Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Fringed plaid travel rug, brown, yellow and blue Onkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, red, blue, green and blackOnkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, teal and brownAn Onkaparinga 100% pure wool production. In emblem: Made in Australiawool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Plaid travel rug, double-sided , fringed , brown and orangeThe Seal of Quality/"Onkaparinga" /Pure Wool/Manufactured in Australia by Onkaparinga Woollen Co.Ltd/Owner___wool, blanket, blanket fever, travel rug, onkaparinga

From Change the Rules website: "We need to change the rules so people have jobs they can count on. Give people the choice of converting from casual to permanent if they work regular hours End labour hire and sham contracting rip-offs Stop the exploitation of temporary visa workers Stop allowing employers to terminate workplace agreements Equal rights for people working in the gig economy Investment in apprenticeships and vocational training Governments to procure from local businesses first, to create local jobs" Change the Rules is a union driven campaign that supported campaigning towards the 2018 Victorian State election and the 2019 Federal election. Elections, politics and government, and industrial relations.Bumper sticker: blue background; white lettering; slogan; adhesive with backing strip.Slogan reads: "For more secure jobs and better pay, Change the RULES".btlc, ballarat trades hall, ballarat trades and labour council, vthc, victorian trades hall council, actu, australian council of trade unions, elections, politics and government, political campaigns, industrial relations, unions, change the rules

Mr JH Quinton of Olinda, Victoria had the unusual hobby of carving coconut shell. Over a 50 year period he carved thousands of curios and household articles. Supplies of coconuts were sent to him by his brother in Singapore. Known in the Dandenong Ranges as "The Coconut King", he carved many series, including Australian animals, likenesses of hundreds of men prominent in public life, tableaux of sporting activities, including a series depicting cricket strokes, a coconut tea set, butterflies, buttons and boxes. Mr Quinton was an engraver and his considerable can be seen in the fine detail and sense of movement he was able to capture in his carvings. A collection of figurines carved from coconut shell, brown in colour including animals, sporting activities, tableaux of everyday life and prominent people. Each figure is attached to a thin, wooden base to enable it to stand.jh quinton, coconut shell, carving

Mr JH Quinton of Olinda, Victoria had the unusual hobby of carving coconut shell. Over a 50 year period he carved thousands of curios and household articles. Supplies of coconuts were sent to him by his brother in Singapore. Known in the Dandenong Ranges as "The Coconut King", he carved many series, including Australian animals, likenesses of hundreds of men prominent in public life, tableaux of sporting activities, including a series depicting cricket strokes, a coconut tea set, butterflies, buttons and boxes. Mr Quinton was an engraver and his considerable can be seen in the fine detail and sense of movement he was able to capture in his carvings.Decorative cube shaped box made from small tiles made from coconut shell. Brown in colour with a hinged lid. Additional carved decoration comprising acorns, flower and butterfly. Inside lid lined with red velvet.jh quinton, coconut shell, carving

A group of widows at Legacy House preparing trays of rosemary to be given to the public and worn as a sign of remembrance. It is assumed to be 1999 as it was with a bunch of other photos with the label, "Legacy House 2nd Floor 1999". Names unknown. In The Answer in 1995 an articles says: "Operation Rosemary. Since 1982 Legacy ladies have volunteered to make rosemary sprigs for the Anzac Day marchers. At a later date they also made sprigs for the Schools Shrine Service. . . don't worry, there are ladies here to show you how to make them and it's a chance to have a chat and cuppa whilst you work together. Any day day that you can spare . . . please ring Joan Miller."A record of widows preparing rosemary for the public. Rosemary is sign of remembrance. Colour photo x 6 of widows preparing trays of rosemary.Handwritten "Legacy House 2nd Floor 1999" on a yellow post-it note. widows, legacy promotion, rosemary

