Black and white photo of unknown woman with slick hair and curl on her forehead stands with a closed smile in front of a tree. She is wearng diamond shaped dangly earrings and a knitted jumper with geometric patterns with a black collar and three buttons in the centre. Roll of negatives of the Eltham Art and Craft Market dated June 1988. The market was regularly held in the carpark in front of the Safeway supermarketRoll of 35mm black and white negative film, 24 shots; 7 stripsKodak TX 5063eltham, arts and craft, markets

Colour photograph of a jumper knitted by Elwyn Hamilton for her granddaughter Jacqueline Dark.elwyn hamilton, handknitted, jumper, jacqueline dark

Stanley Couzens of the Wathourong Community was commissioned by Geelong Wool Combing Ltd to create a painting of the You Yangs and Corio Bay which was then reproduced on a jumper. The jumper itself was designed by Jenifer McMahon using Merino wool from her property McMahon Farm Pty Ltd.Mens knitted jumper depicting an image of the You Yangs and Corio Bay designed by artist Stanley Couzens of the Wathaurong Community. Image of the You Yangs and Corio Bay is on the front of the jumper in colours including brown, green, cream, black, with white and gold stitching. The central motif extends to the back of the jumper. A cardboard tag attached to the label explains the provenance of the design and manufacture of the jumper.merino sheep knitting, mcmahon, jeni - mcmahon's farm, corio bay, victoria, merino sheep, knitting, stanley couzens, wathaurong, you yangs, jumper, design

The photos provide a snapshot into the way the Gardens have been used over the years for play by children. They are evidence that the cannons were in the Gardens in the early 1960s. Black and white images of small boy playing in the Gardens. He is wearing a knitted jumper with three light coloured buttons on the front. He is kneeling on the base of a cannon, looking at the camera. The image is taken from the front of the cannon and there appears to be a large artillery shell in the barrel. A wire and barbed wire fence that at one time divided the formal part of the Gardens from the Pinetum can be seen in the background. On reverse: Aidrian White / (formerly The Esplanade) / (1961/2?) / Photo donated by / Mrs White Sept 2012 / Williamstown Botanic Gardenswilliamstown botanic gardens, hobsons bay city council, 1961, aidrian white, cannons, fence, pinetum

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from middle-class working church-going family. Her mother was a milliner who mad all of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A brown cotton hand-knitted lacy jumper. it is a long-sleeved lady'e jumper with a tea-coloured crocheted collar sewn on. On each shoulder are two brown buttons.knitting jumper handcraft ww11 burton-marjorie

Four page fold out knitting pattern booklet featuring a colour image on the cover of a woman wearing a knitted yellow jumper, brown pants and a brown hat.front: [printed] Cleckheaton / Design 003 5 ply; 8 ply ; 12 plyknitting, pattern, fashion, knitwear, cleckheaton

Sixteen page knitting pattern book featuring black and cream printed graphics and text. The colour cover shows three knitted children's jumpers with animal motifs.front: [printed] ANIMAL / Knitwear / 1'. front: [handwritten] Mrs W J Walkerknitting, pattern, fashion, knitwear, children

Worn by Mick Anzin, during the 1981 winning Grand Final.Machine knitted, sleeveless jumper, with a red diagonal strip extending from the left shoulder to the right hip. The stripe is on both the front and back of the jumper. The number 57 is on the back. "57"

Item issued to Anthony Robert Cornelius. Refer 1874.2 for his service historyArmy issue V neck long sleeved woolen jumper 1968, khaki, knitted fabric jumper long sleeves, V neck, epaulette slotted button holes on shoulder.“Wylmah, Vic,1978 8405 - 66. 024-7645 / size 38 / service no......./name ......”uniform- male/female, jumpers

