This wall hanging is a cross cultural collaboration combining a design taken from an original acrylic on canvas painting by Iwana Ken. The design was sent to Kashmir where it was hand embroidered in tambour/chain stitch in wool.The wall hanging is in bright colours in a semi abstract design of plants and flowers. The wall hanging is in tambour work. Background in orange. Hand tambouredLabel: Better World Arts, Cross Cultural Projects fine art - fine craft, ethical trade IKE 118B DL 101 12/100embroidery, australia, wall hanging, kashmir

Tambour work on white muslin with a bold flower design.embroidery, whitework, tambour, fragment

Tambour Major Gold Mine was located in Specimen Hill, closest intersection: Specimen Hill and Marong Roads. Plan drawn on tan paper: transverse section of Tambour Major Mine, showing main shaft, Christmas Reef anticlinal axis line and fault line. Written on top of plan: Tambour Major Mine, Transverse Section, 100 ft to 1". 11469 tons yielded 3800 oz gold. Plan forms part of the Margaret Roberts Collection.gold mining, gold, bendigo, tambour major gold mine, specimen hill

Flouncing - costume trim.Embroidered net. Flounce of machine made net with floral design worked in chain stitch. Could possibly be handmade but is more likely to be machine made.

Miss Bostock, Foundation member of the EGV, travelled to England and met with The Hon. Rachel Kay-Shuttleworth of Gawthorpe Hall. Rachel "cut" off many pieces from her extensive lace collection which were gifted to the EGV. A Brief History (Information from the work of the late Jean Dudding) About 1812 a French émigré, M. Drago and his two daughters settled in Coggeshall, Essex. Here they hired a room and began to teach the women and small children a method of decorating this net by using a tambour hook. Thus began the making of Coggeshall Lace (sometimes called tambour lace). Tambouring produces a line of chain stitches and originated in the Far East, where the workers used a round frame resembling a tambourine or drum. This they could grip between the knees, thereby releasing both hands for tambouring. Coggeshall workers used a rectangular frame and this type is still used today. Throughout the 19th century this tamboured net lace was made in the tambour rooms and cottages of Coggeshall, and also in the homes of surrounding villages. Lace manufacturers and lace dealers co-ordinated these workers by obtaining orders from London and elsewhere. Sometimes more sophisticated designs were introduced and these would be tamboured by the more proficient workers. Besides the designs, all the necessary net and threads would also be distributed to the lace workers. Liberty & Co., amongst others, were supplied with Coggeshall Lace. The fluctuations in prosperity of the tambour lacemakers were governed by many factors. Fashion requiring flounces and frills gave great encouragement but the invention of chain stitch sewing machines and of machine made laces imitating the hand made article, together with a deterioration in the quality of design meant hard times for the laceworkers. Just after 1900 there was a great improvement in the quality of Coggeshall Lace. This was due largely to the activities of two ladies, the Misses Spurge, who were the chief employers in the district. Their brother William was an art teacher who improved the general standard of design and also introduced some old Italian designs. The First World War resulted in a decline in the making of Coggeshall Lace. The workers found it more profitable to do tambour beading. In the 1930's a determined effort was made to revive the making of Coggeshall Lace, and three handkerchiefs were given to Princess Marina on her marriage (See below). Coggeshall Lace was made into dresses for the Queen, Princess Margaret and Princess Alexandra. This work was undertaken by three very proficient workers in Great Tey. Queen Mary also chose two lace dresses and a teacloth in Coggeshall Lace. It was hoped that this Royal Patronage would encourage a revival of the craft. However the financial return was too meagre and after the Second World War both net and threads disappeared. Today Coggeshall lace is made by some members of the Lacemakers Guild and is taught as part of the City and Guilds course. https://coggeshallmuseum.org.uk/lace1.htm White muslin, with sprays of roses in white satin stitch, surrounded by delicate tambour embroidery known as Coggeshall embroidery. Coggeshall being a town in Essex.embroidery, garments, whitework, england, tambour work, early 18th century

Bought by donor in an opportunity shop.Blue silk panel made in Egypt as a souvenir for Australian soldiers during WW1. Design worked in tambour stitch. Edging is pink sequined braid."Christmas Greetings" Australian Commonwealth Military Forces" Souvenir of Egypt 1915 to Uncle from Bobembroidery, egypt, ww1, tambour

