Yellow, laminated card with three newspaper cuttings. The first is a photo of Tracey Saunders in the 11 years high jump at the sports. The second is a photo are three girls learning to use a computer. They are Megan Baxter, Johanna White and Candice Reid. The third is a photo of Jaclyn Curnow and John Rainbow who received rewards recognising attitudes to school and fellow students, community - - (cut off) and sporting achievement.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, tracey saunders, megan baxter, johanna white, candice reid, jaclyn curnow, john rainbow

Black laminated card with three photos. The first is two young footballers, Quinton Bentley and Lauren Reidy who got some pointers from Golden Square coach Brian Walsh. The second photo John McCorkelle, Ben Rodda, Nicole Johnson, Tonya McNamara and Johanna White with an old school bell mounted on a tripod. The third photo is Chelsea Hilson displaying her bark painting.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, quinton bentley, lauren reidy, bendigo football league, brian walsh, tony shaw, john mccorkelle, ben rodda, nicole johnson, tonya mcnamara, johanna white, chelsea hilson

Coloured photograph of the 1987 District Swimming Team. The children are dressed in swimsuits of various colours. Their names are:- Back Row (L - R) Nick McCauley, Jamie Bennett, Dehne Johnson, Michael Green, Oliver White, Ben McCauley, tim Wilkie, Daniel Holahan, Tim Croft, Scott Ellerton, Rodney Webster. Middle Row (L - R) Clare Baxter, Tonya McNamara, Melissa Goodwin, Tracey Saunders, Kylie Begg, Sonya Webster, Carryn Wallis, Laura Metcalf. Front Row (L - R) David Styles, Angie Phelan, Loren Matthews, Johanna White, Ben Rodda.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph district swimming team 1987, nick mccauley, jamie bennett, dehne johnson, michael green, oliver white, ben mccauley, tim wilkie, daniel holahan, tim croft, scott ellerton, rodney webster, clare baxter, tonya mcnamara, melissa goodwin, tracey saunders, kylie begg, sonya webster, carryn wallis, laura metcalf, david styles, angie phelan, loren matthews, johanna white, ben rodda

Copy of newspaper article, dated August 1989. mounted on black board. Image shows students standing underneath the school bell. Students are John McCorkelle, Ben Rodda, Nicole Johnson, Tonya McNamara and Johanna White.education, primary, golden square laurel st p.s.

Colour photo on board of netball team. On top ' Laurel Street A4 Premiers GCNA 1989.' On bottom ' Back Angie Phelen, Tayna McNamara, Johanna White, Lisa Yankos, Lesie Brock. Front: Kitty Blythe, Hanna Blythe, Tahnee Reid, Jacyln Curnow.bendigo, education, golden square primary school

Photograph of five children playing recorders beneath pine post tripod supporting electronically activated brass school bell. Golden Square School No 1189 in background. Caption printed below reads L/R John McCorkelle, Ben Rodda, Nicole Johnston, Tanya McNamara and Johanna White. serenading the old school bell which was relocated to the front garden for a period. Removed for safety reasons. Will be secured again in the future.bendigo, institutions, golden square primary school

J.D. (Jack) Skinner of Chapple Vale was the founder of the Otway Tennis Association. He became President and was later awarded Life Membership of the Association. He recognised the need for an award for junior tennis and instituted this trophy to be awarded from 1962.J.D. Skinner Tennis Trophy, Otway Junior Association. Pitcher-shaped EPNS on top, bakelite bottom, seven shields inscribed with names of winning teams 1962-1988.1962-63 Wyelangta 1963-64 Ferguson 1964-65 Wyelangta 1965-66 Wyelangta 1971-72 Carlisle River 1972-73 Beech Forest 1973-74 Beech Forest 1974-75 Wyelangta 1975-76 Wyelangta 1976-77 Lavers Hill 1977-78 Carlisle River 1979-80 Lavers Hill 1980-81 Lavers Hill 1981-82 Carlisle River 1982-83 Wyelangta 1983-84 Ferguson 1984-85 Wyelangta 1985-86 Wyelangta 1986-87 Johanna White 1987-88 Fergusonj.d. skinner; tennis; trophy; otway junior association;