Coloured slide transparency. Image is of a female seated at a bench wearing a pink knitted jumper and short tartan skirt. She is holding a glass beaker with a dark coloured liquid in it, below a tall glass burette supported in a frame. There is a whiteboard with writing on the wall in the background above another bench with many glass vessels. The words Lyn Wingrave titrating Biochem Prep Room are handwritten along the top border and the words McCrae St (Old Physics area).Kodachrome Transparencyslide, bendigo, bendigo institute of technology

A green covered paperback knitting book with the title printed in white letting at the top c.1940's. The front cover depicts three photographs - a child wearing a knitted jumper and cap holding a teddy bear, a person wearing knitted mittens putting on a knitted sock, and a pair of white cotton crocheted ladies prettily decorated gloves. Inside are various patterns for clothing - caps, sleeveless pullover, waistcoat muffler, armlets, man's socks and mittens, kneecaps and scarves. non-fictionTwo knitting pattern booklets for home knitters, c.1940's. The Wool Department on the Ground Floor at Ball and Welch in Melbourne offered free advice for knitting problems. These booklets were collected over 15 years and were used for exhibition at Memo, Gallery Healesville Friday 23rdOct to 18th November 2015.knitting, knitting patterns, knitting equipment

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Air raid shelters were built specifically to serve as protection against enemy air raids. However, pre-existing structures such as underground stations (tube or subway stations), tunnels, cellars in houses or basements in larger establishments, and railway arches, above ground, were suitable for safeguarding people during air raids. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A hand-knitted orange/tan woolen jumper. It is a lady's long-sleeved jumper.handcraft knitting ww11

This jumper is part of a General Purpose Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was developed in 2014 and replaced camouflage as the uniform worn during general base duties and in non-warlike environments. Although a camouflage pattern, this design is not intended for use as camouflage. This woolen jumper was presumably a winter addition to the GPU.This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of current Airforce General Purpose Uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating GPU uniform design from the Army alongside the colours and motifs of the Australian Airforce. Navy blue ribbed knitted jumper with stitched navy cotton elbow patches, rectangular in shape. Similar rectangular shaped patches on the left and right shoulder, bearing two epaulettes, stiched at one end and fastened with velcro and the other. The left shoulder carries an Airforce embroidered patch at the top of the arm. Arm cuffs have external seam for approximately 100 mm from the end, indicating that the jumper may have been worn with cuffs folded over. Synthetic strip of black fabric on the interior collar behind a cream coloured label.Label on interior of collar reads: “CALCOUP KNITWEAR/291083/ 06/01 / 8405/661468799 / SIZE: 115cm-125cm/SERVICE No........./ NAME........../MACHINE WASHABLE GENTLE CYCLE/Fasten shoulder straps before/washing. Warm machine wash,/inside out on medium cycle./Do not bleach./Warm rinse. Normal spin./Doi not tumble dry./Dry in shade. Warm iron./ Dry Cleanable A/80% Wool 20% Nylon”camouflage, general purpose uniform, airforce, uniform, australian defence force

Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from middle-class working church-going family. Her mother was a milliner who mad all of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.A brown hand-knitted lacy cotton jumper. It is a long-sleeved lady's jumper and has 4 brown buttons on each shoulder opening.knitting jumper handcraft burton-marjorie ww11

Hand knitted by Valda Arrowsmith for herself in the 1970s and worn for many years. Knitted to the original pattern (see Supplementary file) with a wide turn back cuff and altered by Betty Tickell to a turn under narrow cuff in 1980s.Pale green (eau de nil) mohair jumper knitted in lattice pattern. It has long sleeves and a round neck. Wool is brushed Carissa.costume, female, handcrafts, knitting

The Artist in Residence program enabled research of the Museum's collection of artefacts relating to 11th Battalion AIF. Access was provided to the behind the scenes storerooms of uniforms, banners, photographs, artefacts and diaries. Michele summarised her experience with the project as follows: "It was an interesting experience and a topic I would not probably have considered had I not been asked. The mixture of history and the people who lived through these times has been an absorbing and rewarding journey for my art practice."Mixed media / textile art from Department of Culture and the Arts, Artist in Residence program 2015 by Michele Eastwood. The hand knitted sleeveless jumper in the Museum, made by Sergeant John Ellwood Rudd of the 48th Battalion was the inspiration behind this work. With great ingenuity John Rudd unwound the knitted socks sent by the women back home. Creating knitting needles fashioned from the barbed wire surrounding the POW camp he was incarcerated in, he knitted a jumper to help him through the freezing winters of Germany in the First World War. Original artefact was inspiration for this artistic interpretation.