The Saxon Merino, as can be seen with Sir Lindsay, is physically the smallest of the Merino strains, cutting the lowest weight of wool (3-6kg); however, the Saxon Merino is without peer in the quality of fine wool produced (14 to 18 microns). This wool is prized by the textile industry, producing the highest quality cloth resulting in strong financial returns. The Saxon Merino was first imported into Australia by Eliza Forlonge. She and her family didn’t even live in Australia when she travelled to Germany to select prime Saxon sheep in preparation for her move to Tasmania in 1830. In doing so she played a fundamental role in developing Australia’s fine-wool industry.A Saxon Merino stud. Small size body and short legs with white fleece. Two horns protruding from skull. sheep, south australia, corriedale

The Liquid 2 Level Sensor is an aid for people with vision impairment to fill cups and glasses with 2 levels of liquid. The unit simply hangs over the side of a cup or glass with the probes on the inside. Ideal for making a cup of tea or coffee with milk. Simply pour in your hot water stopping when a pulsating tone is heard. Pour in milk stopping when a continuous tone is heard. Your cup is now filled to approximately 15mm from the top and ready to drink. Can also be used as a single level sensor such as for non-mixed drinks. Handy magnets on the back of the unit allow for easy storage on fridge or other metal object.Yellow plastic round container with blue base and four yellow wiresassistive devices, equipment

Photos of a procession of widows and legatees to the Shrine in 1992. These photos were in a scrapbook of photos from 1992. The pilgrimage was led down St. Kilda Road by the Hawthorn City Pipe Band (it may have started at St Paul Cathedral as there is a church service prior to the pilgrimage). A junior legatee is the flag bearer of the yellow Legacy flag. Sir Weary Dunlop can be seen in the march. President Swan and the President of the Widows' Club, Inez Bruce, are seen carrying wreaths to be laid. This is an annual event for Legacy widows, sometimes referred to as Widows' Sunday. It is usually at the start of Legacy Week, which is usually the first week in September. The church used for the service varies.A record of the Widows' Sunday event for Legacy week in 1992.Colour photo x 9 of a pilgrimage to the Shrine in 1992.The paper label says "To mark the start of 'Legacy Week' members of the Legacy family gathered for the annual church service and pilgrimage to the Shrine. This year the Hawthorn City Pipe Band led members of the Legacy Family down St. Kilda Road. The haunting sound of the pipes were a stirring prelude to the pilgrimage into the inner shrine."pilgrimage, wreath laying ceremony, widows, widows' sunday

From the 1940s Melbourne Legacy ran residences for children of deceased servicemen. In the 1980s it was decided to sell the final property as the requirement for care had dwindled. These photos show the auction day at Blamey House (previously known as Harelands), from the street the auction flag and 'For Sale' sign can be seen. The photos show a large group of people watching the auction names are unknown. The property at 5 Willesmere Rd Kew was formerly known as Harelands. It was renamed Blamey House when the previous Blamey House (at 1267 Burke Road) was sold in late 1970s. It was the third Legacy residence to use the name Blamey House as it was a condition of the donation to keep the name.The sale of Blamey House was a milestone in the residences history and these photos are from the day of the auction.Colour photo x 7 of the auction sale of Blamey House.residences, properties, harelands, blamey house

James Young was a prominent businessman, land owner and public figure in the early colonial period of Bacchus Marsh. In February 1868 he offered for sale through the agent W. Anderson 38 blocks of land which ran from the Lerderderg RIver westwards beyond Gisborne Road in the vicinity of the present day Masons Land. The land for sale was described as, 'unsurpassed Agricultural Land, in the immediate vicinity of Bacchus Marsh, varying in size from 2 to 12 acres each'. The sale notice in the Bacchus Marsh Express of 1st February 1868 page 2, also noted that, ' Plans can be seen at Mr. Young's Border Mills Store, and at the Border Inn'. One of the largest and most important land sales in the early colonial period of Bacchus Marsh.A single page paper map showing 38 blocks of land for sale in 1868 in the vicinity of Masons Lane Bacchus Marsh. Scale 11 chains to 1 inch. The map is pasted into a bound volume containing 76 maps or plans in total. High resolution digital image stored on BMDHS computer network. land sales bacchus marsh, bacchus marsh victoria maps, james young 1816-1871, masons lane bacchus marsh land sales

