Auction of 20 home sites in McGrath's Estate, Ottawa Ave, Forest Hill by Frank Fisher & Co on 16 April 1966.non-fictionAuction of 20 home sites in McGrath's Estate, Ottawa Ave, Forest Hill by Frank Fisher & Co on 16 April 1966.mcgrath's estate, forest hill, forest hill, frank fisher co., peak court, forest hill, ottawa avenue, forest hill, beatrice court, forest hill, lake road, forest hill

The Victorian Statutes Vol 4 Various Legal Statues /Warrnambool Publisher: John Ferres Government Printer Melbourne Date: 1866 Further Information: Three quarter leather. Junction between front board and spine slightly exposed. non-fictionThis volume is part of the first comprehensive consolidation of laws for the Colony of Victoria after it separated from New South Wales and established its own parliament. Specifically, Volume 4 (published in 1866) contains Local Colonial Acts. These were laws debated, passed, and enacted right here in Melbourne by the newly formed Parliament of the Colony of Victoria. They dealt with purely domestic, local matters, such as Victorian land selection, goldfields regulations, local municipal boundaries, and colonial courts. Volume 4 was the handbook for everyday domestic Victorian life, governing how a local town council operated, how gold claims were filed, or how local debts were settled in a Victorian county court.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

The Victorian Statutes Vol 3 Various Legal Statues /Warrnambool Publisher: John Ferres Government Printer Melbourne Date: 1866 Further Information: Three quarter leather. Corners worn lettering in gilt. non-fictionThis volume is part of the first comprehensive consolidation of laws for the Colony of Victoria after it separated from New South Wales and established its own parliament. Specifically, Volume 3 is the final part of the core "Public and General" Victorian colonial laws. The first three volumes of the 1866 consolidation were organised alphabetically by legal topic. Volume 3 specifically contains all the major public acts running from P to W. Because it covers the tail end of the alphabet, it holds some of the most critical laws that built day-to-day society in 19th-century Victoria. These include: · Police Offences and Public Order: The legal frameworks for policing the goldfield boomtowns, managing public behaviour, and running early colonial prisons. · Public Works and Infrastructure: The acts authorising the construction of roads, bridges, and early municipal water supplies across the fast-growing colony. · Railways: The specific general legislation governing the expansion of Victoria's heavily subsidised, state-expanding railway networks. · Property and Land Transfer: Crucial laws managing land ownership, inheritance, and the foundational transfers of property as the colony shifted away from old squatter runs to permanent towns. · Wines, Beer, and Spirits: The colonial acts regulating the licensing of hotels and public houses, and managing the highly lucrative, tightly controlled alcohol trade.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

Hard cover book,The Victorian Statutes Vol 1. Collectors of Customs A-E Author: Corporate Author “The Colony of Victoria” Publisher: John Ferres Government Printer Melbourne. Date: 1866 The Victorian Statutes Vol 1, front cover has title Collectors of Customs Warrnambool. Brown leather binding and corners, black canvas cover, red and black bands on spine. non-fictionThis volume is part of the first comprehensive consolidation of laws for the Colony of Victoria after it separated from New South Wales and established its own parliament. Specifically, Volume 1 (published in 1866) contains Local Colonial Acts. These were laws debated, passed, and enacted right here in Melbourne by the newly formed Parliament of the Colony of Victoria. They dealt with purely domestic, local matters, such as Victorian land selection, goldfields regulations, local municipal boundaries, and colonial courts. Volume 1 was the handbook for everyday domestic Victorian life, governing how a local town council operated, how gold claims were filed, or how local debts were settled in a Victorian county court or how customs should operate.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, government statutes for victoria 1866, warrnambool's copy of government statutes 1866

Hard cover book,The Victorian Statutes Vol 3. Collectors of Customs P-W Author: Corporate Author “The Colony of Victoria” Publisher: John Ferres Government Printer Melbourne. Date: 1866 The Victorian Statutes Vol 3, front cover has title Collectors of Customs Warrnambool. Brown leather binding and corners, black canvas cover, red and black bands on spine. non-fictionThis volume is part of the first comprehensive consolidation of laws for the Colony of Victoria after it separated from New South Wales and established its own parliament. Specifically, Volume 3 (published in 1866) contains Local Colonial Acts. These were laws debated, passed, and enacted right here in Melbourne by the newly formed Parliament of the Colony of Victoria. They dealt with purely domestic, local matters, such as Victorian land selection, goldfields regulations, local municipal boundaries, and colonial courts. Volume 3 was the handbook for everyday domestic Victorian life, governing how a local town council operated, how gold claims were filed, or how local debts were settled in a Victorian county court or how customs should operate.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, government statutes for victoria 1866, warrnambool's copy of government statutes 1866

