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Warrnambool and District Historical Society Inc.
Clothing - Fletcher Jones Man's Sports Coat, 1970s
This sports coat was made at a Fletcher Jones factory about the 1970s. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he leased three shops in Liebig Street, Warrnambool and in 1928 opened his Man's Shop at the intersection of Koroit/Liebig Streets. He manufactured men's clothing on site in a new building erected in 1931. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was established in Warrnambool with a new company Fletcher Jones and Staff established in 1951.This company then operated in other States and known Australia-wide firstly for its production of men's trousers and later for men's and women's clothing. By 2011 the Warrnambool factory was closed and the company dissolved. This coat was bought by Lew Officer, a member of a family with pastoral interests in the Western District.This item is of considerable historical interest as an example of the high quality work produced by the Fletcher Jones and Staff Clothing Stores. This company was a key industry in Warrnambool in the 20th centuryThis is a man's sports coat made of Harris tweed hand woven in the Outer Hebrides made from Scottish-grown wool. The checked material is in brown tonings. The coat has a brown material lining and there are two brown buttons down the front and two on each sleeve. The collar has a grey felt lining.fletcher jones clothing stores -
Warrnambool and District Historical Society Inc.
Functional object - Dressmaker's model, Wolf Form and Co. (New York), 1971
This dressmaker's model has been made by a New York firm (1971 model) and comes from the Fletcher Jones Factory in Warrnambool. It would have been used for making and displaying ladies' clothing made at the factory. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he opened a men's wear shop in Warrnambool and manufactured in sute. In 1946 a Fletcher Jones shop opened in melbourne and in 1948 a factory was established in Warrnambool with a new company, Fletcher Jones and Staff begun in 1951. The company initially specialized in men's trousers but later expanded into both men's and women's clothing. It became an Australia-wide company known throughout the country until it ceased in 2011 and the Warrnambool factory buildings were sold.This dressmaker's model is of considerable interest as a memento of the Fletcher Jones and Staff Company, founded in Warrnambool, employing many local people for a great number of years and known throughout Australia for its quality products and pioneering business model as a founder and staff co-operative.This is a dressmaker's model with the body section (bust and torso) having a fabric cover over a wooden core. The top section is bronze-coloured with a silver rim. Beneath the body section is a wire frame and a metal base on castors. The castors are rusty and the fabric is broken in places. Collapsible model 1971 22 WOLF FORM Registered perfect model forms N Y 140 5th Avefletcher jones and staff, fletcher jones factory warrnambool, warrnambool history -
Port of Echuca
Colour negative, coloured photograph and coloured enlargement, 03/04/1984
These photographs and negative show the P. S. Adelaide travelling from Paddlewheel Park up to the Echcua wharf, immediately after being re-launched into the Murray River on 03/04/1984. The P.S.Adelaide had been displayed in the Hopwood Gardens, as a static display since 1960. The P.S Adelaide is the second oldest wooden hulled paddle steamer, still operative, in the world. The P.S Pevensey is leading the way up to the wharf, and an unknown smaller paddle steamer follows behind. This photograph is significant because it shows the P.S Adelaide back in the Murray River after 24 years as a static display in the Hopwood Gardens. The P.S Adelaide is the second oldest wooden hulled paddle steamer, still operative in the world. In July 2016 it celebrated its 150th birthday. These images relate to P000059.3, P000060.3, P000061.3, P000062.2, P000063.3, P000070.2, P000071.Colour negative and two different sized photographs showing three paddle steamers travelling upstream towards the Echcua Wharf. There is a small unidentifiable paddle steamer in the foreground. The P.S Adelaide is sailing between the other two paddle steamers. The P.S Pevensey is in the background. The P.S Murray Queen is in the foreground. All three boats are heading towards the wharf, immediately after the re-launch of the P.S Adelaide from the Hopwood Gardens, back into the Murray River on 03/04/1984.p.s pevensey, p.s adelaide, p.s philadelphia, echcua wharf, p.s murray queen -
Port of Echuca
A coloured rectangular photograph, 1979
This is a picture of the railway station building which was built in c. 1865. The railway line was built from Bendigo to Echuca in 1864. The left wing of the present building has an additional floor to the original building. Refer page 62 of Susan Priestley's book. "Echuca; A Centenary History." The Building of the Echuca Railway station was very significant to life in Echuca. It made travel easier for residents, but also it helped develop Echuca as the largest inland port in the world. Traders brought wool and wheat down the Murray-Darling river basin to Echuca where it could then be sent by rail to Melbourne for shipping overseas, or to other ports around Australia. Rail became a very successful partnership in making Echuca Port's busiest year in 1872.A coloured rectangular photograph of the Echuca Railway station taken in 1979. There are three cars parked outside. A motorcycle is parked under the verandah, where two people are also sitting. In the foreground there are yellow flowering weeds.railways, echuca railway station., priestley, susan -
Kew Historical Society Inc
Journal, Kewriosity : June 1991
Re locations [North Kew Tennis Club, 1st Kew Scouts] / 1. North's replacement kinder [Kew Preschool Association and North Kew Kindergarten in Pakington Street] / p1. Kinders - What to do? [Council finances] / p1. Junction Traffic Study / p1. Diary dates for June / p2. Bravo, Band! [Kew Youth Band, Kew Band] / p2. World's best animation [3 MBS fundraising] / p2. Travelling friends [St Anthony's Children's Home reunion] / p2. Commentary [Council budget] / Cr Daryl Oldaker p3. Chief Executive's Column [corporate structure] / Malcolm Hutchinson p3. Beat the beetle [elm leaf beetle] / p4. One electorate: six winners [Hare Clark system] / p4. Heritage Planning [Heritage Residential Zone and individual building controls] / p4. Vale - Allan Hutchinson J.P. 1938-1991 [obituary] / p4. Kewriosity lives on / p5. Nappies in Walpole Street [baby change room] / p6. St George's not dragg'n its feet [Three Year Accreditation Certificate] / p6. Get a dog ... But register it / p6. Sisters kick up heels [Our Lady of Missions dance] / p6. Davis Street's open day [Davis Street Kindergarten] / p7. Baby, Look at us now [High Street Kindergarten] / p6. [Fourth Kew] Scouts host Chernobyl children / p6. New threesome [Trio Nova] / p7. A good get-together [Kew Community House] / p7. A certain timbre [furniture design] / 7. Pride on wheels / p7. Keeping home fires burning [Dunnings Wood Yard] / p7. 1938 diarists / p8. Carey picnic / p8. Henry VIII Birthday / p8. Walk the Outer Circle [walking tours by Australian Railway Historical Society] / p8.Kewriosity was a local newsletter combining Kew Council and community news. It was published between November 1983 and June 1994, replacing an earlier Kewriosity [broad] Sheet (1979-84). In producing Kewriosity, Council aimed to provide a range of interesting and informative articles covering its deliberations and decision making, together with items of general interest and importance to the Kew community and information not generally available through daily media outlets.non-fictionRe locations [North Kew Tennis Club, 1st Kew Scouts] / 1. North's replacement kinder [Kew Preschool Association and North Kew Kindergarten in Pakington Street] / p1. Kinders - What to do? [Council finances] / p1. Junction Traffic Study / p1. Diary dates for June / p2. Bravo, Band! [Kew Youth Band, Kew Band] / p2. World's best animation [3 MBS fundraising] / p2. Travelling friends [St Anthony's Children's Home reunion] / p2. Commentary [Council budget] / Cr Daryl Oldaker p3. Chief Executive's Column [corporate structure] / Malcolm Hutchinson p3. Beat the beetle [elm leaf beetle] / p4. One electorate: six winners [Hare Clark system] / p4. Heritage Planning [Heritage Residential Zone and individual building controls] / p4. Vale - Allan Hutchinson J.P. 1938-1991 [obituary] / p4. Kewriosity lives on / p5. Nappies in Walpole Street [baby change room] / p6. St George's not dragg'n its feet [Three Year Accreditation Certificate] / p6. Get a dog ... But register it / p6. Sisters kick up heels [Our Lady of Missions dance] / p6. Davis Street's open day [Davis Street Kindergarten] / p7. Baby, Look at us now [High Street Kindergarten] / p6. [Fourth Kew] Scouts host Chernobyl children / p6. New threesome [Trio Nova] / p7. A good get-together [Kew Community House] / p7. A certain timbre [furniture design] / 7. Pride on wheels / p7. Keeping home fires burning [Dunnings Wood Yard] / p7. 1938 diarists / p8. Carey picnic / p8. Henry VIII Birthday / p8. Walk the Outer Circle [walking tours by Australian Railway Historical Society] / p8. publications -- city of kew (vic.), kewriosity, council newsletters, community newsletters -
