Articles in annual report include: branch committees, President's report, finance report, balance sheet, hospital homes, blind citizens' community centre, welfare, auxiliaries, volunteer service group, life governors, opening of the new hospital wing at Brighton by Premier Sir Henry Bolte, Mrs Laura Clarke celebrating her 103rd birthday, closure of the Hostel at Brighton due to lack of applicants able to care for themselves, continued demand for hospital care, expansion of 20 hospital beds planned for Mirridong and increase of Welfare staff with two appointed in Geelong and Latrobe Valley.16 pages of text and photographsassociation for the blind, dorothy hamilton, h.m. lightfoot, elanora home (brighton), laura clarke, w.h. coakley, k.f. hosken, mrs j.e. howard, mrs h.s. nunn, mrs j. harrington, mrs h. lindhe, mrs i jennings, john wilson, mrs c.v. moore, mrs h.a. shannon, s.o. rogers, r.a. pearson, annual reports, katharine (kitty) rose

1. Portrait, full length of a soldier standing at ease. He is holding a single rifle with bayonet fixed. He has a peaked cap and the 3"webbing belt on. he is standing in a yard of some sort. Corrugated iron shed in back ground. 2. Portrait, full length of a soldier. Standing legs apart. He is holding a riding crop. he has a leather covered watch. He has one chevron on his left forearm above that are crossed flags. He is wearing a leather bandolier. He has a peaked cap. 3. Group portrait of Australian soldiers on a ship. 13 men - bare headed and slouch hats and 3 peak caps. In the bottom foreground is a small monkey. 4. Group portrait of soldier patients and nurses. 11 men and 4 nurses. The three in front are seated.1. xx 2. On rear - To Dear Auntie from Walter McGillivray. 3. On rear - Thomas Robert Jones 6 Bn 1914, 5 Re-inforcements. No. 1982 23 years Tom Jones and mates. 4. On rear - Edwin W Jones 3511 46 Bn "Snap of some of the ward taken in the garden. I am on the very end, taken the first day I was allowed out of bed," On front is a card and name Ned.passchendaele barracks trust, photographs, ww1

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the township of Omeo’ : Views of Victoria (General Series) No.44 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The subject of this illustration is the most remote Township in the Colony of Victoria, being about 250 miles distant from Melbourne. It is situated on the Australian Alps, near Mt. Livingstone. The bed of the River, which is seen on the right-hand side of the picture, is one of the sources of the Mitchell River, which empties itself in the Gipps Land Lakes. This Township is frequently covered with snow in winter time, owing to its being several thousand feet above the level of the sea.’ nicholas caire (1837-1918), omeo (vic), gippsland, mount livingstone, australian alps