Photo 1 - looking north from the point where St Kilda Road widened after crossing Princes Bridge. Has the Edmund Fitzgibbon monument on the left. One cable tram set is making its way into the City. Has Flinders St Station in the background, along with a number of motor cars and one horse drawn vehicle behind the monument and another behind a sign. In the far distance is an advertisement for The Herald newspaper. Photo 1910c Photo 2 - looking south from near the end of the bridge, with seven cable cars in the view, along with motors cars and two horse drawn vehicles. Government House can be seen on the left horizon.Yields information about St Kilda Road c1910.Set of two black and white photographs of" .1 - St Kilda Road near City Road looking north - with Edmund FitzGibbon monument .2 - looking southtramways, trams, cable cars, flinders street station, st kilda road, princes bridge, monuments, edmund fitzgibbon

Rose Series postcard No. P 1666, titled "Flinders Street Station and the Yarra, Melbourne". This photo is looking southwest from St Paul's Cathedral over the station building along the Yarra river. The St Kilda/Port Melbourne and Queens bridge are in view, but not the Spencer St bridge which was built during the late 1920s. The AW Allen's Limited Confectionary Factory constructed in 1923-24 on Riverside Avenue dominates the landscape on the south side of the river directly behind the dome of the Flinders Street railways station. One very long set of horse-drawn carts can be seen alongside the center entrance to the railway station building in Flinders Street.Yields information about an aerial view of Melbourne late 1920sPostcard - printed real photograph with Rose Stereograph Co. name on the rear.tramways, trams, flinders st station, yarra river, bridges, railways, flinders st

The photograph shows a cottage, Harbourmaster’s quarters that still stands on the east of the Lady Bay Lighthouse and Historic Precinct at Flagstaff Hill in Warrnambool. The name was changed to the Lighthouse Lodge, and today guests can stay at the property. This photograph, a print, is one of a set of five that show the site of Flagstaff Hill. It is presumed to have been taken by John Lindsay, Founding Director of Flagstaff Hill Maritime Museum and Village. One of the photographs in the set has the pencil inscription "Photo J Lindsay". It was taken in the early 1970s during the initial stages of the development of Flagstaff Hill as a Museum and Maritime Village. The photographs belonged to the donor's grandparents, who lived in the Warrnambool district of Allansford/Naringal. The photograph is a record of the site and surrounds of Flagstaff Hill Maritime Museum and Village before its development and opening in 1975. It shows the cottage on the east of the Lighthouse Complex,. The building is now known as Lighthouse Lodge. The photograph is significant for recording the location and condition of the residence on the Hill.Coloured photograph, glassy print, one of a set of five. Photograph shows the cream timber cottage, Harbourmaster’s quarters to the east of the lighthouse complex at Flagstaff Hill, Warrnambool. On the left of the red roofed residence are iron buildings used, at the time, by the Lands Department. The photograph's paper has the printer's watermark on the back. The early 1970s photograph is presumed to have been by John Lindsay, Warrnambool.Label on the back: "WOODEN RESIDENCE TO THE EAST OF THE PROPERTY / The gun emplacements are immediately behind, and the iron huts to the left rear of the residence are used by the Lands Department who plan to vacate, for other premises."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, 1970s, photograph, flagstaff hill site, john lindsay, cannon emplacement, residence, wooden residence, timber residence, iron huts, lands department

Honour boards and rolls were erected in many local schools, halls, churches and offices as a means of acknowledging the commitment made by the community to the military forces. The criteria used for inclusion of names on an honour board were determined by those creating the board and can vary. This board lists the names of 20 people from the State Forests Department who enlisted in WW1. The most significant name is Albert Jacka VC who was perhaps Australia’s finest fighting soldier, and has the honour of being the first Australian to be awarded the Victoria Cross during WW1, the highest decoration for gallantry in the face of the enemy. Most of the other names have been researched.Roll of HonourMembers of the Forest Service of Victoria who enlisted & went to The Great War 1914 - 1919forests commission victoria (fcv)

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). This plan shows the original configuration of the Kew Post Office, Court House and Police Station, which had opened in 1888. This configuration was to essentially remain until the purchase of the Court House and Police Station by the City of Boroondara in 2007 and its subsequent renovation. Interestingly, the MMBW surveyors incorrectly labelled parts of the complex. In the triangle in front of the Post Office, before the erection of the Kew Cenotaph in 1925, was located a lawn and the Queen Victoria Jubilee Fountain. While many of the shops on the south side of High street had been constructed by 1903 a number of sites were still used as vegetable gardens. Further along High Street, on the corner of Charles Street, the Salvation Army Barracks can be seen on the plan. These Barracks predate the later Citadel and ‘Young People’s Hall’ that were opened in 1919. At 22 Charles Street can be seen the house of James Venn Morgan. Hailed as the ‘father of Kew’, Morgan arrived in Melbourne in 1840. He was first engaged as a bookmaker, but a fortunate venture on the goldfields enabled him to purchase land in Kew. He conducted a market garden and dairy in Kew for many years.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1588, cartography

The 'Melbourne District Nursing Society After Care Home' was built by MDNS in 1926 and the name changed from 'Care' to 'Hospital' in 1934. It was located at 45 Victoria Parade, Collingwood. This photograph is taken three years after Miss Dorothy Tupper was appointed Matron of the District Nursing Division of the Society in 1941. The Sisters in this Division worked in the community giving nursing care to people in their own homes.From its foundation in 1885 the Melbourne District Nursing Society (MDNS, were instrumental in giving care to their patients, and to assist them if they had financial problems or resided in poor living conditions. Miss Dorothy Tupper, who as a Trained nurse, had undertaken a course in hospital housekeeping at London Prince of Wales Hospital, was contacted by MDNS in 1939 and, possessing both business and humanitarian qualities, was asked to organize their newly established Social Service Department. As the MDNS Social Service Sister, she assessed the living conditions in patient's homes. She continued in this role until being appointed Matron of the Society's District Nursing division in 1941. Matron Dorothy Tupper announced her retirement in December 1962. As Matron for 22 years she played a major role in the employment and management of an ever increasing nursing workforce as well as help oversee the expansion of the service. Matron Tupper was known for her keen sense of duty, her high professional standards and never-failing concern for patients. The photograph was taken by Sun Newspaper photographer and appeared in an article about the MDNS in September 1944Black and white photograph showing Melbourne District Nursing Society (MDNS) Matron, Dorothy Tupper, standing side on, and to the left, of three District Trained nurses (Sisters) who are seated in the grounds of the After-Care Hospital. Matron Tupper is wearing a light coloured uniform which has a belt and a centre box pleat on the lower part of the skirt; a grey brimmed hat with a darker grey hat band sits over her short dark hair. She is looking down at the first Sister on the seat who is looking up at her. The Sisters at either end of the seat are wearing dark grey double breasted coats with lapels; the collars of their light colour uniforms can be seen. Both are wearing grey brimmed hats over their short dark hair. The Sister at the far end is wearing glasses and the Sister near Matron Tupper is holding a book. The centre Sister has shoulder length dark hair and is wearing a light coloured long sleeve uniform. She is also holding a book. Both these Sisters are looking toward Matron Tupper. The seat is made of wood and is against the concrete veranda of the building behind. Scrolled metal lace work is directly behind them with a round thin concrete post to the left of Matron Tupper and the other end of the lace work is fixed to the concrete square corner columns. One turns to the right and the concrete wall of the veranda attached can be seen running in front of part of the brick wall of the building.after- care hospital, melbourne district nursing society, mdns, nurses, matron, mdns social service department, rdns, royal district nursing service, matron dorothy tupper