Sunshine and District Historical Society Incorporated
Photographs (1928), 'QUARTER MILE' BRIDGE Construction, 1928
One man lost his life during the building of this bridge. The bridge was constructed by the Victorian Railways between 1927 to 1929 to carry a new double track goods line. This enabled trains from all parts of the state except Gippsland to have direct access to the Tottenham marshalling and sorting yards. These yards were constructed in the 1920's to relieve congestion in the Melbourne Yard near Spencer Street station. The congestion was being caused by the construction of suburban passenger platforms associated with the electrification of the suburban railway network. Initially the bridge was for goods trains but during the Second World War it was also used by troop trains. When the standard gauge line was built in 1962 all trains to Albury and Sydney have used this route, thus avoiding travelling through Essendon and Pascoe Vale on the suburban tracks. The standard gauge track across the bridge took the place of one of the broad gauge tracks so broad gauge trains crossing the bridge in either direction have to now use the same track. The bridge is 1,257 feet (383.13 metres) long and 180 feet (54.86 metres) above the water level. It is just 63 feet (19.2 metres) short of a quarter mile in length between abutments. There is a similar bridge on the same railway line crossing the Moonee Ponds Creek between Gowenbrae and Glenroy, however it is smaller at 1060 feet (323.08 metres) length and 115 feet (35.05) height.The bridge is now Victorian Heritage Registered under Number: H1197, and Heritage Overlay Numbers HO5, and HO107. On the Heritage Register it is named RAIL BRIDGE (ALBION VIADUCT). According to the Heritage Report the bridge is scientifically and architecturally important because of its large size, and because of the cost effective design features such as two girders per span (one for each track), the K bracing in the towers, and the broad flange beams as columns. When it was being built it was the largest trestle bridge in Australia, and until the Sydney Harbour bridge was constructed it was the highest railway bridge.Five B&W yellowing photos showing stages of construction of the Maribyrnong River Viaduct known as the Trestle Bridge but mainly known locally as the QUARTER MILE BRIDGE. It is a railway only bridge which runs over the Maribyrnong River between Sunshine North and Keilor East. A sixth image, which is not part of this set of photos, is included to show what the completed bridge looks like. -
Sunshine and District Historical Society Incorporated
Document (1948), Helen Keller, Polly Thomson, Marion Fatuson, Signatures of Helen Keller, and her companions Polly Thomson and Marion Fatuson, 1948
In 1948 during her Australian tour Helen Keller visited the west suburban SUNSHINE GIRLS TECHNICAL SCHOOL, to express her thanks for a letter written by the students in support of her work with deaf and blind people. She and her travelling companions presented the school with their signatures. Helen Keller was born on June 27, 1880 and due to an illness at the age of 20 months lost both her sight and hearing. Helen was taught to communicate by Anne Sullivan who wrote words into her hand, and she also learned to speak by touching the throat and lips of people as they spoke. In June 28, 1904 Helen Keller graduated from Radcliffe College with a Bachelor of Arts degree, being the first deaf and blind person to do so. In October 1914 Polly Thomson joined up with Helen and Anne. Helen published an account of her religious beliefs and an autobiography, and in 1930 the three women travelled to Scotland, England and Ireland. In 1931 they participated in the first World Council for the Blind. After Anne Sullivan Macy died in 1936 Helen and Polly continued to travel