine Dunn Great Great Granddaughter. White Cotton knitted Quilt, Cable Pattern, Diamond Shape Pattern, with four raised shapes in diamond pattern - Edge Crochet Handmade in 1880. 44 Pieces put together. -
Stawell Historical Society Inc
Craft - Doily's, Doily Set c1940's - Chapman Mason Collection
These would have been in daily use in the Chapman household. Doily Set used on bedroom dressing table or loungeroom dressers. 8 Doily's Linen & Cotton hand embroidered with crotchet edges 1 set of Three Doily's c1940's . Lavender flowers & lace edge crotchet 1 pink hand embroidered table doily of cotton material 1 off white embroidered table doily crotchet edges 1 small lace table cloth 1 large crotched doily. 1 small hand embroidered cloth with lace edge 1 large circular crotchet table cloth bone colour 1 white table cloth shaped square with crotched lace towards centre and edges 1 bone coloured crotchet doily Circa 1940's -
Federation University Art Collection
Ceramic, 'Shino Milk Jug' by Bridget Bodenham, 2007
Bridget BODENHAM Bridget Bodenham has a Diploma of Arts (Ceramics) from the University of Ballarat (now Federation University. In 2006 she received an Emerging Artist grant from the Australia Council for the Arts and was also part of Craft’s annual graduate survey exhibition, Fresh!. She works full time making ceramic serving ware, tableware, utensils and jewellery as well as planter pots and flower vases. The majority of her work is designed to be used and enjoyed. Bridget feels a connection to her surrounding bushland landscape and interprets the tones and textures in her work. She takes great care in creating each piece by hand and firing them up to three times in her large gas kiln. Each firing is totally unique resulting in one off pieces. Bridget Bodenham was a finalist in the Bombay Sapphire Design Discovery Award (2008) for a series of ceramic mortars and pestles, and received an Honourable Mention in the Mino International Ceramic Award, Japan. Bridget aims to create a sense of curiosity and reflection in form and function. She hopes her work delights and engages the owners hands and heart into everyday activities. The Federation University Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Small, thrown ceramic vessel / jug with handle and lip. art, artwork, bridget bodenham, ceramics, alumni -
Federation University Art Collection
Painting - Artwork, Trudi Harley, 'Fallen' by Trudi Harley, 2009
Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni -
Federation University Art Collection
Artwork - Ceramics, 'Dragon' by Heather Wilson, c1985
Heather WILSON (1961- ) Born Rotherham, England. Arrived Australia 1967. Heather Wilson graduated with a Bachelor of Education (Art & Craft) from Melbourne State College in 1982, majoring in Ceramics. Artist's statement - "All of my work is hand built and explores animal forms in various ways. Animals have always fascinated me and have been a part of my work for the last 30 years. Whether appearing as dragons, exotic birds or bones, most of my images have a basis in nature. Sometimes it is just a characteristic or a quirky gesture that will inspire a piece, sometimes a photograph or a drawing done at the zoo or museum. Dragons have always given me the freedom to explore an emotion or attitude without the restrictions of a form being right, no one can tell you what a dragon should be like as they are an imaginary beast. All of my work is hand built from earthenware or porcelain. Each of them is unique and they may be similar but no two are ever the same. Most of my vessels are coil built and the dragons and birds are constructed on their bases. The pieces are fired to 1080 C in a gas kiln."heather wilson, ceramics, jan feder memorial ceramics collection, gippsland campus -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Lustre Dragon by Heather Wilson, c1985
Heather WILSON (1961- ) Born Rotherham, England. Arrived Australia 1967. Heather Wilson graduated with a Bachelor of Education (Art & Craft) from Melbourne State College in 1982, majoring in Ceramics. Artist's statement - "All of my work is hand built and explores animal forms in various ways. Animals have always fascinated me and have been a part of my work for the last 30 years. Whether appearing as dragons, exotic birds or bones, most of my images have a basis in nature. Sometimes it is just a characteristic or a quirky gesture that will inspire a piece, sometimes a photograph or a drawing done at the zoo or museum. Dragons have always given me the freedom to explore an emotion or attitude without the restrictions of a form being right, no one can tell you what a dragon should be like as they are an imaginary beast. All of my work is hand built from earthenware or porcelain. Each of them is unique and they may be similar but no two are ever the same. Most of my vessels are coil built and the dragons and birds are constructed on their bases. The pieces are fired to 1080 C in a gas kiln."heather wilson, ceramics, jan feder memorial ceramics collection, gippsland campus -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Dragon' by Heather Wilson, c1985
Heather WILSON (1961- ) Born Rotherham, England. Arrived Australia 1967. Heather Wilson graduated with a Bachelor of Education (Art & Craft) from Melbourne State College in 1982, majoring in Ceramics. Artist's statement - "All of my work is hand built and explores animal forms in various ways. Animals have always fascinated me and have been a part of my work for the last 30 years. Whether appearing as dragons, exotic birds or bones, most of my images have a basis in nature. Sometimes it is just a characteristic or a quirky gesture that will inspire a piece, sometimes a photograph or a drawing done at the zoo or museum. Dragons have always given me the freedom to explore an emotion or attitude without the restrictions of a form being right, no one can tell you what a dragon should be like as they are an imaginary beast. All of my work is hand built from earthenware or porcelain. Each of them is unique and they may be similar but no two are ever the same. Most of my vessels are coil built and the dragons and birds are constructed on their bases. The pieces are fired to 1080 C in a gas kiln."heather wilson, ceramics, jan feder memorial ceramics collection, gippsland campus, dragon -
Surrey Hills Historical Society Collection
Photograph, Miss Win Jacobs Kindergarten at Wyclif Church Surrey Hills in 1940s
8 boys and girls playing with rope on the grass outside a timber building with an outdoor chair with wooden slats and wrought iron arms and legs. Mature trees are hanging over the fence in the background. A boy is wearing a cotton reel necklace. There is a toy truck on the left hand side of the photo.children, furniture, norfolk road, surrey hills, pre schools, ropes, cast iron work, outdoor furniture, construction materials, wyclif church congregation, jacobs, win (miss), yarnold, win (mrs), craft and craft equipment -
Kew Historical Society Inc
Decorative object - Paradise Bird Design Linen Curtains, GP&J Baker, 1920s
William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings