published by Aero Digest in August 1948.liquid springs, general aviation

Purchased through the Horsham Art Gallery Trust Fund with the assistance of Quota International, Horsham and the Robert Salzer Foundation, 2013acrylic on canvas, pins

Soft cover brochure with an orange cover with a picture of honey being drizzled into a jar inside a hexagon. White & light orange writing. On the back is a hexagon with a phot of beehives

Wooden and metal corkscrew with pick on end. Wooden handle is dark in colour and has been carved to a tusk-like shape, Corkscrew is attached to bottom while pick blade is on the front of the handle.No visible markingsdomestic items, food preparation, corkscrew, bottle opener, alcohol, wine, pick, screw, wood, bone, beverage, drink, liquid, opener.

85 pages, illustrated.

The donor of the item believes that the demijohn belonged to her grandmother Jean Goldie. The Goldie family owned and operated a grocery business in Port Fairy, Victoria.An interesting item that gives insight into the type of multi use ceramic container that would have been refilled by the grocers when people were purchasing liquids, e.g. vinegar.Ceramic demijohn with cork stopper.POWELL, ORR & GOLDIE PPY. LD. PORT FAIRY- 1stoneware, demijohn, bottle, goldie, orr, storage

Glass bottle with attached phallic shaped measuring device. Attached label to the bottle states that this was used by a physiotherapist and provides a reference for the bottle: RNIB 9448. The Royal National Institute for the Blind did sell materials around the world, and this item could have been ordered from them. royal victorian institute for the blind, equipment

Brown methylated spirits bottle with top and labelSparko Industrial. On label: 19 fl. oz. net. Packed by Sparko Speciality Sales and Service, 24 Percy Street, Heidelberg Westbottles, containers, cleaning liquids, lamps

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’