to several countries. In 1943 Helen visited blind, deaf, and disabled soldiers in a USA military hospital, which she described as "the crowning experience of my life". In 1946 Helen and Polly made their first world tour for the American Foundation for the Overseas Blind and over the next 11 years visited 35 countries. In 1955 Helen became the first woman to be honoured with an honorary degree from Harvard University. In 1960 Polly Thomson died, and in 1961 Helen suffered her first stroke and so retired from public life. In 1964 President Johnson conferred the Presidential Medal of Freedom however she was unable to attend the ceremony. On June 1, 1968 Helen died in her sleep, and her ashes have been interred with those of Anne and Polly at the National Cathedral. Over 1200 mourners attended the funeral.It is significant that Helen Keller actually took the time and effort to visit the Sunshine Girls Technical School to thank the students for their supporting letter. Helen Keller's many achievements show that a severely handicapped deaf and blind person can make significant contributions to society, if they apply themselves and receive assistance from dedicated friends. Brown stained wood frame with glass face enclosing a beige paper with three signatures and a typed white paper section describing reason for the signatures. Helen Keller, Polly Thomson, Marion Fatuson, 11.5.48helen keller, polly thomson, marion fatuson, anne sullivan macy, deaf, blind, signatures, radcliffe college, sunshine girls technical school -
Sunshine and District Historical Society Incorporated
Galvanised Wash Tub, Probably Circa 1940's
Many displaced people who migrated to Australia after World War 2 brought similar tubs with them as part of their luggage. The tubs were valued by the migrants because they were used for washing clothes and other laundry items, and for bathing children and even adults. The tub in our possession was brought out to Australia in 1950 by the Pierzak family who eventually settled in North Sunshine, Victoria. The following story about the Pierzak family has been provided by the daughter Halina Wlodarczyk (nee Pierzak). The father Stanislaw Pierzak was born on the 26th of July 1916 in Zbrza, and the mother Teodozja (Teodozia) Szalas on the 5th of March 1919 in Goleciny, both villages in the Kielce district of Poland. In 1940 they were both taken by the German Army to work as slave labour on farms in Germany. Stanislaw worked in the Saxonia area and Teodozja near Dillingen. The work was hard, and when Teodozja contracted pneumonia she was told that she would not be given any food if she did not work. After the war the displaced persons, as they were called, were settled in various barracks and camps organised by the United States Army. Stanislaw and Teodozja married in Gablingen, Bavaria, Germany, and Halina was born in the camp at Gablingen in 1949. The displaced people were given the choice of several countries if they wanted to migrate from war torn Germany, and so the Pierzak family chose Australia. The Pierzak family set sail from Naples, Italy aboard the ship General M. B. Stewart and arrived in Sydney on the 17th of April 1950. The men and women had to stay in separate quarters, and many passengers were so sick that they did not think they would survive the journey. In Australia they lived in migrant camps in NSW at Bathurst, Orange, Parkes and Cowra. To pay off their fares to Australia migrants were required to work under contract for 2 years. Stanislaw Pierzak worked in Broken Hill NSW returning to visit his family every 3 to 4 months. The son John was born in the Red Cross building at the Parkes camp in 1952. In 1953 the whole family moved to Melbourne and lived in a converted garage in Victor Street, North Sunshine. In 1954 the family bought a bungalow on a block of land in Compton Parade, North Sunshine, where eventually they built a house. Stanislaw Pierzak worked at Steelweld in Ashley Street, Braybrook travelling there on his bicycle, while Teodozja Pierzak found work at Smorgon in West Footscray. Stanislaw and Teodozja Pierzak lived in North Sunshine for the rest of their lives, and Mrs Pierzak always said that Sunshine was the best place in the world.Tubs like this which belonged to displaced people were highly valued possessions and are of historic significance. They were brought out to Australia after World War 2 by many migrating displaced families. The tubs were