This jumper is part of a Disruptive Pattern Combat Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was used in base and field activities and was replaced in 2014 by the General Purpose Uniform as the uniform worn during general base duties and in non-warlike environments.This woolen jumper was presumably a winter addition to the DPCU.This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of previously standard issue Airforce uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Khaki ribbed knitted jumper with stitched Disruptive Pattern cotton elbow patches, rectangular in shape running the length of the forearm. Similar rectangular shaped patches on the left and right shoulder, bearing two epaulettes, stiched at one end and fastened with velcro and the other. The left upper arm carries a rectangular Disruptive Pattern patch with a seam down the centre, creating two long narrow pockets. Arm cuffs have external seam for approximately 100 mm from the end, indicating that the jumper may have been worn with cuffs folded over. Synthetic strip of green fabric on the interior collar behind a cream coloured label.Label on interior of collar reads: “ELEGANT KNITTING CO./PENRITH, N.S.W. 1993/(047) 32 2491/8405-66-134-9381/SIZE 115cm-125cm XL (broad arrow)/SERVICE No........./NAME.........../“ Reverse of label carries a series of care instructions including “Fasten shoulder straps before/washing/ 80% Wool 20% Nylon”camouflage, general purpose uniform, airforce, uniform, australian defence force

This round, stained glass window, titled "Christ Showing the Helmsman the Way", was installed in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The window was referred to as the Sanctuary Window and was installed in the chapel above the altar. This memorial window has significance as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database. The window was donated to St Nicholas Seamen’s Church as a memorial to the members of the Merchant Navy whose lives were lost in the Second World War, 1939-1945. The donor was the Williamstown Lightkeepers Auxiliary, an independent ladies association working with the Williamstown Missions to Seamen (the Missions to Seamen organisation was re-named the Mission to Seafarers in the year 2000). The window was officially dedicated on December 14, 1947 by Geelong's Anglican Bishop, Rt. Rev. J.D. McKie. In the early months of 1948 a bronze plaque was also placed in the chapel above the altar. It recognises the lost souls of the Merchant Navy during World War 2, as well as the donor of the window, the Williamstown Lightkeepers Auxiliary. The inscription impressed on the rectangular bronze plaque, 20.4 x 10.2cm, is as follows: “IN MEMORY OF THE MEMBERS OF THE MERCHANT NAVY WHO WERE LOST IN THE SECOND WORLD WAR 1939-1945 FAITHFUL UNTO DEATH. THE WINDOW ABOVE THE ALTAR WAS ERECTED BY THE WILLIAMSTOWN LIGHTKEEPERS AUXILIARY 1947.” The Williamstown St Nicholas Seamen’s Church ceased operation in 1966. In 1979 the Victoria Missions to Seamen donated this round, stained glass window and the memorial plaque to Flagstaff Hill Maritime Village, along with many other items and furnishings. These items have been used to simulate the Williamstown Mission and Chapel as much as possible. The round space that formerly displayed the window can still be seen at the back of the old St Nicholas Seamen’s Church, previously the ES&A bank, in Williamstown. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This stained glass window is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It was donated to the Mission by the Lightkeepers Auxiliary (Ladies Harbour Lights Guild, which was formed in 1905). The Missions to Seamen organisation had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. The connection of this window the Mission to Seamen and the Ladies Harbour Lights Guild highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. This memorial window has significant as a part of Victoria's War Heritage and is listed on the Victorian Heritage Database, Heritage Number 196973.Window, stained glass, circular, with reinforcing bars. The window represents Christ showing the helmsman the way. It shows a man in blue knitted jumper holding onto a ship's wheel, looking over his right shoulder. Behind him stands a man in a white robe pointing to his right and looking to his left, his left hand gesturing to pause. The background has various shapes and patterns of blue glass, bordered by two arcs, the outer one is white, the inner one is red. This beautiful window is in our St Nicholas Seamen's Church Collection and was brought to Warrnambool from the original St Nicholas Seamen’s Church in Williamstown. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mission to seamen williamstown, st nicholas seaman’s church williamstown, missions to seamen victoria, mission to seafarers, lightkeepers auxiliary, ladies harbour light guild, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, e. s. & a. bank williamstown, christ directing a sailor, christ showing the helmsman the way, quartermaster’s hand on the wheel, stained glass window, church window, religious window, sanctuary window, memorial window, war memorial window, victorian war heritage inventory, victorian heritage database, merchant navy ww2, 1939-1945, anglican church, bishop mckie, mrs musther, brooks robinson & co, flying angel club, williamstown lightkeepers' auxiliary, ladies' harbour lights guild, commemorative window