The Sooty Albatross can be located on islands in the southern Atlantic Ocean and the Indian Ocean. It is a colonial bird with colonies consisting of 50 to 60 pairs of birds. These birds will build nests on cliffs and steep slopes. The diet of the Sooty Albatross includes squid, crustaceans, cephalopods, fish and carrion. They are considered an endangered species by the IUCN with a population shrinkage of over 75% over the last 90 years. In the 21st century, the population of this Albatross has seen stability on Gough Island. Interestingly, this species have several features which make them unique. They have nasal passages attached to their upper bill called naricorns and can produce a stomach oil which is stored by the bird and used against predators as well as being food for their chicks. These birds also have a salt gland which helps desalinate their bodies after residing in salt water. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Sooty Albatross specimen is of medium size and mainly a sooty-brown plumage. The colouring around the sides of the head and the base of the tail is dark. It has a dark bill which is medium in size and has been stylized with glass eyes by the taxidermist. The tail is a wide diamond-shape and the feet are webbed. This specimen has been placed on a wooden mount and has a small paper identification tag tied to its right leg.Sooty Albatross / 13D / Catalogue Page 49 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, hawk-owl, europe, atlantic ocean, indian ocean, albatross, sooty albatross, endangered species

Agate occurs when amygdales (gas pockets) form in the upper levels of basaltic lava flows. If these pockets or bubbles are iniltrated by water bearing silica in solution, the fluid dries and hardens in layers, forming round or egg shaped nodules or geodes within the rocky matrix. Agate is formed of a silica mineral chalcedony similar to quartz. Although relatively common and semi-precious, agate has been prized since at least 1450 BC - an intricately carved agate seal was found in the 2015 excavation of a grave belonging to a Mycenaeum priest or warrior near Pylos in Greece. Agate is also used in jewellery and other decorative or ritual purposes due to its often striking appearance. Quartz is found all over Australia, including Beechworth in Victoria. It is formed in deep-seated igneous rocks and crystallized through hot aqueous solutions. It can have two forms; Microcrystalline quartz or Crystalline quartz. Microcrystalline quartz is a fine grain quartz where crystalline quartz is often a large crystal. The colour of quartz can vary. These specimens were collected in Victoria in the vicinity of the Burke Museum. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole.The specimens are significant as examples of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century.Geological specimens of Agate and Quartz respectively; the fist-sized piece of Agate has peach/coral colouring with grey concentric patterning and the smaller piece of quartz is a uniform yellow/orange shade. Existing label: Local pebbles / (agate and / quartz / (yellowish) / egg-shaped). / BB geological specimen, geology, geology collection, burke museum, beechworth, agate, quartz, north-east victoria, indigo shire, geological surveys

The Freshwater Crocodile can measure up to 3 meters and is generally not considered to be a threat to humans. They reside in Northern Australia, Western Australia and the northern part of Cape York Peninsula in Queensland. They live in freshwater environments and make burrows among the roots of trees which fringe the waters they can be found in. This species of Crocodile mainly feed on invertebrate and vertebrate prey which includes insects, spiders, frogs, fish and small birds and mammals. They are also recognized as "cannibalistic" with the older Freshwater Crocodile occasionally preying on young hatchlings. These crocodiles are known for their "high walk" which they do to move on land. It is named "high walk" because the animal lifts their body off the ground using their long legs for height. They are able to walk considerable distances on land using this technique. In captivity, Freshwater Crocodiles are known to be hostile and aggressive to others of its species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Freshwater Crocodile has a slender snout which is much smaller and thinner than its Saltwater counterpart. This specimen has dark grey and brown colouring with the darker colours concentrated around the face and upper torso of the Crocodile. There are darker stripes along the tail which features triangular scales and is long in length. The teeth are visible and bright yellow glass has been used to replace the eyes of this particular specimen. The crocodile has long but thin limbs which protrude from the sides of the body.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, crocodile, freshwater crocodile, johnstone's crocodile