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This photograph is part of the collection of items given into the care of the Cheese World Museum. Edward Herbert Uebergang and Alma Gertrude Schurmann were married on 1 March 1912. . Edward, born in 1883 at Cudgee, was the son of Friedrich Johann Uebergang and Pauline Johanna Hillbrick. Alma Gertrude was born in 1882 at Natimuk.They lived in Horsham where Edward, known as Bert, developed a chaff-cutting business servicing the Wimmera and Riverina areas. Their story is recorded in the Uebergang family history pp.200-208. Source: The Uebergang Families in Australia 1848-1985 Edward was a cousin of Percy Uebergang.Sepia photograph of the Uebergang-Schurmann wedding. The bride is standing. She is wearing a lace shawl overlay gown with elbow length lace sleeves and long white gloves. A three tiered floor length veil falls from a circlet of flowers. The groom is seated and is wearing a three piece suit, a high collared shirt and boots.allansford, cudgee, natimuk, horsham, uebergang, edward, schurmann, alma, marriages

In the early 1900s, Mary Sweeney commissioned artist Charles Bertie to paint the main house at Culla Hill. He charged her 5 shillings for the picture and 18 pence for the frame She took this painting with her when she married Michael Carrucan in 1910 and it hung in the Dalton Street farmhouse for many years. At a later time (1960s), the Burstons (the then owners of Culla Hill) had a card printed from the painting. The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council strongroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 Original colour sketch artwork 4 x 5 inch black and white negative of original colour sketchculla hill, art, charles bertie, drawing, mary carrucan (nee sweeney), sketches, sweeney's cottage

35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, eltham cemetery, annie sweeney, caroline sweeney, ellen sweeney, graves, gravestones, johanna sweeney, john sweeney, margaret sweeney, thomas sweeney

35mm colour positive transparency Mount - white 7 dots (Technodia Italy)eltham, eltham cemetery, annie sweeney, caroline sweeney, ellen sweeney, graves, gravestones, johanna sweeney, john sweeney, margaret sweeney, thomas sweeney

From front cover; "CONTROL" "Stories of Australian peacekeeping and humanitarian operations". Part of "The Century of Service series".Soft Cover Book. Cover - cardboard, white and pale blue print on front and back. Illustrated front montage, black and white photograph of soldier in uniform assisting a civilian, above colour map and yellow hat. Back montage in colour and black and white three photographs and two maps and cloth shoulder insignia. 52 pages - cut, plain, white coloured paper. Illustrated, colour and black and white photographs, maps, sketches and newspaper cuttings. Pictorial type book. End papers - illustrated. Spine fastened with two metal staples.publication, book, peacekeeping and operations

Thomas Ryan (1824-1866) was a constable at White Hills when he disappeared after visiting the Chinese Camp. Despite vigorous searching including the dragging of many waterways, no trace of his body was ever found. He had married Johanna Carroll (1839-1889) in 1860.Softcover book with yellow cover and a black and white photograph of Policeman Thomas Ryan. Contains 79 pages with Contents list, diagrams and photographs. Tells the story of the disappearance of Thomas RyanCarol Holsworthperson, police, constable ryan

Black and white photo of the Ruedin family at their winery and vineyard at Huntly, circa 1890, Johanna and Aimie Louis Ruedin are pictured with their four sons. The woman with the youngest son is possibly one of Johanna's sisters, Bertha or Maria Amelia Burstall. The winery and home were destroyed by fire in 1903. Also three pages of typewritten notes on the Ruedin family.person, group, ruedin

