John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

This photograph is taken in the Sterilizing room in the Royal District Nursing Service (RDNS) Footscray Centre. Sister Short is closing the door of the Autoclave to sterilize equipment and dressings which will then be used by a RDNS Sister when she is visiting a patient in the community. Sterilizing of equipment and dressings were carried out at each RDNS Centre. Royal District Nursing Service (RDNS) supplied sterilized equipment, such as ready set up catheter trays and dressing trays, as well as dressing packs for their trained staff (Sisters) to take to the home when attending to specific patient care. When the Sisters returned to the Centre they washed and set up the trays again ready for re-sterilization. Each RDNS Centre had an Autoclave room and equipment and dressings were sterilized each day.Black and white photograph showing Royal District Nursing Service (RDNS), Sister Margaret Short, who has short dark hair, and is wearing a white gown over her uniform, with the grey peaks seen. She is using the Autoclave in the Sterilizing room. The tall rectangular metal sterilizer stands in the centre of the photograph. There are several small dials and a larger square dial on its upper left, with a long encased thermometer in the centre and a large round dial to its right. Below this is the partly open large metal door of the sterilizing section. A thick horizontal metal piece runs from the left side of the sterilizer, across, and attached at the centre, of the door. Sister Short has her left hand on the turning bar attached to the centre section, and her right hand is on the locking section as she closes the door. Below the door are two switches and several small dials. To the left of the sterilizer is a cabinet, and to the right of Sister Short, eight small wrapped dressing packs are on a shelf. At the rear of the photograph the wall goes halfway up, with windows above.Photographer's Stamp. Quote No. GX 12 Handwritten informationroyal district nursing service, rdns, footscray centre, sterilizing, sister margaret short

1905-1933.The bandage winding machine wound calico bandages for patient use. A sheet of calico was torn into strips of differing widths and a length of around 8 feet or 240 cm. The bandage was wound around the handle shaft, by hand initially, to get purchase, then the handle was turned until the bandage was tightly wound. Bandages were reused after being washed, dried and rewound on the machine.The bandage winding machine wound a bandage more tightly than could be achieved by hand, allowing more effective bandaging. An open wooden frame with six horizontal struts. At the top of the frame is a metal shaft with a bakelite handle which winds and holds the bandage. The frame is on a wooden stand. This stand has an aditional shelfUnder the wooden stand is written: Tutorial Dept. Alfred Hospital.bandages, bandage winding machine, nursing practice, alfred hospital