A community-led project to contribute to a vision for the Shire of Nillumbik. Between October 2011 and June 2012, Nillumbik Shire Council undertook a community information gathering project to ask residents "what is your vision for your local community?” Picture Nillumbik represents a collection of responses from community groups, schools and households via online submissions, photos, interviews and workshop contributions. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. The project aimed to inform community planning and identify how Council can work better with residents. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. Aimed to inform community planning and identify how Council can work better with residents. Further that the document be inspiring, stimulating and a reminder that the future is worth planning for. Includes a number of case studies of local organisations and projects including: Christmas Hills - Butterfly Studios, Strathewen Tree Project, St Andrews mosaic seat, Eltham & District Woodworkers Inc., Edendale Farm - Home harvest, Hurstbridge, Bend of Islands, Bendigo bank, Dunmoochin - Cottles Bridge, Artists Open Studios Program, World Matters and Past Matters, Nillumbik Reconciliation Group, Boots for all. Chapters include: Deep connection and resilient community, local village life, Balance with nature, a sustaining and evolving economy, creative expression, art and cultural exchange, experience discovery and fulfilment and stewarding the Nillumbik way. Each chapter includes further questions for discussion.Spiral bound document printed in landscape format. Includes text and colour photographs. 196 pagesSmall piece of paper headed "DRAFT" included at the front of the document when bound.shire of nillumbik, planning, future, christmas hills, strathewen tree project, st andrews, eltham & district woodworkers inc., edendale farm, bend of islands, dunmoochin, artists open studios program, nillumbik reconciliation group, community groups, vision, strategy

Gebrüder Stoll, Central-Stahlwarenfabrik Founded in 1889 . Solingen-Foche in 1900- 1930. Names: ‘Gallop’, ‘Pedecor’ (Dedecor?), ‘Sinfonie’, ‘Stoll’, ‘Stoll Brothers’. The parts of a straight razor and their function are described as follows: The narrow end of the blade rotates on a pin called the pivot, between two protective pieces called the scales or handle. The upward curved metal end of the narrow part of the blade beyond the pivot is called the tang and acts as a lever to help raise the blade from the handle. One or two fingers resting on the tang also help stabilize the blade while shaving. The narrow support piece between the tang and the main blade is called the shank, but this reference is often avoided because it can be confusing. The shank sometimes features decorations and the stamp of the country of origin. The top side and the underside of the shank can sometimes exhibit indentations known as fluting, or jimps for a more secure grip. The curved lower part of the main blade from the shank to the cutting edge is called the shoulder. The point where the shoulder joins the cutting edge is called the heel. A thick strip of metal running transversely at the junction where the main blade attaches to the shank is called the stabiliser. Although straight razors were once the principal method of manual shaving, they have been largely overshadowed by the safety razor, which incorporates a disposable blade. Electric razors of various types have also been an available alternative, especially since the 1950s. Straight razors require considerable skill to hone and strop, and require more care during shaving A man's cut-throat razor that folds to protect blade inside handle. with a caseon blade 'SINFONIE' on case; Stahlwaron / Fabrikcut-throat razors, straight razors, shaving equipment, steel blades, stoll gebruder ltd., solingen germany, cutlers, steel manufacturers, ‘sinfonie’ trade mark, early settlers, market gardeners, moorabbin, bentleigh, cheltenham,

A shaving scuttle and shaving mug were developed around the 19th century with the first patent for a shaving mug dating to 1867.[8] As hot water was not common in many households, one way to provide hot lather was to use a scuttle or mug. A traditional scuttle resembles a teapot with a wide spout where hot water is poured in, and this is where it differs from a shaving mug, which has no spout. Both shaving scuttles and mugs usually have a handle, but some have none. Shaving mugs often look like a standard mug, however, some also have a built in brush rest, so the brush does not sit in lather. Modern versions of the scuttle are in limited production, usually by independent potters working in small volumes.[9] At the top of the scuttle or mug is a soap holder. Traditionally, it was used with a hard block of shaving soap (rather than soft soap or cream) and therefore had drain holes at the bottom. Later scuttles and mugs do not include the holes, and thus can be used with creams and soft soaps. Some scuttles and mugs have concentric circles on the bottom, which retain some water thus helping to build lather.[9] In use, the shaving brush is dunked into the wide spout, allowing it to soak into the water and heat up. The soap is placed in the soap holder. When needed, one can take the brush and brush it against the soap, bringing up a layer of lather; excess water is drained back. This allows conservation of water and soap, whilst retaining enough heat to ensure a long shave. Source: www.wikipedia.org Local social historyOrnate white china mug with handle. Cup side to hold brush and saucer shaped top with 3 drainage holes. Gold painted decoration and flower garland of pink and yellow roses. Mother of pearl effect over sides.Made in Germanyshaving, item, china, mug, bathroom, men, personal, toiletry