Anne Bronsdon collection .Length of white , stained, knitted curtain edging 9 cm x 1.20 m fair condition .Knitted by Johanna Sarvaas when she had her shop in Mitchell Street .Accompanying small blue paper, typed letter from Anne Bronsdon donating this together with 2 x neckerchiefsJohanna Sarvaasart, anne bronsdon / johanna sarvaas

Wedding photograph of Wilhelm Kuebler and his first wife Johanna Kaltenbach. They were both internees in Camp 3 at Rushworth during WW2.Black and white photograph of a man and woman posing in front of a backdrop of trees and shrubs. Lady dressed in long white dress and man in long jacket and suit pants. Photograph has been laminated.Wedding photo: Artist Wilhelm Kuebler and his first wife Johanna Kaltenbach. Computer image created by Horst Blaich, Bayswater 3153. Tel.: (03) 9720 2658 October 2001 round emblem underneath with side on head. Around the edge: Albert Blaich Family Archive 1970-2000wilhelm kuebler, johanna kaltenbach, johanna kuebler, camp 3 rushworth

The painting was bought from Cesare Vagarini by Herr Wennagel for "Weihnachten" 1941 (Christmas) for his wife Johanna (Hanno) Wennagel. It was their first Christmas in the Camp. Herr Wennagel made many of the frames for Vagarini's paintings.A large Eucalyptus Tree surrounded by four huts - one on the left, three to the right. Green grass between the huts. A sunflower is growing at the side of the front left hut and a woman wearing a white shirt and blue skirt is seen entering the hut. Two women, one in pink and one in yellow are standing on a pathway between the huts. Clothes hanging on a washing line can be seen behind the tree near the last hut on the right. Bright blue sky and more trees in the background.Vagarini Ctatura, ww2, internment camp, camp 3

Carlo Gervasoni and his family stand at the back of his Yandoit Creek house now known as ‘The Old Stone House’. L to R: Johanna Gervasoni, Annie Gervasoni (Carlo’s second wife), Annie Gervasoni with violin, Jim Neven, Theresa Gervasoni (standing), Nicol Gervasoni with cornet, Bridget Gervasoni, John Gervasoni with cornet, probably Battista Gervasoni, Carlo Gervasoni Jr (Cling) with accordion, Alf Kennett, Julia Gervasoni (standing). The house was built by a partnership between Carlo Gervasoni, Luigi Gervasoni, Antonio Invernizzi and Battista Nani.luigi gervasoni, carlo gervasoni, battista nani, ambrogio invernizzi, stone house, drystone, julia gervasoni, cling gervasoni, jim nevin, annie gervasoni, nichol gervasoni, alf kennett, bridget gervasoni

Sydney William Phefley was born in Wodonga, Victoria on 5th November 1896 to Christian Phefley and Martha nee Schultz. He was their third son and eighth child in a family of 17 children. Sydney enlisted in Melbourne on 4th August 1915 and was allocated to 29th Battalion Machine Gun Section. On 10th November 1915 he embarked from Melbourne on the HMAT Ascanius and saw service in Egypt and on the Western Front. In March 1916 Sydney was promoted to Sergeant. During that year he was also hospitalised for a minor case of mumps in Cairo in March and then for a case of trench foot in England in December. In February 1918, Sergeant Phefley was accepted into the Officer Cadet Battalion which included the completion of an Officers Training Course at Oxford. In October 1918 he was transferred to the 32nd Battalion and was promoted to the rank of Lieutenant in December 1918. Lieutenant Phefley returned to Australia on 15th May 1919 and was discharged on 22nd August 1919. Sydney was later employed by the Victorian Railways as an Engine Driver. He married Mary Johanna Hogan on 15th October 1924. Sydney William Phefley died in Moe, Victoria on 16th January 1973.This image is significant because it portrays a member of a prominent Wodonga family who served Australia during World War I.A framed black and white image of Sydney William Phefley in Uniform.private sydney william phefley, phefley family wodonga, world war 1 servicemen