used for washing activities in the camps in Germany, and the migrant camps in Australia, and also when people lived in bungalows in Australia before they built houses with laundries and bathrooms.Oval shaped galvanised iron tub with two rigid handles, one at each end. The top of the tub is larger than the base. The galvanising is deteriorating in some parts which show a whitish appearance. There are some small dents, and a few chips in the galvanising where surface rust has appeared.The number 70 is stamped on both sides.washing tub, galvanised tub, laundry, bath, displaced persons, immigration, general m. b. stewart, galvanized tub, pierzak, galvanised wash tub -
Robin Boyd Foundation
Book, Geoffrey Blainey, Across A Red World, 1968
Hardcover w/Dust Jacketchina, soviet union, chinese history, russian history, travel , walsh st library -
Robin Boyd Foundation
Book, Joseph Jones, Texas Quarterly: Image of Australia, 1962
After travelling to the United States to teach at MIT in 1956-7, Boyd became perhaps the best-known authority on Australian architecture to the rest of the world. In this 1962 issue of Texas Quarterly, Boyd contributes an overview of architecture in Australia.Softcover. Includes an article by Robin Boyd titled 'Architecture in Australia'.walsh st library -
Federation University Art Collection
Ceramic - Stoneware, [Group of Vessels] by Jan Feder, 1980
Jan FEDER Born Barmera, South Australia Jan Feder was a student at the Gippsland Centre of Art and Design in the 1980s. She had started studying ceramics in Adelaide, deciding to continue here study at Churchill under Hedley Potts' tutelage after moving to Strezlecki. In her final year Jan was an on-campus weekday resident to save on the travel time. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. A group of ceramic vessels by Jan Feder, an alumna of the Gippsland Centre for Art and Design (GCAD). After her death in the mid 1980s her student peers amassed funds to create a memorial collection. jan feder, jan feder memorial ceramics collection, gippsland campus, alumni, ceramics -
Federation University Art Collection
Ceramic, 'Stoneware Jar' by Victoria Howlett, c1982
Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection -
Tatura Irrigation & Wartime Camps Museum
Folio, Kiessling Collection, 1939-1946
German National, Walter Kiessling snr. an employee of a German firm was interned in Camp 1, Tatura. His wife remained in Melbourne where there son Walter was born. The father was immediately taken to Melbourne under escort to see his wife and baby son. Subsequently his wife would travel to Murchison by train and ride her bicycle, with the baby in a basket, out to the camp to visit her husband. Later visits were with a friend in their DKW car. Young Walter was christened by a Lutheran Pastor in the camp, under the supervision of Major Schrader, the Garrison Commandant. The photos tell the story.The humane treatment given to enemy aliens by the Australian Army during World War 2.Black two ring folder containing photos and documents in plastic sleeves.C4529 Kiessling Collection.internment camp 1 tatura, -
Moorabbin Air Museum
Booklet (Item) - Includes Qantas in flight menus, Various travel guides to popular tourist destinations world wide. Includes Qantas timetable
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National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1956
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." Tonight sleep deep in blankets of purest wool (lady making bed and range of blankets) Tonight sleep deep in blankets of purest wool toned in the softest of pastel checks to make a bed lovely and warm/Onkaparinga, the worlds finest blanket from the world's finest wool/Onkaparinga new pastel multi-check blankets/Buy Well-Buy Wool/Obtainable from leading stores throughout Australiablanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1958
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." Pure wool, cuddly and warm (boy asleep with lamb) New fashion colours…Old fashioned values…./Pure Wool quality for a lifetime of healthy warmth/Onkaparinga 100% Pure Wool Blankets/Best in Australia, Best in the World!blanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Onkaparinga Woollen Mill Company, 1959
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." For happy, healthy, pure wool warmth (lambs watching tv)For happy, healthy, pure wool warmth, it's Onkaparinga all the way/Buy Well-Buy Wool/Onkaparinga/Best in Australia…Best in the Worldblanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Collins Bros Mill Pty Ltd, 1959
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. Physician - years-of-bliss blankets (man asleep in bed) Physician - years-of-bliss blankets - just feel the difference!/Wonderfully warm, without weight…soft and fluffy after countless washings…made from the most luxurious wool in the world….and guaranteed for 20 years/Physician/Luxurious Woollen Blanketsblanket, blanket fever, wool, collins bros mills, physician, advertisement, australian women's weekly, geelong -
National Wool Museum
Archive - Advertisement, Collins Bros Mill Pty Ltd, 1959
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. Physician - years-of-bliss blankets -(mother and child)Physician - years-of-bliss blankets - just feel the difference!/Wonderfully warm, without weight…soft and fluffy after countless washings…made from the most luxurious wool in the world….and guaranteed for 20 years/Physician/Luxurious Woollen Blanketsblanket, blanket fever, wool, collins bros, physician, geelong, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Collins Bros Mill Pty Ltd, 1961
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. Physician - years-of-bliss blankets - (woman on telephone in bed under red blanket)Physician - years-of-bliss blankets - just feel the difference!/Wonderfully warm, without weight…soft and fluffy after countless washings…made from the most luxurious wool in the world….and guaranteed for 20 years/Physician/Luxurious Woollen Blanketsblanket, blanket fever, wool, physician, collins bros, geelong, advertisement, australian women's weekly -
Plutarch Project
English wooden ship model, Cutty Sark replica, circa 1997
This replica ship was modelled to exact scale by Denis Paraskevatos with the original basic kit enhanced by a large number of brass and mahogany wooden parts used and showing on two labels positioned at the base of the model. These replica parts were specifically designed and constructed by D. Paraskevatos with the help of his family. This model along a large number of others have been displayed at the Victorian Parliament for ten days from the 18th March 2002 (Queens Hall) to the 28th March 2002, and the Melbourne Town Hall from 19th to 27th August 2004. The history of the 65 meter British vessel named Cutty Sark is as follows: THE CUTTY SARK (history) The “Cutty Sark” was a British clipper ship, aptly named of course as a [clipper for its speed ], which was built in 1869 on the [river Clyde in Scotland ] by the Jock Willis Shipping Corporation. It was primarily used to transport tea from China to Great Britain, as well to a lesser extent later in its life, wool from Australia; however, with the advent of the steam engines and the creation also of the Suez Canal in 1869, its days of operation as a sailing vessel were numbered, as the steam ships were now prevailing as technologically advanced cargo carriers through the shorter route by the Suez Canal to China. In fact, within a few years of its operation, as its delegation in the tea industry was declining, it was assigned primarily the duty of transporting wool from Australia to England, but this activity was thwarted again by the steam ships, as they were enabled by their technologies to travel faster to Australia. Eventually, the “Cutty Sark” in 1895 was sold to a Portuguese company called “Ferreira and Co.”, where it continued to operate as a cargo ship until 1922, when it was purchased on that year by the retired sea captain Wilfred Dowman, who used it as a training ship in the town of Falmouth in Cornwall. After his death, the ship was conferred as a gesture of good will to the “Thames Nautical Training College” in Greenhithe in 1938, where it became an auxiliary cadet training ship, outliving its usefulness as a training vessel by 1954, and permanently [being dry docked in Greenwich, London, ] for public viewing. Of course, the “Cutty Sark” was not the only tea clipper constructed and owned by the Jock Willis Corporation, as there were others who were also used for the transportation of tea from China to Great Britain. Noteworthy additionally in its impressive resume is the fact that, the “Cutty Sark” was not only valued and admired for its speed, but also for its prestige that it afforded to its owners, [as media coverage was insatiable during a tea race that was regarded