Two identical shaped pieces of Chinese embroidery on black silk with terracotta centres edged with metallic gold thread and tamboured design in brown, gold, pink and aqua. Probably from a garment.embroidery, china, metal thread, tambour

Purchased by donor in Kashmir for his wife who was a member, now deceased.Red, woven, twill wool. Tied fringe. Shades of blue and white tambour work with touches of yelow. Paisley and floral motifs in border design and a row of motifs around the edges.tambour, stole, 1960-80, kashmir-srinagar, tambour work

Made by donor's grandmother.Pale cream fine cotton with floral border, which has been woven as part of the handkerchief (one piece). Commemorates Queen Victoria's Jubilee. Tambour work crown/ flowers/ Jubilee 1887. red, blue, green, brown, and gold.Victoria Regina / Jubilee/ 1887embroidery, queen victoria, jubilee, tambour

Possibly purchased by donor in India or Pakistan.Cap (man's or child) hand quilted, navy cotton outer, cream inner lining. Hand tamboured in white and gold metal thread. Geometric star shaped design on crown and wavy border design on edge. hand assembled in white herringbone stitch.embroidery, cap, tambour, metal thread, pakistan, quilting

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Cushion cover of embroidered Suzani on red cotton fabric. Embroidered with stylized floral design and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch.

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Part of a piece of embroidered Suzani in red cotton with corner embroidered with circular designs and framed corner panel. Designs are embroidered in white, cream, blue and black thread in tambour stitch. Backing is a floral yellow fabric. Green tassels on two sides with spangles attached.

Worn by donor's grandmother at Bethley Bridge near Maryborough, unique style of embroidery,Apron, Hostess, Laced edged and embroidered with wool (Tambour Style), cream cotton.costume, female working

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Indian embroidery on cream cotton fabric with a tamboured design of dragons in brown and black.embroidery, tea cosy, india?, tambour work

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Indian embroidery on cream cotton fabric with a tamboured design of dragons in brown and black.embroidery, tea cosy, india?, tambour work

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Indian embroidery on cream cotton fabric with a tamboured design of dragons in brown and black.embroidery, tea cosy, india?, tambour work

Found in cupboard in collection room, nil identification other than label saying "this handwork is very old"Fine cotton muslin fabric embroidered with fine chain stitch tambour embroidered garlands, bows and tassels, with pulled thread work centres in various patterns, scattered motifs across ground. Looks like it was gathered across the top so may have been part of a skirt or petticoat or veil. white work, white lawn, drawn fabric, pulled thread, tambour work, tambour, garment, veil, 18th century, 19th century, petticoats

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Panel of embroidered Suzani on green polyester fabric with maroon velvet border. Embroidered with stylized floral circular designs and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch. Backing is red cotton fabric. Border strips are embellished with machine patterned stitching.

Black net panel with turquoise, black and silver beads and sequins. Mount for the front of a dress. Tamboured beadwork.beading, garments, fragments, 1900-20

Red cotton sachet, embroidered with cream and green tambour chain stitch design around the envelope edge.embroidery

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton machine made net bolero with tambour work and a chemical lace medallion inserted centre backfashion and textiles collection - kew historical society, lace, women's clothing

Cream silk panel. Fine tambour embroidery. Classical design - urns, cornucopias and garlands of flowers. Central cartouche with initials.AR Central part of design.tambour work, panels, late 19th century, france

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

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Tea cosy is probably Indian. It is of cream cotton fabric with a tamboured design of dragons in brown and black. Includes tea cloth and napkins.embroidery, tea cosy, india?, tambour work

Black and white photograph mounted on brown board. Ten males in front of mine shaft. One male in divers suit. Male second from L holding small dog. Cage and poppet legs in background. Mullock heap at back. Inscriptions: Hand written on BR corner of photo 'Percival Pinder, Photo, Bendigo' Hand written on board under photo 'Tambour Major GM Coy 846 ft'. On separate card glued to bottom of mount board, printed 'Diver inspecting flooded Tambour Major Mine at Specimen Hill in 1920'. Hand written in ball point pen on back 'Tambour Major' Mine Group photo taken at Tambour Major about 1920. Dad on extreme right, Joe Sheard, Mine Manager in diving suit. A Richardson, 29 Harrison Street' Hand printed in black ink on back 'Diver inspecting flooded Tambour Major Mine in 1920'. On back - circular purple stamp 'Royal Historical Society of Victoria, Bendigo Branch'.Percival Pinder, Bendigomining, surface equipment, tambour major mine, bendigo, mines and mining, miners, mine, specimen hill, flooded mine, diver