The garment and cap were made by Peg West for Robert. Peg was a former member of the historical society who lived at 10 Wattle Valley Road, Mitcham (1931 - 2009). She knitted many garments for family and friends. The wool was purchased by Barbara Gardiner for the jumper and cap for Robert.Man's dark grey with multi-coloured fleck wool hand knitted ribbed jumper and matching cap. The rib pattern is two knit two purl stitches. The garment is long sleeved with cuffs and a polo neck collar. The matching cap (beanie shape) has a twin back edge.costume, male, handcrafts, knitting

See Ref No 4362White and maroon cotton knit football jumper. The collar, cuffs, V-shape on front are in white heavier rib and the body of the jumper is maroon. Placket front has two snap fasteners. The number '17' is on the back and is plastic and sewn on. The shoulder seams are reinforced on the inside with ribbed knit acrylic wool.costume, children's uniform

Hand-knitted by donorCream wool jumper; Hand knitted in open zig-zag design. Ribbed stand up collar and tie at neck.costume, female

See Ref NA4362Grey hand knitted long sleeved school jumper, school colours, cream and maroon around neck and sleeve cuff.costume, children's uniform, handcrafts, knitting

'Close Knit' was conceived based around providing the high density accommodation of the area with what many residents will never experience; the iconic ‘Aussie’ backyard, symbolised by washing on a Hills Hoist. This concept was transposed into several elements, including two large flying jumper sculptures. These stainless steel and fibreglass structures are supported on slanted poles, reminiscent of Hills Hoist arms. The jumpers appear to catch the breeze, and billow up, like washing on the clothesline on a sunny day, and cast lovely shadows across the paths and gardens. They are bright and joyful reminders of simple homespun joys. The handcraft theme is also featured in knitted concrete garden walls throughout the gardens. As if the wind is captured in the movement of the Hellenistic drapery, these panels echo the Lady of Justice, an earlier work of mine on the Victorian County Court. These feature walls bring a softness to the park and hark back to classic European garden design. There are 6 finial/balls of wool marking gateways and entrances to the park, as well as a couple randomly scattered throughout to be discovered. There is also a draped plinth at the Peel street entrance which has my signature. Again these elements echo traditional garden design and are a tactile and recognizable link to the hand knit themes of the park. Given the strong themes of domesticity and handcrafts, I have titled my work ‘Close Knit’, as it applies to the purpose of this public space as well as the works scattered throughout. Yarra City Council delivered Cambridge Street Reserve in partnership with the Victorian Government, who have supported the project with $1.3m funding. Yarra City Council has invested a further $731,130 towards the project. Urban Imitative Landscape Design worked with artist William Eicholtz at the beginning of the design process to consider the needs of a growing high-density population of the area. At double the size, with extensive park seating and a large lawn space which is shaded by native trees, Cambridge Street Reserve is now the largest park in Collingwood. 'Close Knit' by William EicholtzTwo knitted fibreglass 'jumpers' over stainless steel framework; six concrete balls of wool throughout the park; 25 metres of cast (drapery) concrete walls; concrete plinth at Peel street entry which is draped with a concrete knit and a ball of wool on top as finial; reverse rope reliefs on the front façade of eastern stairs. Artist name and date 'William Eicholtz 2023' inscribed on plinth with ball of wool on top as finial. handcrafts, domesticity, aussie icons, european garden design, public space, high density accomodation