a national sporting event, with fiscal bets being placed on a predicted winning ship ]. Disappointingly, even though the English tea clippers were the best in the world at the time in terms of marine design, they had never won a tea race, and Jock Willis was certainly determined to achieve this goal, as the American clippers were considered the fastest in the tea trade. Nonetheless, the British clippers were proven to be formidable opponents to their American counterparts in the tea trade, when in 1868 a British tea clipper called [“Thermopylae”, managed to travel from the port of London to Melbourne, in only sixty one (61) days, which Jock Willis was hoping to improve on such a feat with the “Cutty Sark” ] . Remarkably, the maximum speed that the “Cutty Sark” could achieve was 17.5 knots in spite of the challenges of the unpredictable winds, if any at times, and the high seas or ferocious storms. Interestingly, [the “Cutty Sark’s” greatest recorded achievement in distance in twenty four (24) hours was three hundred and sixty three (363) nautical miles ], which meant that it was averaging approximately fifteen (15) knots; much faster obviously than the recorded twenty four (24) hour distance of the “Thermopylae” which had accomplished three hundred and fifty (358) nautical miles. .... ______________ -*- Please read the complete history of the Cutty Sark vessel by Maria Paraskevatos in one of the attachments provided with this exhibit. This model along with a large number of others was constructed by the Master craftsman Denis Paraskevatos, in Melbourne and has a historic, artistic significance because of the time and artist efforts in construction.The English Cutty Sark replica model is a wooden replica scaled at 1:25. The wood is mahogany and it is normally displayed in a glass covered enclosure. It has three masts and it is the largest vessel of Denis Paraskevatos collectionCUTTY SARK LONDONreplica, ship, art, model, cutty, sark, greek, artist, paraskevatos, παρασκευάτος, πανομοιότυπο -
National Wool Museum
Clothing - 1984 Los Angeles Olympics Men's Opening Ceremony Shirt, c. 1984
On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes -
National Wool Museum
Archive - Advertisement, Laconia Woollen Mills, 1957
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." Laconia Pure Lamb's Wool Blankets (mother and baby in bed)Laconia Pure Lamb's Wool Blankets/Make Goodnight a Certainty/*There's nothing in the World like WOOLblankets, blanket fever, wool, laconia, advertisement, australian women's weekly -
National Wool Museum
Book, Knitting, Patons Knitting Book no. 583
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for mens, womens and childrens garments. This book would appear to have been produced at the time of the Sputnik launch in 1957 - unusually the garments have been given names like 'Supersonic', 'Satellite', 'Thor', 'Nikes', 'Rocket', 'Vanguard', 'Canaveral', and 'Electra'. Prior to the launch of Sputnik by the Soviets on Oct. 4, 1957, there was little awareness of satellites; also, the Vanguard and the Thor were American rockets launched from Cape Canaveral during the same era. As far as is presently known, Patons 'Jet' wool first appeared in the mid 1950s - the name probably represented modernity and was a reflection of the public interest in rockets / jets / supersonic aircraft / space travel which occurred in the post World War II era and which culminated in Sputnik and the formation of NASA in 1958.No. 583 Featuring PATONS JET TRIPLEKNIT / Patons / KNITTING BOOK 583 / WITH T.V. DESIGNS / 2'-knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history -
Uniting Church Archives - Synod of Victoria
Photograph, Paul Mayfield, 1985
Part of a report on exit students for 1985. Paul Mayfield - "Aged 30. Wife Jyan is an occupational therapist. Timothy is six months old. Formerly a farmer at Cavendish, Paul's still interested in gardening. Other likes are travel and swimming. One of his concerns is to see the world fed. This has led him into active involvement with Community Aid Abroad. His settlement is Hampton Park, Hallam. As at July 2017 Paul has retired from the active ministry and has been/is chaplain at Austin Hospital.Head and shoulders of Mayfield, open neck, wearing glasses; bearded.Identification of C&N and Mayfield.mayfield, paul -
Wangaratta RSL Sub Branch
Photograph, c1944