The soldier is believed to be Charles Francis Ross No 1948, enlisted 18.2.1915, embarked for Egypt 26.8 1915, then to France 1916, reported wounded and missing 27.7.1916, Confirmed KIA by Court of enquiry on 26.11.1917 as being 4.8.1916Photo, B & W, soldier in uniform with peak cap with studio back groundOn the rear in reddish pen, “ Charles Ross KIA France ........ “ Photo Kalma 37 - 39 Pall Mall”photograph, studio photograph, aif

Speros Kostopoulos first arrived in Australia in 1900, returning to Greece to serve in the 1912-1913 Balkan wars and then returning to Australia. He was a foundation member of the IPS in 1916, the same year he married Ivy Peak. In partnership with his brother Othon Kostopulos he ran successful cafe businesses in the CBD and St Kilda. He later purchased a poultry farm in what is now the suburb of Chadstone. When the farm was eventually subdivided, Ithaca Court was named after Speros' birthplace and Ivydene Court (incorrectly listed as Ipydene) after his wife Ivy. A black and white photograph of a lady and man standing in a garden.kostopulos, kostos

A volume of 57 pages plus an epilogue relating the author's experience at Bonegilla, Victoria.non-fictionThis biography documents the story of Stefan Michael Klepiak who, as a boy, between the ages of nine and 15 years lived at the Migrant Reception Centre at Bonegilla, Victoria. This was from 1957 to 1962 when Australia's post-World War II immigration program was at its peak. In his own words, young Stefan terrorised the migrants at the Bonegilla migrant camp day and night. The book describes the antics he and other boys at Bonegilla engaged in as they adapted to their new life after fleeing war-torn Europe. Stefan was often unsupervised, played truant from school and crossed the path of the local Wodonga Police. He was a regular guest at the Wodonga jailhouse and became known by the police and magistrates after several court appearances as "The Bonegilla Kid". In the Epilogue Stefan acknowledges key people in his life, including two Bonegilla policemen and the Bonegilla Camp Director, who gave "The Bonegilla Kid" the guidance he needed and put him on a positive pathway for the future.immigrant children biography, bonegilla migrant reception centre, migrant life australia

01 October 2009 marks a defining moment in the constitutional history of the United Kingdom: transferring judicial authority away from the House of Lords, and creating a Supreme Court for the United Kingdom in the historic setting of the former Middlesex Guildhall on Parliament Square. In this location, The Supreme Court forms part of a pre-existing quadrangle made up of the Houses of Parliament, Westminster Abbey and Treasury. As civil administration developed, it tended to be conducted by the Justices of the Peace and its offices were often co-located with the first tier of the courts. This close association reached a peak in the latter half of the nineteenth century, since when the two activities have tended to separate. In April 2005, all Magistrates’ Court houses were transferred from the care of County Councils to the Department of Constitutional Affairs (DCA). (https://www.supremecourt.uk/about/history.html, accessed 21 September 2016)Colour photograph of the Supreme Court in London. london, supreme court, law, legal

Waverley Novels Peveril of the Peak- 3 Vol 30, Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1838fictionThe subject volume “Waverley Novels Vol 30” published by Fisher Son & Co (1838) is part of a collected edition of Sir Walter Scott's works, containing stories from the "Tales of My Landlord" series. "Tales of My Landlord" forms a key subset of Scott's Waverley Novels, presented as fictional tales gathered by characters like Peter Pattieson from the landlord of the Wallace “Inn at Gandercleugh”. The series spans multiple books across four sub-series, including “The Black Dwarf” (1707 setting), “Old Mortality” (1679–1689), “The Heart of Midlothian” (1736), “The Bride of Lammermoor” (1709–1711), “A Legend of Montrose” (1644–1645), “Count Robert of Paris” (1097), and “Castle Dangerous” (1307). Vol 46 in the 1838 Fisher edition reprints later entries like “Count Robert of Paris” or “Castle Dangerous” from the fourth series, as these stories originally appeared in Scott's Magnum Opus collected volume editions, the first from 1816. With the influential 48-volume “Magnum Opus” edition from 1829–1833 by Robert Cadell, serving as the basis for later collected published sets like Fisher's. Peveril of the Peak is Walter Scott's longest novel, published in 1823 and set during the late 17th century amid the Popish plot hysteria under Charles II. It follows young Cavalier Julian Peveril's forbidden romance with Alice Bridgenorth a Puritan's daughter. The story covers political intrigue, family feuds, and conspiracies drawing the characters into events spanning Derbyshire's Peak District, the Isle of Man, and London. The story continues on the Peveril family's royalist loyalties clashing with the Bridgenorths' Puritan resentment, fuelled by past Civil War grievances like the execution of William Christian. Julian and Alice's love is tested when Julian's parents face Popish Plot accusations with subplots involving a scheming dwarf, the Countess of Derby, and court figures like the Duke of Buckingham. It resolves with royal intervention, exposing intrigues and eventually uniting the lovers. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library

