Newspaper clipping from the Melbourne Sun, dated 2 Feb. 1982, titled "A Place in the Sun", written by Wayne Gregson, riding Vintage trams during the 1982 Australia Day Festival. Notes the 1915 tram trucked from Ballarat and the 1910 "toast rack tram". Has a photo of the reporter at the controls of Ballarat 27. On the top of the cutting is the Australian Press Cuttings Agency note of the source of the cutting and date stamped on in purple ink. See also Reg. Item 1836.On the top of the cutting in black ink "We should appreciate the work of Alan Bradley that we were able to appear in the article."australia day, btps

Used by conductors or conductors to retain and sell tickets from.Demonstrates the method of dispensing tickets by conductors, how the tickets could be arranged. Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented.Sheet of leather, approx 2mm thick, stained brown with four pockets formed on each side with another sheet of leather, stitched on all sides to form pockets to hold eight blocks of tickets. Stitching is a white colour cotton. Has four blocks of tickets. 80c - blue - A 1016901 - Ballarat Vintage Tramway 30c - purple - A 69601 - Ballarat Tourist Tramway 10c - black - A 114000 - Ballarat Tourist Tramway 5c - red - A 137000 - Ballarat Tourist Tramwaybtm, ballarat tramway museum, ballarat tramways, tickets, ticket wallet, sec, conductors

A4 size paper used by BTM Inc as letterhead for period commencing 9/95 to 6/1997. Has drawing of tram 33 in top left hand corner, organisational name, address and MAP logo at top and Ballarat Vintage Tramway on base. Printed in two colours - green tram using a Canon BJC 4000 printed and black using a Brother Laser printed and using Word for Windows 6.0. Produced on as needs basis at about 20 to 30 sheets per time.trams, tramways, btm, ballarat vintage tramway, letterhead, letters

Kerosene lamps were used as a main source of lighting throughout Australia prior to the supply of domestic electrical services. This was obviously later in many rural areas. This lamp was used in the home of Mrs. Gina Elizabeth Harris of Bethanga in Northeast Victoria where electricity was connected on 23 March 1959.This lamp is representative of the lamps used throughout Australia prior to the introduction of domestic electricity supplies. This vintage kerosene lamp is model No. 21 which was manufactured by Aladdin Industries in Greenford, Middlesex, England in the 1950s. Base stems were mostly made from wood, turned into several different patterns. More expensive table lamp stems were of metal. Bases were mostly steel filled with sand as a weight. When Bakelite became available it was used extensively in three different colours, although collectors say that white bases were used primarily in hospitals and churches and are more rare. On wick knob: "21/Aladdin Industries Ltd/GREENFORD" Inscribed around burner: "GB Patent No 9. 69-4273-4"kerosene lamp, bakelite, domestic appliances

A Bendigo Advertiser newspaper article titled, 'New Era for Bendigo Trust - Education officer appointed,' by Amy Huxtable. Mr. James Lerk has been appointed Education Officer of the Bendigo Trust. His role will be initially to prepare material for and about the entities of the Bendigo Trust. These are Central Deborah Gold Mine, Vintage Talking Trams, Dai Gum San Wax Museum. The Tramways Museum will also be developed. A photo of Mr. Lerk is also included in the article. 12/02/77history, education, bendigo trust, lydia chancellor collection, collection, bendigo, bendigo trust, history, education, mr. james lerk