Angus & Co. was a large ink, gum, and paste manufacturing company established in Melbourne in 1896 by Joseph Armstrong Angus (1860-1936.) The company's premises included a bottle works to supply bottles for its many products. The company supplied various inks, gums, and paste too many business and domestic customers. Mucilage is a thick, gluey substance produced by nearly all plants and some microorganisms. These micro-organisms include protists who use it for their locomotion. The direction of their movement is always opposite to that of the secretion of mucilage. It is a polar glycoprotein and an exopolysaccharide. The mucilage in plants plays a role in the storage of water and food, seed germination, and thickening membranes. Cacti (and other succulents) and flax seeds are especially rich sources of mucilage. Mucilage is edible. It is used in medicine as it relieves irritation of mucous membranes by forming a protective film. It is known to act as a soluble, or viscous, dietary fiber that thickens the faecal mass, an example being the consumption of fiber supplements containing Psyllium seed husks. Traditionally, marshmallows were made from the extract of the mucilaginous root of the marshmallow plant (Althaea Officinalis). The inner bark of the slippery elm (Ulmus rubra), a North American tree species, has long been used as a demulcent and cough medicine and is still produced commercially for that purpose. Mucilage mixed with water has been used as a glue, especially for bonding paper items such as labels, postage stamps, and envelope flaps. Differing types and varying strengths of mucilage can also be used for other adhesive applications, including gluing labels to metal cans, wood to china, and leather to pasteboard. An early item from the late 1920s for office use as a glue by a well-known Melbourne manufacturer of office supplies of inks, glues, rubber stamps, and mucilage gums, etc.Bottle of Mucilage. Manufactured by Angus & Co Ltd Aust. Contents 20 Ozflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This lead sealing capsule was recovered from the tragic wreck of the sailing ship ‘Loch Ard’. It may have once been on a bottle amongst the ship's cargo, its provisions or the passengers’ personal luggage. It is now part of the John Chance collection. Bottles in the early 19th century were handmade. They were not necessarily uniform in size or shape, so sealing was not always successful. If the bottles were stored they often became contaminated by rats and mice breaking the cork or wax seals, or by insects attracted to the contents if the seal on the bottle leaked. Lead sealing capsules were used from 1843 to overcome this problem. The lead was heated until it was malleable, then moulded by hand to fit over the sealed bottle’s mouth and neck. This was more successful if wire was also used under the capsule for added security (similar to modern champagne bottles). The capsule couldn’t be re-fitted so it was discarded after the bottle was opened. Capsule designs from about 1862 used tin-plated lead foil and often had the inscriptions and trademarks of the content makers on them. Eventually it was found that the lead was toxic. The lead was replaced by tin, aluminium, and later plastic. Today’s home brewers can buy readymade plastic capsules that fit over the bottle then twist to lock it firmly into place and can be re-used. Digs at archaeological sites often reveal lead sealing capsules. These are collected and catalogued. The information gathered from inscriptions, makers’ marks, logos and descriptions of the bottle contents has provided valuable insights into the history and the dating of other items on the sites. This lead sealing capsule was made to seal a handmade glass bottle and is historically significant for representing its invention to solve a preservation and integrity issue with bottle seals in the mid-to-late 19th century. Its design has evolved and is still in use today. This sealing capsule is representative of their historical use of capsules as a tool for dating and interpreting archaeological sites around the world. The sealing capsule is also significant as it was recovered by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The sealing capsule is also significant for being connected to the wreck of the Loch Ard (1873-1878), which is historically significant to both Victoria and Australia. The loss of the ship has been described as one of the ‘worst shipwreck tragedies’ and is well known in Victoria for the tragic death of 52 out of the 54 lives on board. The Loch Ard wreck's historical significance as a large international passenger and cargo clipper ship has been recognised and it is now registered on the Victorian Heritage Database, VHR S417. The wreck site is labelled as ‘one of Victoria’s most spectacular diving sites’ and the area is a popular tourist site. It is part of Victoria’s Underwater Shipwreck Discovery Trail.Bottle sealing capsule, cylindrical with thin, round top separated from thicker body (taped in place and fragile). Made from grey-white lead, uneven in thickness and shape. Remnants of a thick substance are inside the capsule.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, bottle seal, bottle capsule, handmade bottle, antique bottle, sealing capsule, lead capsule, bottle closure, bottle foil, bottle preservation, bottle finish