Dame Gracie Fields, DBE (born Grace Stansfield; 9 January 1898 – 27 September 1979) was an English actress, singer and comedienne and star of both cinema and music hall. When World War II was declared and whilst recovering from surgery she threw herself into her work and signed up for the Entertainments National Service Association (ENSA). Fields travelled to France to entertain the troops in the midst of air-raids, performing on the backs of open lorries and in war-torn areas. She performed many times for Allied troops, travelling as far as New Guinea, where she received an enthusiastic response from Australian personnel. In late 1945 she toured the South Pacific Islands. In 1979, seven months before her death, she was invested a Dame by Queen Elizabeth II for services to the entertainment industry.Reproduced black and white photograph of female wearing army jacket with soldiers kneeling and standing in background. Handwritten on rear - Gracie Fields in Pacificgracie fields, ww2, new guinea, 1945, south pacific islands -
Kew Historical Society Inc
Equipment - Travel iron, Birko, 1960s
... the Second World War. Birko Travel irons Birko ...Birko is an Australian brand, manufacturing and retailing appliances since before the Second World War.Birko travel iron with its original electrical fittings and vinyl case.Birko iron birko, travel irons -
8th/13th Victorian Mounted Rifles Regimental Collection
Functional object - water bottle
This water bottle was carried by stretcher bearers in the Light Horse Field Ambulance. The cup/cap was used to give a drink to a wounded soldier who could not hold a water bottle to his lips. A light horse field ambulance was an Australian World War I military unit whose purpose was to provide medical transport and aid to the wounded and sick soldiers of an Australian Light Horse brigade. Typically a Lieutenant Colonel commanded each ambulance. All officers of the ambulance were medical doctors or surgeons. Dental units were often attached to the ambulance as well. A Field Ambulance consisted of two sections, the Mobile and the Immobile. The Mobile Section travel with its brigade into combat, where it would establish a Dressing Station. It use stretchers or carts to retrieve the wounded and transport them to the Dressing Station. The Immobile Section established and operated a Receiving Station, which received the wounded the Dressing Station sent on. The ambulance's surgeons would operate on the wounded at the Receiving Station. From the Receiving Station, the sick and wounded would go first to the Casualty Clearing Station and ultimately to a Base Hospital. Representative of a water bottle which differed from the regular water bottle and was used for a specific purpose.Water bottle, felt coated, with small metal cup over spout, all held in leather carrier. Strapped to a wooden stand.military, water, medical, light horse, ambulance, stretcher bearer -
Kew Historical Society Inc
Clothing - Maltese Lace Chemisette, 1900s
The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Characteristics of Maltese lace. Maltese lace usually has the following characteristics which are useful for identification. It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Camisole, made of silk thread Maltese bobbin lace that is constructed of lengths of lace forming two rectangles with a hole for the neck. Shows the characteristic Maltese cross and wheat ears. Fabric is made of tape lace joined togethercamisoles, maltese lace, bodices -
Kew Historical Society Inc
Plan - Subdivision Plan, Jas R Mathers Son & McMillan, The Dale Estate, Deepdene, 1918
Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The Dale Estate in Deepdene was made possible by the death of Robert Sparrow Smythe, Australian journalist, newspaper editor/owner and theatrical manager. Smythe lived in his residence ‘Highate’, Deepdene until his death in 1917. In the subdivision proposed one year later, before the end of the First World War, 18 allotments were to be created. The very fragmentary plan in the Society’s collection notes that a large weatherboard [house] will need to be removed. This may be Smythe’s own home. The proposed subdivision included allotments facing Burke and Whitehorse Roads and Dale Street. Bordering the subdivision is the Deepdene Station and the Outer Circle Railway Line. The clear directions on the plan indicate that in 1918 it was possible to travel by train from Deepdene to East Camberwell and Ashburtonsubdivision plans - deepdene, the dale estate