[1] Three Bears Porridge Flaked Oatmeal Bag: This textile bag originates from Canadian Cereal Mills Ltd., which marketed "Three Bears" flaked oatmeal. Popular in the early 1900s to mid-century, this product combined functional packaging with a child-friendly incentive — a cut-out cloth doll. The practice of printing toys, games, or clothing patterns on flour or oat sacks was a common marketing strategy, encouraging reuse and appealing to families during times when thrift and creativity were essential, especially during the Depression and wartime years. The Three Bears brand played off the enduring popularity of children’s nursery tales, while the doll encouraged children (and parents) to reuse packaging creatively. This object captures a unique intersection of food marketing, household resourcefulness, and early 20th-century domestic life. [2] Mammy Self-Raising Flour Bag: This item is a mid-20th-century Australian flour bag, branded “Mammy Oven Puff”, produced by A. Mammy Products Pty Ltd in West Footscray, Victoria. The use of the name "Mammy" and the caricatured illustration draws on a now widely recognised and offensive racial stereotype originating from American minstrel culture, commonly used in product branding in the early-to-mid 20th century. While the bag reflects a specific period in Australian domestic and commercial packaging history, it also exemplifies racially insensitive advertising that would be considered inappropriate and harmful by today’s standards. Such items are preserved today in museum collections to help document past social attitudes, consumer culture, and the evolution of racial representation in advertising. [3] Bandung Blue Triangle Brand Flour Bag: This bag represents a mid-20th-century Australian flour export product, particularly aimed at international markets such as Indonesia (as indicated by "Bandung"). The “Blue Triangle Brand” was likely a registered trademark used by a Melbourne-based flour mill engaged in both local and overseas trade. The use of durable cloth bags for bulk flour was common prior to the widespread adoption of paper and plastic packaging. These bags were often reused domestically for household textiles, clothing patterns, or storage. The export reference (Bandung) underscores Australia's historical agricultural trade ties with Southeast Asia, especially in wheat and flour exports. – Roy SCHMIDT resided with his siblings Mabel and Jack at ‘Parklands’ 85 Lake Avenue Natimuk home of Heinrich Friederick ‘Heiny’ & Minna Christina SUDHOLZ nee LANGE and their children Louis, Sophie, Alma, Lena (Roy's Mother), Florence 'Florrie' and Edward ‘Ted’.[1] Three Bears Porridge Flaked Oatmeal Bag: A vintage cloth oatmeal bag printed with black ink on both sides. One side is branded with "Three Bears Porridge – Flaked Oatmeal", showing an image of three bears behind a gate, referencing the well-known “Goldilocks and the Three Bears” fairytale. The opposite side features a printed cut-out doll design, showing a young girl with curly hair holding a bouquet of flowers, intended to be sewn into a stuffed toy. Instructions note that the reverse side (the doll’s back) could be obtained from a second bag. The design combines product branding with a promotional activity for children, typical of early- to mid-20th-century grocery packaging aimed at reuse. [2] Mammy Self-Raising Flour Bag: A small vintage cloth flour bag with printed branding in faded red, blue, and black inks. The front of the bag features a central image of a caricatured smiling African American woman wearing a headscarf. The text is unevenly faded but legible in parts. The bag has a rectangular shape with an open top edge and signs of previous use, including creasing and some fraying at the corners. [3] Bandung Blue Triangle Brand Flour Bag: A large, rectangular vintage cloth flour bag made of cream-coloured calico or cotton. The front of the bag is printed in bold blue ink with branding and export information. It prominently features a large triangular logo reading “Blue Triangle Brand” and numerous lines of text in block and stylised fonts. The bag is open at the top with frayed edges, suggesting it was once machine-stitched shut and later opened.[1] Three Bears Porridge Flaked Oatmeal Bag: Front side (branding side): "THREE BEARS Porridge – FLAKED OATMEAL" "7 Lbs. Net." “Packed and guaranteed by Canadian Cereal Mills Ltd., Toronto” Reverse side (doll pattern): "This is the Front for Three Bears Cut-out Doll" "In order to complete this Doll it will be necessary to obtain the Back Design from another Bag of Three Bears Rolled Oats or Oatmeal." [2] Mammy Self-Raising Flour Bag: Main product name: “MAMMY OVEN PUFF SELF-RAISING FLOUR” Additional text: “The Only Creamed Flour” “Prepared with phosphate aerator” “A. MAMMY PRODUCTS PTY. LTD., Sunshine Rd., West Footscray. Phone: FW 7321” “7 LBS. NET” (near top edge, very faded) [3] Bandung Blue Triangle Brand Flour Bag: The bag is printed with the following: “10270” “G.W.C | H.L” “BANDUNG” “BEST AUSTRALIAN” “BLUE TRIANGLE BRAND” (inside the triangle logo) “GROWER & GRINDERS” (curved around the logo) “Patent Roller” “MELBOURNE” “FLOUR” “50 LBS. GROSS WHEN PACKED” These inscriptions indicate that this flour bag was manufactured in Melbourne, Australia, and was likely exported to Bandung, Indonesia.farm equipment, flour, milling, oats