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.Two sleeve bands. Embroidered in coloured silk and gold metal thread. Motifs of lotus flowers, birds, swastikas and other flowers. Mostly satin stitch.embroidery, silk embroidery, japan, oriental, sleeve bands, garments

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 rich blue silk (figured) bands, 66 cm of which is heavily embroidered in couched gold metal threads in a swirling pattern, with coloured silk birds (18). There is a gold spray (floral) at the base of each band.embroidery, garments, silk embroidery, metal thread, chinese

Purchased in Singapore circa 1920 and believed to be old then. Never been worn. 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.A pair of sleeve bands. Embroidered in gold metallic thread on blue silk fabric in a pattern of peonies, bats and other auspicious symbols.embroidery, metal thread, embroidery, garments, japan

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.Sleeve band of grey brocade silk, embroidered design of peonies, and butterflies in coloured silk thread in Pekin knot stitch. Flowers are outlined in cream crinkle cord. china, late 19th century, silk, sleeve band, flower, peony, butterfly

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.Pale green brocade with Pekin knot stitch in blue, green, cream and brown. Large heads and the phoenix used in the design. Gold thread couched with cream thread.embroidery, garments, silk embroidery, oriental, china

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

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.Cream satin, silk embroidery in Pekin knot stitch. Fine couched cord. Rural setting with figures, trees and pagoda.embroidery, garments, silk embroidery, china, garden, figures, lanscape

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.Pale gold satin. Design of peonies embroidered in shades of blue satin stitch with coloured butterflies..embroidery, garments, silk embroidery, mid 19th century, china, oriental

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.Classical Chinese design, a wide band of pale green satin is partly decorated with a band of embroidery. Pekin knot stitch outlined with a very fine white cord is worked in shades of pink, blue, yellow and green. Subjects chosen are flower vase, bats, sea creatures and peony flowers.On reverse 438/4103embroidery, garments, china, silk embroidery, poeny, flower, vase, bat, animals

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.Mid green silk embroidered with a variety of coloured silk threads and some metal thread.embroidery, garments, china, mid 19th century, figures, fish, turtle, sea

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. Symbolism: Mountains and sea, clouds and waves - Good luck. Dragon/fish tail/flaming pearl = Good fortune. This refers to the legend 'liyutiaolongmen' - a carp rising from the waves with the head already changed into a dragon implies the wish for success in the civil service examination. It is an allegory for the persistent effort needed to overcome obstacles. Male with black hat - Zhuang Yuan conferred. Among patterns with implied meanings , patterns related to the pursuits of scholarly honour and official rand include mainly the 'three number ones'. 'Zheng Yuan conferred' and 'carp jumping over the dragon gate'. In feudal society, examiners for the official positions had to go through three different levels of examinations. Bats - the work for bat is 'fu' and is a visual pun for the word happiness 'fu'. Rhino horn - wealth and good fortune. The ruyi sceptre - is a curved decorative Chinese object that symbolizes power, good fortune, and the wish that “things go as you desire.” The head of the sceptre resembles the 'lingzhi' of the 'longevity fungus'. Pomegranate - fertility ie; offspring, a virtue in China. Boy holding the flowering branch in the arms of the woman - in the selection of officials through imperial examinations in feudal society, the winner of an official position is described as ' having picked the crown'. 'Gui' (sweet scented osmanthus) and 'gui' (high rank or official) are very close in sound Chinese. In this design the boy in the woman's arms is seen waving a sweet scented osmanthus, thus an auspicious message is delivered. Information from Dr Rachel Silberstein, visiting Associate Professor at Rhode Island School of Design. "This pair of sleeve bands are two halves of a scene known as "tian xian song zi" or "Heavenly immortals deliver a son". The historical origins of this saying is a story from 'The History of the Wei Imperial records', involving the Emperor Sheng and an immortal maiden who presents him with a son. After this, the expression "tian xian song zi" came to be used as good wishes for marriage, closely associated with 'qilin song zi' (the qilin delivers a son), another popular topic in nianhua popular prints". Both cuffs show figures in an outdoor setting, done in colourful silk thread on a ivory satin. Reading from the bottom to the top of the cuff both have pointed mountains, clouds and sea with a rhino horn and a 'rui' coming out of the waves. Left cuff: above the sea there are a fish/dragon and a flaming pearl. Next two male figures standing on a bridge. One holds a fan and the other is wearing a black hat. More flowers, peonies and blossoms are above the figures. Right cuff: Above the water and mountains is a bat, peonies and pomegranates. Above these are three figures and another bat. The figure in there rear holds a feathered fan, while the front figure holds a child, who is holding a flowering branch. Above the trio is a low pagoda and blossoms. Silk satin stitch, Pekin knots and couched gold metal thread.embroidery, garments, silk embroidery, china, landscape, garden, figures