Made by Viola, sister of the Baroness Felicitas Weidersperger of Tazovitz.Fine brown cotton fabric covered with dark brown and gold silk tambour embroidery. The edge is fringed. Design is of a rose surrounded by a scrolled border.czechoslovakia, embroidery, tambour work, mid european, 1900-20, floral, flower

Photocopy of a photo of a diver and nine men outside the mine. The diver was inspecting the flooded Tambour Major Mine at Specimen Hill in 1920. Photo taken by Percival ?, Bendigo.photo, group, male, tambour major mine, photo of diver

The kurti, a shorter version of the traditional kurta, has evolved over centuries from ancient Indian, Central Asian, and Mughal influences, originally designed for practical comfort. Historically, it served as a versatile tunic, often worn as a blouse or jacket by women. Ancient Origins: The kurti is believed to have roots in the ancient Indian subcontinent, descending from the tunics of the Shunga period (2nd century B.C.). Mughal Influence: The Mughal empire introduced variations, including the salwar kameez and Anarkali, which influenced the looser, comfortable style of the modern kurti.Kurta style top/blouse (from the Indian sub-continent) in shot purple/blue silk. Ari (Tambour) embroidery embellished with beads, rayon and metallic threads.

This smoker’s cabinet is a very decorative and clever version of the item that was a novelty piece of furniture that appeared before the First World War. The contents of the cabinet are cleverly hidden behind a tambour roller door. The door slides down into the cabinet when the bottom drawer is unlocked and pulled forward, revealing two more drawers and a shelf. The bottom drawer is fitted with its own removable ashtray and a match striker. The smoker’s cabinet was a popular piece of personal furniture from the 1900s to the 1930s. The cabinet was usually designed so that its purpose was hidden. Behind the door would be a place to store all manner of things associated with smoking, such as pipes, cigars or tobacco, a removable ashtray, matches and perhaps cigar trimmers. The small cabinet was presented to Dr Angus in March 1927 by patients of the Mira hospital in Nhill, Victoria, to show their appreciation for his care. It may have been chosen as something suitable for Dr Angus to take with him when shortly afterwards sailed overseas to study at the London University College Hospital and at the Edinburgh Royal Infirmary. In 1928 he became a Fellow of the Royal College of Surgeons, Edinburgh, before returning to Australia. He and his wife and their young family settled in the Nhill district until moving to Warrnambool in 1939. His family donated this smoker’s cabinet, along with many other historic items, and it is now part of the W.R. Angus Collection. W.R. Angus Collection- The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This smoker’s cabinet is significant as an unusual and rare piece of personal vintage furniture. The tambour roller door is seldom seen on this type of cabinet. The smoker’s cabinet is connected to the history of Warrnambool, as it was owned by Dr W. R. Angus and is part of the W.R. Angus Collection, which is notable for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. It is also connected to the history of western Victoria through its origin, being a gift from the patients of the Mira Hospital in Nhill to Dr Angus, who was the local doctor there in the 1920s and 1930s. Smoker’s cabinet; a stained and lacquered Rosewood tabletop cabinet with a tambour cover. The cabinet is lockable. The tambour shutter door rolls downwards as the bottom drawer is opened, revealing the top two drawers and shelf. The bottom drawer is divided into compartments and has a fitted metal bowl with a bar across it to use as an ashtray and an attached striking surface for lighting matches. The cupboard had decorative silver metal swinging handles on the drawers and sides. The underside of the cabinet is painted crimson. A shield-shaped silver metal commemorative plaque is attached to the top. The cupboard was a gift to Dr W R Angus on March 7th 1927 from the patients of the Mira Hospital in Nhill, Victoria, and is part of the W.R. Angus Collection.Inscription on the plaque: “Dr W.R. ANGUS, A Token of Appreciation from the Patients of “Mira” Hospital, Nhill, Victoria, March 7th 1927.”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, smoker’s cabinet, smoker’s cupboard, tambour door, smoking stand, smoking accessory, novelty furniture, tobacco storage, tabletop cabinet, patients’ gift, mira hospital, nhill hospital, w.r. angus, doctor angus, dr angus, march 7th 1927, w.r. angus collection