Sepia tone photograph of a two storey building, there are water tanks at both ends. On the left hand side of the centre portion of the building there is a flat top verandah consisting of 3 archways along the front and one at each end. There is a sign above the archways reading 'Robinvale hotel'. On the right of the Centre there is a much smaller structure consisting of 1 archway at the front and 1 on the right hand side, above the front archway there is a sign reading 'Bar'. In front of the Hotel on the left hand side there is a 1920's vintage car parkedbuildings, hotel, robinvale, cohn brothers , robinvale hotel

A small vintage dark blue paperback The New P.W.M.U. Cookery Book complied and published by the Presbyterian Women's Missionary Union of Victoria in 1948. Price 2/-. The front cover has the title and publishing details as listed printed in faded white lettering. The spine has the title and price printed in white lettering. There is a Table of Weights and Measures at the front, an Index of recipes and general information about The Presbyterian Church in Victoria. There are black and white advertisements hroughout. 188p. Included are newspaper recipes cut from old newspapers.non-fictionA vintage P.W.M.U.1948, 6th edition cookery book arranged by Miss A. M. Campbell and issued by the Presbyterian Women's Missionary Union of Victoria of which all profits are devoted to its works. It was obtainable from the Scottish Tea House, 156 Collins Street Melbourne, C.1, Vic. There is a Help for Beginners section at the front with general hints and some simple recipes.cookbooks, cookery books, domestic objects, p.w.m.u., reference books

Book with dustjacket. Book has a dark blue cover, with abbreviated title, author's and publisher's names embossed in gilt on the spine. Dustjacket has a yellow background, the front of which has a decorative brown border within which abbreviated title, author's and publisher's name printed in black along with an illustration of two hands bandaging a third hand/arm (brown ink). Abbreviated title author's and publisher's names are also printed in black ink on spine. Back cover has illustrations of vintage medical related advertisements non-fictionThis book was intended "to give hints for thought to women who have personal charge of the health of others...Knowledge which everyone ought to have-distinct from medical knowledge, which only a professional can have"florenve nightingale, nursing

This tool, along with many other vintage tools in the collection of the Warrnambool and District Historical Society, is believed to have belonged to Henry Phillips, a19th century Warrnambool identity. English-born Henry Phillips (1821-1896) came with his wife Elizabeth to Australia in 1849 and lived in Port Fairy for some years. In 1865 Phillips formed a partnership with Christopher Beattie in the Warrnambool undertaking business of Beattie and Phillips. This was a major business in Warrnambool, continuing after the deaths of Phillips and Beattie until the year 2000. Henry Phillips was involved in the management of the Warrnambool Mechanics’ Institute and the Art Gallery. This tool is of interest as an example of a 19th century tool and as a memento of a prominent Warrnambool businessman of the 19th century, Henry Phillips. This is a planing tool with a rectangular-shaped wooden body and two round polished wooden handles at either end. The wooden piece is curved on the base. A metal plate with a curved end is inserted in an opening on the top of the wooden piece and extends down to a small slit at the base. Metal screws keep the handles and the metal blade in place. vintage carpentry tools, henry phillips, warrnambool, history of warrnambool

The subject item is a vintage Nautical Shipwrights Ship Boat Caulking Hammer Mallet, Unusual Small Size. These mallets were routinely used in the 1800s when ships were made of wood. This mallet was used with caulking irons to drive the oakum (caulk) between the ship's bottom planking to seal them up. The mallet has slots to dampen the vibration of the mallet blows on the user's elbows. The head is made of a very hard wood, possibly Lignum Vitae or another dark tropical wood. The item seems to be of a very early design with the two preened-over metal rods for reinforcing the head. Item appears to be of early manufacture by an unknown maker from the mid to late 19th century and is significant as tools of this era are quite rare. This tool is also significant as it gives an insight into how ships made of wooden planks were made sea-worthy by inserting caulking material between the boards thereby making the vessel watertight. Caulking Mallet Wooden with iron ferrules on each end. Wooden head with two large bolts passing through body. Stamped W Milne. James S Steele tool box.Stamped W Milne & James S Steele tool box.mallet, flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, caulking mallet, caulking, james steele, shipwrights tools

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this two piece ensemble from the influential fashion boutique "The House of Merivale and Mr John" to wear to a performance of "The Sleeping Beauty" by London Festival Ballet, featuring Rudolph Nureyev at the Palais Theatre in St Kilda in May 1975.A two piece ensemble consisting of long evening dress (.1) and matching jacket (.2), cropped jacket of black acetate. The jacket features a tie front and long buttoned sleeve. The full length dress is slim fitting with centre back zip, shoestring straps and shaped bust with ruched centre front."Mandamatilda", "Dry Clean Only, SSWdi reidie, 1970s, house of merivale, manda matilda

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di wore these novelty car print "Howard Showers" pants to many car rally events in Victoria, Australia and USA between 1990 and 2010, where she would perform the role of navigator and co-driver in a team with her husband David. Di's choice of clothing at the rallies is indicative of her sense of humour and attitude towards clothing. Cream coloured cotton French terry cloth pants with metal zip fly front, branded button closure, feature red stitching and printed cars in black ink. There are several car designs featured with each design appearing c1960s - 1970s. One car design features the name "Howard" on its number plate. Manufacturers label "Howard Showers, Holiday, size 12" Metal button inscription "Howard Showers, Syd (Sydney), Aust (Australia). "Made in Australia". Care label. howard showers, novelty print clothing, 1990s, di reidie

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di was gifted this dress by a former manager of the Bayside Gallery, who herself had worn it to a fancy dress event after finding it in a local opportunity shop. Di subsequently wore it to a party with friends at the Windsor Hotel in Melbourne to celebrate and watch the televised royal wedding of Prince Harry and Meghan Markle in May 2018.Purple silk full length dress with cream neckline and arm hole band trim and white decorative beading over waist. The bodice joins front and back at the shoulder with a decorative purple ring. The lining is made of magenta coloured silk."Exclusively Yours Hartnell REGD Melbourne", "Exclusive Finest Imported Fabric"costume party, fancy dress, royal wedding, hartnell of melbourne, ralph samuel, melbourne designers, flinders lane, di reidie, 1960s

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. Darryl James Rowe was a qualified instrument repairer. He specialized in Vintage car instruments on dash boards. These would include speedometers, car clocks, ammeters, oil gauges, ignition switches, temperature gauges, glass tube fuel gauges and dials repaired. He was located in Vickers Street Sebastopol. Documents relate to the years 1984 to 1986.Decal designs various sizes for car dash boards. Ledger showing orders from 1984Car makers, guages zilles printers, darryl james rowe, instrument repairer, ballarat, vintage cars, dash boards, decals, speedometers, car clocks, ammeters, oil gauges, ignition switches, temperature gauges, fuel gauges

This clear, light green, glass "hand blown" fruit preservation jar was used before the mass manufacturing of "screw topped" fruit preservation glass jars imported from Asia or great Britain. The "Mason's Patent" on the jar was for the screw-neck form of the jar top. The screw neck provided the jar with a vacuum seal (preservation) method of fruit jar storage. The reference on the jar of the actual date that the patent was established was in effect for 13 years with extension of a further 7 years. It was an American world wide patent which resulted in only specific manufacture to Glass Works that had paid the manufacturing levy imposed. The air bubbles in the glass suggests that this jar was "hand blown". This would then place the manufacture date before 1900. Preserves came in glass jars bought at the local grocery store or at a large city store on a shopping expedition. The shape of the jar changed as did the stopper used to seal it. Jars were recycled remaining the property of the manufacturer. History of Mason's.This fruit jar is significant to a rural area such as the Kiewa Valley and in the early 1900's when the preservation of fruit and vegetables was an intrinsic part of the typical rural farm/property family. Local shops could only supply fruit and vegetables as seasons permitted. The travelling "green grocer" was more prevalent in towns and cities but not in semi remote rural areas. Historical: Change of jars - shape, glass, stopper, embossing & use. Aesthetic: Display showing embossing & shape especially if in good condition.This vintage "Mason's Patent", screw on thread lid fruit jar was hand blown (air bubbles). It was produced for the home canning of local fruit. The jar is made from thick glass and is tinted light green. Clear glass jar with slight green tinge used for preserves. sides almost straight but jar has a slight bulge almost all the way to the top. Heavily embossed on 1 side. Horizontal print in large capital letters. At the top - manufacturer's name with emblem beneath it. The base has a slight bulge inwards with embossing.In a half ecliptical form "MASON'S" and underneath the Mason's logo.Under the logo "PATENT/ NOV 30 th / 1858". On the base "C201" (double molded).fruit and vegetable preserves, domestic fruit and vegetables bottling, off seasonal fruit and vegetable storage, jar, bottle, preserves, mason's preserves