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. Looking at the cuffs from bottom to top: there is a rock formation, a zig zag fence and flowers (chrysanthemums and a branch with Buddha's hand citron). Next is a male figure carrying a halberd over his shoulder and surrounded by flowers, foliage and hillocks. Above are two more males in a boat. One is standing, the other kneeling. The one kneeling holds a bamboo pipe, while the one standing holds a branch with pomegranates. The men are surrounded by more flowers, foliage, rocks and bats . Three more figures come next. A male holding a fan, a woman holding a dish and another male. The woman on the left cuff holds a dish which appears to hold fruit, whereas the woman on the right cuff holds a dish containing a ? hat. Further up is a pagoda with a pomegranate tree and two more male figures. One holds the sacred fungus, the other a vase with a lotus flower. Finally there are two pagodas, leaves, flowers and clouds. Symbolism: Buddha's (foshou) hand citron. This plant derives it's name from the shape of the fruit, which is said to resemble Buddha's hand. 'Foshou' is used as a pun from blessings (fu) and longevity (shou). Chrysanthemum - longevity. Halberd - a spear like object symbolizing rank and military achievement. Halberd (ji) is a pun for rank (ji) and represents rapid promotion and doing well in officialdom or politics. Bamboo pipe or mouth organ (skeng) is a pun for giving birth (skeng). The image of a boy with a mouth organ implies the wish for a son. Pomegranate- symbolizes many sons (or possibly children). Boat - may be travelling from or to. Fan (shan)- longevity, and also a pun for goodness (shan). Boy pointing upwards (?to the sun) - may you rise in rank (zhri goosheng). The act of pointing at the sun is a pun for 'soon' (zhri). Fungus - resembles the head of a wish granting wand (ruyi) and has the same meaning of 'as you wish'. Lotus flower - (he) is a pun for harmony. Vase - (ping) a pun for peace (ping'an) therefore a vase with lotus - peace and harmony. These sleeve bands are more generic but they do convey a wish for many sons who will become officials and bring fortune. Dr Rachel Silberstein, visiting Associate Professor at Rhode Island School of Design.Pair of Chinese Sleeve bands using Pekin knots, satin stitch. Depicts an outdoor scene with pagodas, people, zig zag fences, boats and plants embroidered on a pale green silk ground. Both cuffs have been joined at the bottom.embroidery, garments, silk embroidery, china, sleeve bands, late 19th century, garden, figures

Label attached to record card states "Chinese Embroidery from the Royal Palace, Pekin J.M.S." 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. Pagoda: an omen of good. Two birds (possibly swallows): an omen approaching spring and also of approaching success. Rooster: a symbol of high rank (it's comb/crown (jinguan) is a pun for 'official' guan). Peony: a symbol of wealth. Deer (lu): means wealth and prosperity. Willow: a symbol of spring (chun). Willows with apricot blossoms (xinghuo), willlows (liu) and swallows (yan) symbolizes 'may you attend the spring banquet in the apricot grove (xinglin chunyan), or may you become a successful candidate. Pine: longevity. Mouth organ (sheng): is a pun for giving birth or 'to rise' as in rising in rank.Meaning : this pair of sleeve bands may have been wishing the owner of them good luck, success in an upcoming exam and that he may rapidly rise in rank, live a long life and continue to receive an official salary. Information from 'Hidden Meaning in Chinese Art' Terese Tse BartholomewFine white satin edged in shades oft blue silk flower embroidery. A fine example of Pekin knot stitch outlined with gold thread showing traditional Chinese motifs and figures. From bottom to top there is an outdoor scene with water and a building. Above this are flowers, hills, a rock formation, a pine and an animal (? pig or deer). Another building, blossoms and pine trees and a pot containing a cypress tree. Above the tree there is a male figure holding a bamboo pipe in one hand and a bird in the other. Further buildings follow, with a willow tree and two swallows flying.embroidery, garments, silk embroidery, late 19th century, china, trees, animals, pagoda

Sleeve band is believed to have been brought from China by a sea captain. 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.Turquoise blue silk band embroidered in a delicate design of flowers, birds, butterflies and insects in classical Chinese style. The edge is bound with black silk worked with a bright blue design and the lining is a magenta brocade. garments, 1900-20, china, silk embroidery, flowers, birds, butterfly

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.Cream silk panel with floral design - four circles surrounded by floral border. Blues, greens, pinks and cream silk in Pekin stitch bordered with fine couched gold passing thread. Traditional Chinese embroidered panel - possibly a sleeve band.

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