There were at least two different coloured sales posters depicting the same images, a yellow poster and a grey poster. It is unknown whether these were in use at the same time or whether one type preceded the other. Repaired images of the two posters placed side by side can be seen in the 2nd photo. The repair work was done by a volunteer at our Society with the aid of Microsoft Paint. Fireworks were manufactured in Sunshine Victoria from the early 1890's by the PHOENIX FIREWORKS CO. The factory was located a short distance to the north of Ballarat Rd, on the corner of Phoenix St and McIntyre Rd, North Sunshine. For safety reasons the factory consisted of small separated huts to minimise the damage in case one blew up. Images of the factory and the workers from Circa 1920's can be seen in the 3rd and 4th photos. Fireworks were readily sold by shops to the general public, including children, for celebrating Empire Day on May 24 and Guy Fawkes Day on November 5. Because of injuries, damages, and fires, sales to the general public of exploding fireworks such as bangers and crackers, were banned in Victoria in 1974. By 1982 sales of other fireworks, except for items such as sparklers, were also banned. Despite the bans some of the public still manages to obtain fireworks from other sources to this day, as evidenced by the many discharges on each New Year eve. The factory no longer exists and ironically part of the site is now occupied by the Metropolitan Fire Brigade and several small businesses, including a smash repair business and a tyre retailer. The poster shows the attitude that previously existed, where children and the general public could readily purchase and legally discharge fireworks. For safety reasons this attitude is now frowned upon by the authorities.Colour printed paper sales poster which is laminated within a glossy plastic film. The poster shows a happy caricature boy flying through the night sky while sitting on a large sky rocket. The sky is full of exploding fireworks, and on the ground several happy caricature children are letting off fireworks.PHOENIX FIREWORKS SOLD HEREphoenix, fireworks, crackers, sky rockets, sales poster, guy fawkes, empire day

The world’s most ecologically distinct bird lives in the native grasslands of Victoria - but only just. The plains-wanderer is a small bird that was once widespread across the grasslands of south-eastern Australia. Today there are fewer than 1000 mature birds in the wild. The plains-wanderer is under threat due to habitat loss caused by overgrazing, cropping and suburban sprawl. Unlike most other birds, female wanderers are larger and more colourful and the males take care of the chicks. They are only about 15cm tall and weigh between 40-80g for the male and 55-90g for the female. Their intricate plumage mirrors the colours of their grassland home so they blend in perfectly with their surroundings. The plains-wanderer’s origins date back to when Australia was part of the Gondwana supercontinent over 60 million years ago. They are so biologically distinct that their extinction would result in the loss of a branch of the tree of life. A fussy grass dweller, they like neither too much nor too little grass. That is where sheep grazing can help. After years of low numbers in Victoria, plains-wanderer populations have been increasing in Terrick Terrick National Park in north west Victoria, as sheep grazing maintains the grass in the park at a suitable level. With the right management, this ecologically important bird species is continuing to survive in the native grasslands of Victoria. Managing these habitats for the plains-wanderer can also support the conservation of many other threatened plant and animal species. Object: Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from upcycled paper, internal structure steel. Nest of plains-wanderers by Mary-Jane Walker, 2020. Outer made from up cycled paper, internal structure steel. native grasslands, plains-wanderer, terrick terrick national park