This early 20th-century chest of drawers is unique. It was made from recycled timber kerosene boxes and metal tins. The case was made in South Australia between 1905 and 1927 by the British Imperial Oil Company Ltd, which was the first business to import bulk petroleum products into Australia. Before this, ships carried crates of kerosene as cargo. Items salvaged from the 1880 wreck of the vessel Eric the Red included kerosene boxes. Kerosene replaced plant and animal-based fuel, such as whale oil, for lighting in homes and for the lamps in lighthouses and on marine vessels. It was also used for cooking and heating and as engine fuel. The last kerosene-fueled lighthouse lamp was transferred to solar power in 1985. The chest of drawers is one-of-a-kind. The original uses for the components of the chest of drawers, the wooden box and metal tins were for containing and transporting kerosene. Kerosene was used from the late 19th century for fuel in lamps, heating, and cooling. Previously whale oil was used for the lamps in lighthouses. The company providing the kerosene was the first to import it into Australia in bulk quantities. The set of drawers is one of the many ways that inventive Australians were able to repurpose materials.Chest of drawers; wooden frame and rails, metal drawers with vertical metal handles. The frame has been constructed from the wooden panels of a vintage oil and kerosene box. The three drawers have been created from empty kerosene cans that were cut in half from top to bottom, some with the round opening closed over. Inscriptions from the original box and cams are stencilled on the top and base of the frame and impressed or painted on the metal cans. The frame has provision for a further drawer. The wooden case and metal tins were made in Australia.Top and base of frame; "THE BRITISH IMPERIAL OIL CO. LTD." "OIL ENGINE KEROSENE" "CASE ANDTINS AUSTRALIAN MADE" On tin; "POWIRIN" "BIOCO LTD" Logo [cross} with inscription on horizontal bar "CROSS" Impressed in timber drawer dividers (indecipherable text) Side of drawer, painted in orange on black; "TY -, REG U S - TIDE - "flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, antique, domestic equipment, chest of drawers, tool box, furniture, storage, recycled tin, recycled box, kerosene, fossil fuel, lighthouse lamp fuel, british imperial oil company ltd.

Australia Day 1978 Melbourne had the biggest collection of historic vehicles seen in this country. There were electric and horse drawn trams, steam trains, veteran and vintage cars and even a fly past of old flying machines. Officially the occasion marked the unveiling of Harold Freeman's giant mural at Spencer Street Station depicting a century of transportation in Australia. Another paragraph refers to the horse trough referred to in E - C - 3 and research by Amy Bunker into the story of George Bills. It points out that the RSPCA emergency home in Burwood is the George Bills Rescue Centre.transport, freeman, harold, spencer street station, horse troughs, bills, george, royal society for the prevention of cruelty to animals, bunker, amy

The cast iron combustion stove is significant as part of the evolution of domestic cooking. Previously, cooking was mostly carried out in the outdoors on open fires, and later in fireplaces indoors. The cast iron combustion stove is significant as part of the evolution of domestic cooking. Cast iron stoves burn solid fuel such as wood or coal, and are used for cooking and warmth. The stoves have a firebox with a grate where the fuel is burned. The hot air flows through flues and baffles that heat the stove top and the oven. By the 1920s gas cookers were being introduced for domestic use, and by the 1930s electric home cookers were being offered to householders. A vintage cast iron kitchen stove set in the back wall of the Mont De Lancey Slab Kitchen. It has two steel decorative hinged doors with a handle to open and close. There is one pull out metal shelf in each compartment. Between the two doors is a round door which opens to reveal the wood box with a slatted base. This allows the ash and small coals from the fire to fall though to a pull-out tray below to be emptied outside when cooled. There is another lift-out kid to clean the ash and coals underneath.On the chimney plate 'Andrews, Patent Non Pariel' On the front of the stove below the round wood box 'C Andrews Geelong'cooking equipment, cooking stoves, fuel cooking stoves, domestic ovens

