Designed by Dunera internee, Teltscher, and printed by Riverine grazier at Hay internment campFacsmilie. Encapsulated/laminated bank note to the value of six pence, with blue colour design(s) on white background with black printing. Features emblem of kangaroo, emu and merino ram above banner of the words "Camp seven bank". Display in plastic stand frameC41937, Printed on back of bank note "This note is valid only within the boundaries of Camp 7 Internment Camp Hay" "The bank is under no obligation to honour this note if presented by holder outside the Camp".tatura, numismatics, notes

Australian bakelite valve tube radio. Type: Broadcast receiver or past WW2 Tuner. Valves 4:6A8G 6G8g 6V6GT 6x5GT. Principle: Super Heterodyne ZF/IF 455 KHz 1AF stage. Tuned circuits: 6AM Wavebands: Broadcast only (MW) Power: 200-230; 230-260 Volt AC. Loudspeaker: Electro Magnetic Dynamic LS Front Dial: AWA Radiolette / Radio stations for each stateradio, radiolette

Old Brown Book, non original spineSlight tear on bottom right corner cover

Tan Coloured Instruction Catalogue

Printed on the occasion of the 50th anniversary of the arrival in Australia. Interviews with 69 of the original Dunera men and their families done by 15 Hay students from Hay War Memorial School.Light blue covered folio side bound in black. Contains 70 pages of printed text and photos. Black and white picture on cover. Title in black ink above picture. Black taped spine.The Dunera Tapes Conversations on a Windy Day in Hayhay internment camp, 50th anniversary of dunera arrival, hay war memorial school, internment camp interviews, peter alsberg, paul altmann, max arnott, herbert barber, michael brent, gerald cunningham, peter danziger, reinhold eckfield, peter feistmann, adi felder, henry felder, john fletcher, werner frank, fred freitag, ernest green, john gresham, dennis goodman, frank heymann, horst jacobs, ernie katz, walter kaufmann, jimmy king, heinz kuehlenthal, george lederer, kurt leiser, kurt lewinski, hans loewe, franz menzel, rudi meth, albert meyer, martin moore, fred parkinson, fred reich, howard rickenberg, ernest rodeck, max rubinsohn, fren schonbach, ernest schonfeld, henry seaman, martin shelton, mike sondheim, ralph stern, george strauss, henry teltscher, roy thalheimer, herbert treidel, harry unger, fred warschauer, harold weinberg, mendel weisser, victor wieselmann, walter weyl, ernst wolf, christoph wolkenstein, oswald wolkenstein

This flat iron was one of two flat irons donated by Mr Max Millsteed in 2000. Mr Millsteed died in Dec 2004 No. 7 Metters Flat Iron made from cast iron.Good Condition" No7 /Metters /Sydney"flat iron

Cypress gardens was a leading holiday resort of its time. Bert and Flo Foster formed their ideas regarding its creation after a trip to the USA. It remained a popular holiday motel, boatel and reception place till it was demolished in the early 2000'sCollection of B and W and coloured photographs mounted on pages of a large metal spiral bound album. Original plastic overlays of each page have been removed. A number of photos are loose in the album.photo album, Descriptions of some photos are typed and included on most pagesaqua sport, recreation, holiday resort

Collector says - "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display." " 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." Checked blanket, pink, blue and lavenderClan Murray series of Challenge/Lambswool 'Perma-nap' blankets/All pure wool/Super Grade blanket, blanket fever, wool, challenge woollen mills

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." Advertisement, Challenge blankets, ElectracolourFirst Time Ever!/Clan Murray Challenge Blankets/Bring You New Colours Glowing like Early Morning Sunlight/Electracolour/from New Swiss Miracle Dyes/Still with the Super Luxury of Kitten-soft Double "Perma-Nap" Finishwool, blanket, blanket fever, challenge, advertisement, australian women's weekly

Polo Shirt: collar, short sleeves, 3 buttons from neck, cream/beige colour Emblem from left breast: square outlined in black; blue sky; five undulating stripes along bottom of square: purple/yellow/green/yellow/orange. Six 'gum' leaves upper right corner of square - yellow/orange/green/orange/yellow/yellow - all with green central vein. Black stitching under square: 'City of Nunawading Parks And Recreation'shirt, nunawading