Staple bound paperback book. There is a blue strip along the left side with a stained glass image of a soldier at the top and 'century of service' printed sideways in white text below. The cover shows a black and white photo of a soldier assisting a civilian down a road and more civilians in the background, covered by a feint overlay of a map. The title is printed in large white print near the bottom of the page and an image of yellow 'peace monitoring group' hat in the bottom right corner.non-fictionMore than 30,000 Australians have served on peacekeeping operations since 1947, and many have delivered humanitarian aid at home and abroad. In complex and dangerous situations they have provided stability along with commitment and compassion, building hope for the future. The following stories are about people who have shown gret self-control, fostering security and safety in exceptionally fragile environments. They have served all over the world, witnessing the struggles and triumphs of the human spirit in the face of conflict and disaster. Some have given their lives in the service of others. - from Trove war and peacekeeping, peacekeeping forces, humanitarian assistance

The design suggests it was made as a wedding gift. Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect).One of pair of pillow shams - see 651. The design is of bull-rushes, water lilies, insects and a bird. The monogramme is decorated with leaves and flowers. Knitted fringe.Mcembroidery, mountmellick, ireland, late 19th century, pillow cases

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect)Satin jean fabric, with 3 large flower sprays using bullions, satin stitch, knots and detached lace stitches. Flap is "V" shaped and case is trimmed with wide lace on 3 sides.embroidery, mountmellick, late 19th century, australia

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect).Satin jean, diagonal spray of flowers and leaves in the classical mountmellick style. Traditional heavy fringed edge.C.W.embroidery, mountmellick, ireland, mid 19th century

Made by aunt of donor. Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect)White linen with white embroidery around the turn of the century in the Mountmellick style. Large sprays of classical flowers and leaves decorate two sides of the cloth using traditional stitchery. The edge has a fine border and a scalloped finish.embroidery, table cloth, mountmellick style, australia, 1900-20

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect).Probably one of a pair. Worked on white cotton satin jean. Textured white cotton stitches. Knitted white cotton fringe. Motif of bird, lilies and monogrammed "D".Monogrammed "D"embroidery, mountmellick, pillow cases, late 19th century, ireland

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect)White cotton satin jean fabric with white cotton embroidery threads - thick and thin. Four flower, leaf and stem designs in each corner of both shams. Satin stitch, bullions, braid stitch, knots, chain stitch, buttonhole, stem and detached buttonhole stitch, single feather stitch, scalloped buttonhole edging. embroidery, mountmellick, pillow cases, late 19th century, australia

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect)Classic Mountmellick embroidery on satin jean with decorative scalloped edges top and base and fringed. Heavily embroidered with flowers, wheat and leaves.embroidery, mountmellick, ireland, late 19th century, pyjama case

Mountmellick embroidery is a traditional, heavy white-on-white (whitework) hand embroidery style that originated around 1825 in the town of Mountmellick in County Laois, Ireland. Developed by Johanna Carter, the craft is celebrated for its deeply textured, sculptural appearance and all-Irish origins. Strictly monochrome white-on-white (white thread on white fabric). Traditionally worked on heavy, firm cotton satin jean, providing a sturdy, durable base for household items like bedspreads, tablecloths, and doilies. Uses thick, matte, twistless or heavy cotton threads that do not divide, contrasting with the sheen of the cotton jean fabric. Inspired by the local Irish flora, including blackberries, brambles, oak leaves, dog roses, ivy, ferns, and shamrocks, as well as later cultivated garden plants. Features heavily padded and knotted stitches, such as satin stitch, French knots, stem stitch, buttonhole stitch, and the signature Mountmellick stitch (which creates a triangle-like, spiked outline effect)White satin jean. Design is passion-fruit flowers, leaves and brambles in a variety of stitches. The sachet is edged in long and short buttonhole stitch and the decorative fringe which usually edges this work has been cut away.embroidery, mountmellick, late 19th century, ireland