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." Note from collector-"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. " Tan and brown plaid fringed travel rug. Albany Woollen Mill/Travel Rug/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, rug, albany, albany woollen mills

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

See Cat 7003.2 - Greenwood.1. This is a lightweight medal. It is based on a gold wreath. It has a red wedge at top and in centre is a cold war era East European soldier with AK47. He is wearing cold war vintage helmet. Cyrillic word above the soldier and with the letters "CABO" in a rectangle at bottom. It has 5 pointed star tips protruding, the top one has a holding ring. 2. A rectangular piece, it has gold borders with the inside divided into three sections. They have two red and one enamel fill ins It has a mounting clip on the rear and a mounting ring on the top border.east europe, badges, greenwood

Newspaper article titled History just keeps motoring on. Bendigo Advertiser 21/7/97. Photo shows Greg Smith, his son Brenton and friend Doug Clarkson making their way in an International Motor Buggy to a Bendigo Veteran and Vintage Car Club meeting which was held at the Bendigo Chinese Gardens Museum. The motor buggy has large buggy type wheels and has no cabin. The number plate is 246. Written below the photo is: There was the same Motor Buggy in St Just Point owned by Tyson Family. Written on the back is: Red Plate 246.bendigo, history, long gully history group, the long gully history group - greg and brenton smith, doug clarkson, bendigo advertiser 21/7/97, peter hyett, bendigo veteran and vintage car club, bendigo chinese gardens and museum

Block of 100 tickets, 3d, Ballarat Vintage Tramway, A00001 to A000100. Printed on white paper, black ink with the "3d" and A prefix in red ink. Issued commencing 1 January 2008, to replace the 80c child single journey ticket. Stapled with a heavy staple at the top of the ticket onto a heavy brown cardboard sheet. With worksheet is a "Notice to Traffic Staff", issued by the Operations Manager, 26/10/2007. On the rear is a note regarding the BTM and contact details. 4028.1 - Block A7001 to A7100 - different style of printing the ticket number - provided to Archives by G. Young 3/2009.trams, tramways, tickets, btm

These old spools or bobbins were used in textile mills and on looms in factories. The wooden one is a piece of the Industrial Revolution. Two vintage or antique wooden and thick cardboard industrial large sewing spools. The wooden one is an example from the Industrial Revolution. It has a round wooden top and base, with metal bands around both ends. There are two holes in one end at the side of the bigger hole in the middle which the spool would be attached to a machine. It has thick twisted discoloured cream string like thread wound around it. The cardboard wide open ended spool is smaller with thick cream coloured silk thread wound onto it.They were probably used in mills or factories.cotton reels, thread holders, threads

White card with glossy exterior surface, matt inside, featuring tram 33 line drawing printed onto one quarter in glossy green ink. Other half on the outside has a stuck on label with details about the Ballarat Vintage Tramway and the makers logo - Alikan Graphics and their phone number. On inside is Christmas Greetings for 1991 from Peter Winspur to Warren Doubleday. The PS concerns the 1991 Christmas card of the Metropolitan Fire Brigades Board which had a Mark III pumper parked across the tram lines in Melbourne at the top end of Collins St.In blue ink on inside of card is "To Warren / Christmas Greetings / All the Best for 1992 / from / Peter." see brief description for information regarding the PS.tramways, trams, greetings cards, ballarat vintage tramway, btm logo

Set of two foolscap notices regarding fares, travel cards, concession cards, day trippers, and general information. .1 - Blue foolscap sheet - titled "For your Information", for fares changes from 16/9/1979, gives details of fares and prepaid tickets in books of 20, also vintage tram trips, tram and bus charter rates, maps, timetables and contact details. .2 - pink foolscap sheet - titled "Information Guide for passengers:, as above, applicable from 3/8/1980, has details on section savers, day trippers, metro cards, etc.trams, tramways, notices and information, mmtb, fares, tickets, charters, information