The equipment items in this photograph are loaned out to Royal District Nursing Service (RDNS) patient's to use in their homes. They are returned to RDNS and sterilized, or cleaned with disinfectant, whichever is appropriate, once they are no longer required. The material items are given to patient's as required. Many of these items are made and donated by RDNS Auxiliary members. From its inception in 1885, the two Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS) worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bags containing lotion, ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron, soap and small towel. They supplied equipment on loan, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing blankets and clean bed linen, and nightdresses and clothes as necessary. The Society was at the forefront of health care and continued to liaise with Doctors as the Society expanded. The Nurses provided high quality nursing care to a range of people, often in destitute situations, some lying on rags on the floor as they had no bed, others with just a bed and maybe a thin blanket, a chair and nothing else. Their ages ranged from babes, children, adults to the elderly. The Nurses gave medications as ordered, dressed wounds e.g. to the injured, and surgical cases, and to those with leg ulcers; attended to patients with ‘surgical ailments’ such as ‘hip disease’; gave care to those with acute illnesses such as bronchitis, pleurisy, pneumonia, measles, and scarlet fever, as well as those with chronic illnesses such as consumption (tuberculosis), heart disease, arthritis, cancer, debility, neuritis and paralysis. They educated their patients, and their Carers, in the curing and prevention of disease; Over the years items were given and equipment was loaned and demonstrated to patients, and if appropriate, to their family members to enable them to care for their loved ones in their homes. The Trained nurses had the rehabilitation of their patients in the forefront of their minds to ensure they were able to live as independently as possible in their own homes. As the years passed the Trained nurses changed from being called 'Nurse' to 'Sister' and the Society changed its name. In the 1970s, now with Royal patronage, and known as Royal District Nursing Service ( RDNS), they contracted a Private and then employed, a Physiotherapist who taught RDNS Sisters the correct transferring techniques, including the use of a hoist when this became available. RDNS Sisters taught and used these techniques in patient’s homes to undertake safe transfer of the patient and to reduce physical strain on RDNS nursing staff and family members. Each RDNS Centre had a room or shed where equipment for loan was kept, and Headquarters also kept additional equipment which could be transported to Centres as required. This black and white photograph shows some of the equipment loaned, along with some to be given, to Royal District Nursing Service (RDNS) patients as required. Rear L-R - a white long nightdress with dark embroidery and buttons on the front and embroidery on the edge of the short sleeves. Next are two wooden bath seats; a square metal commode with lid and with its round legs extended to form handles on the left and right sides. A folded dark and white striped crocheted rug hangs over one of the handles. In the centre L-R, is a metal bed cradle, a metal 4 prong walking stick, bed pans, male urinal, stack of nappies with a white child's knitted jumper hanging over them, and a doona. In the front, L-R is a grey blanket, dark coloured bed socks, a sheepskin with a white smocked baby dress sitting on it, and a white babies nightgown on a clear plastic covered white bundle. A black mat sits under these items and a cream brick wall is in the background. Barry Sutton LS 47royal district nursing service, rdns, rdns equipment, rdns auxiliaries