Float as part of the 1988 Eltham Festival from the community group "Democratic Nillumbik". The float includes a sign "Restore Local Democracy" with large crafted butterflies "from the Eltham Copper Butterfly campaign", 1988. The parade took place down Main Road Eltham, this float appears to be following a red fire truck.colour photographInscribed back: Sue Dyet (at side) On float; Thelma Barkway, Julie Carlson and John Graves, standing plus butterflies from the Eltham Copper butterfly campaign 1988eltham, john graves, julie carlson, sue dyet, thelma barkway, parade float, eltham festival, eltham copper butterfly, butterfly

Born: Melbourne, Victoria, Australia 1848; Lived and worked: New Zealand 1866-1877, New Zealand, United Kingdom, United States 1892-1905; Papua New Guinea 1916 and 1918; Died: Macedon, Victoria, Australia 1922VictorianLedger Bequest, 1993Watercolour and gouache on paper depicting pink flowers and yellow butterflies in a sparse field. Gold brushed timber frame with off white window mountRecto: Signed "Ellis Rowan" in red watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, flowers, sky, clouds, trees, butterflies

A Guide to the Study of Australian Butterflies Author: W. J. Rainbow Publisher: TC Lothian Date: 1907Label on spine cover with typed text R.A.595.789 RAI Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, a guide to the study of australian butterflies, w. j. rainbow

The annual count of Eltham Copper Butterflies took place in October 2015 at the Andrew Yandell Habitat Reserve in Greensborough.News clipping, black text, colour image.eltham copper butterflies, yandell reserve

Artist Vida Pearson of Ross Creek; given to school by the family of Old Collegian Andrew Craig Noonan. Andrew attended the school 1983 - 1989. Works titled 'Proteaceae' and Butterflies and Angels'. Modern ArtGift of the family of Andrew Craig Noonanlarge framed works of art; hand coloured linocuthandwritten on reverse: In loving memory of / Andrew Craig Noonan (died 21/7/1992) / and in grateful and sincere thanks / for the love, care and support / given to us by the staff of / Ballarat and Clarendon College / Ron, Pam and Damien 20/2/1993andrew craig noonan, wildlife art society of australasia, wildlife artist of the year

Evening or opera coat with princess line seams and shawl collar. Leg o' mutton sleeves, full length flared skirt of six panels and secured with one self covered button and bound buttonhole at the waist. Fully lined in cream coloured silk taffeta. Fabric is printed in gold with flowers, vines and butterflies with hand silk screened roses and forget-me-not flowers over the topNone

Red hardcover book with imprinted lined borders and embossed gold titles. A white label is attached to the spine. Title: Victorian Butterflies and How to Collect Them Authors: Ernest Anderson and Frank Palmer Spry. Field Naturalists' Club of Victoria Publisher: H Hearne & Co Printers: H Hearne & Co, Paragon Printing Works, 208-210 Little Lonsdale Street, Melbourne Date: 1893non-fictionA reference book for butterflies in the Australian State of Victoriabook, warrnambool mechanics’ institute, victorian butterflies, ernest anderson, frank palmer spry, shipwrecked-coast, flagstaff-hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, warrnambool library, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, warrnambool public museum, butterfly collectors, botanists, hobbies, naturia

abstract, contemporaryRural City of Wangaratta Collection, purchased with funds from the Wangaratta Art Council.An contemporary abstract painting using a wide range of colours with shades of white being prominent. Obverse: RESSOM/ (bottom right)wangaratta art gallery, richard ressom, abstract, painting

371 pages, illustrated.

1973, 152, city of heidelberg repertory group, heidelberg theatre company inc, directed by elaine robinson

WWI ? trench artWhite cloth embroidered with rising sun badge flanked by Australian and British flags and butterfly created from National flag colours of Great Britain France and Germany Australian Commonwealth Military Forces (Butterfly) From your soldier boy

Found on Kokoda Track 3/5/44ephemera

Found on Kokoda Track 12/3/1944ephemera, 1943, general

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.Pair of sleeve bands with embroidered butterflies worked in satin stitch. Ivory satin background and embroidered in silk thread silk embroidery, china, butterflies, sleeve band

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

painted scroll wit butterflies and flowers which is kept in an ornamental box.Label with Chinese charactersscroll, butterflies, flowers, painted, silk, chinese, ornamental box

Red fuel tank with pump handle, guage and regulators attached to a metal burnerButterfly trade mark No 3 with drawing of a butterflyportable cooker, burner

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

These BFK Butterfly chairs were used in the living room in Robin Boyd's first family home in Camberwell. The BKF was originally designed in Argentina, later becoming popular throughout the world.A pair of BKF Butterfly chair. Black iron/steel. They have a canvas sling hung from the frame's highest points, creating a suspended seatwalsh st furnishings, robin boyd

In 2016 the Welcome to Eltham community project started to welcome Syrian refugees into the community and made Welcome Butterflies to say welcome to them. This book includes photos and welcome messages from local residents. The butterlies are based on the Eltham Copper Butterfly, a rare and precious species local to the area and considered a symbol of the beauty and abundance of Eltham that the community wanted to share with the new community. This book was produced as a gift which was presented to each new family. Learn more at https://www.facebook.com/WelcomeToElthamwelcome to eltham, refugees, eltham, butterfly, butterflies

Black and white photo of girls in costumes on stage during an Annual Demonstration. They could have been butterflies. The photo was published in a news letter as the demonstration in October 1948. The album it was in is a collection of press photos taken during dress rehearsals from around that time. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo in an album of dancers in butterfly costumes on stage.junior legatees, demonstration, annual demonstration, girls classes, costumes

Pam made this picture as a result of a class in Dookie in 2003 Designed by Betty Chen LewisA butterfly worked on white canvas in shades of blue and gold stranded cotton metalic threads mostly in satin stitch. Blue mount edged in gold. Gold frame.Blue threads may be fine wool.embroidery, picture, butterflies, satin stitch, gold

Black and white photo of girls in costumes on stage during an Annual Demonstration. Some of them appear to be butterflies. The photo is very similar to one published in the newsletter as the demonstration in 1948. The album it was in is a collection of press photos taken during dress rehearsals from around that time. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the 1980's, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo in an album of dancers in butterfly outfits and other costumes on stage.junior legatees, demonstration, annual demonstration, girls classes, costumes

Carved ivory thread barrel with screw off lid and spindle for winding thread. Hole in side of barrel for thread to pass through Carved design of butterflies and stylised flowers on lid

Carved ivory thread barrel with screw off lid and spindle for winding thread. Hole in side of barrel for thread to pass through Carved design of butterflies and stylised flowers on lid

Typical of needlework accessories made in Canton area of China for European market. Made to hold needles which were expensive tools By late 18th century, needle making had achieved the ability to produce very fine needles which needed to be protected. Cylindrical carved ivory needlecase. Screw cap.Bas relief carving design with butterflies and flowers needleholder, ivory

Artwork. Norman Penrose collection: a drawing of two deer, enlarged from a wood-cut. 'A General History of Quadrupeds.' 1790 printed under the drawing of the deer. Drawing is 7.5cmH x 13cmW on a larger piece of cardboard. Cutting of 7 Australian Butterflies. Coloured picture of furniture, a child's toy and a colourful advertisement of showcard and ticket writing. Also another cutting of Danger Days.drawing, wood-cut, norman penrose collection, artwork, butterflies, ticket writing