This was the home of 3 generations of the Coop family: 1. Josephine and George Frank Coop (noted in Box Hill Rate Books for 1947-1954). 2. George Burton Coop (1906-1960) and his family. He was Assistant Chief Architect of Victoria in the Public Works Department (P.W.D.) George Burton Coop was born in c1906 in Williamstown, the son of Josephine Vistarini and George Frank Coop. He married Winifred Alice Trewartha in 1936 and they are listed in the electoral rolls at 688 Whitehorse Road in 1937. George died 3/4/1960, aged 54 years at Mont Albert. 3. George Burton and Alice Coop had 2 children: George Lister Coop - born St Georges Hospital, 8/10/1937 Alison - born c1945. The donor George Lister Coop informed that he initially attended Chatham State School because his first home was the Spanish Mission style flats at 346 Whitehorse Road, opposite Brenbeal Street, Balwyn. When his grandparents died, the family moved to 688 Whitehorse Road and he then attended Mont Albert Central School. The California bungalow style of housing was the dominant style of housing built in the interwar period through the northern parts of Surrey Hills and Mont Albert as formerly semi-rural land was subdivided for new housing. It was relatively inexpensive and affordable. In Australia the Californian bungalow drew upon elements that were popular across the United States from around 1910 to 1939. In Australia the style became popular from 1913. In Melbourne both timber and red brick were used as the main building material. Typically they are one or one and a half story houses and feature sloping roofs and eaves with unenclosed rafters and often a feature a dormer window (or an attic vent designed to look like one) over the main portion of the house. Decorative elements include wood shingles, part stucco rendered exteriors, brick, stone, rendered or a combination of these treatments to exterior chimneys and front porches supported by heavy timber, brick or stucco columns.A sepia photo taken at an angle from the street corner of the property. It is of a Californian bungalow with a driveway that extends through a carport, attached and roofed as part of the house, to the rear of the property. The veranda is accessed from under this covered area. The veranda and carport are supported by brick pillars and the veranda balustrades between are plain with an occasional wider feature panel. The front door is in shadow. There are rolled up striped canvas blinds on the veranda and at least 2 cane chairs. The main structure of the house is weatherboard with a terracotta tiled roof. There is a flower bed across the front of the house with an elevated brick flower box under the main window. There are no chimneys visible.californian bungalow, whitehorse road, george frank coop, (miss) josephine vistarini, (mrs) josephine coop, george burton coop, (miss) winifred trewartha, (mrs) winifred coop, george lister coop, alison coop

1. "Drive (After) from P.R.I" Feb 67. 2-5. Students learning how to use a machine in the Orchard, 6, 7.Former Nursery, 8. Garden view. Mar 67. 9-14. Emily Gibson beds. Jun 67. 15, 19,26, 27. Plant Research Institute. "June.5.1967" 16, 17. Pruning Day 1`967. 18.Unidentified development on Campus Jul 67. 20. "Nangiloc - Fixed Sprinkler Rock Melons" Oct 67. 22. Yarra River.24. Former Rose garden (now Herbaceous Border.) 28-35 Wilson's Promontory.students, machine, garden views, campus, entrance, plant research institute, old rose garden, nursery, nangiloc, fixed sprinkler, rock melons, wilson's promontory, seed testing station, pruning day, emily gibson beds

Sr. Scott is in a room in the Royal District Nursing Service (RDNS) Melbourne Centre. She is wearing the RDNS grey uniform dress which has the insignia "Royal District Nursing Service" written in white on a grey background attached to the upper sleeves. The photograph is showing some of the equipment which is available for temporary loan to RDNS patients.From the founding of the Melbourne District Nursing Society (MDNS), in 1885, known as the Royal District Nursing Service (RDNS) from 1966, equipment was loaned and demonstrated to patients and their family members, to enable them to care for their loved ones in their home. In the 1970s RDNS employed a Physiotherapist who taught RDNS staff the correct transferring techniques, including the use of a hoist when this became available. RDNS staff 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. Headquarters also kept additional equipment which could be transported to Centres as required. Black and white digital image portraying Sister Scott, who is smiling and has her dark hair drawn up, checking equipment. She is holding a bath seat in her hands. Behind her on a table, left to right, is an air cushion, draw sheets, male urinal, female urinal, bed pan and a sheepskin which is in front of a wooden board with rows of cup hooks and names under each hook. In the left foreground is a hoist with a white sling hanging from either side of the front hanger. To its right is a closed wheelchair, a 4 pronged walking stick, and a commode to the right of Sr. Scott.Barry Sutton Photographer. Quote KL 49rdns, rdns equipment, rdns uniform, royal district nursing service, sister scott

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 21. Excavations for foundations inside coffer dam. New South Wales. January 1927. Cofferdams are temporary structures used where construction is being carried out in areas submerged in water. They are most commonly used to facilitate the construction or repair of dams, piers and bridges. To divert the river, a Coffer Dam was built across the old bed above and below the Dam site and tying into the end of the concrete wall built inside the levee bank. This completely surrounded the remainder of the site of the Dam and south wing wall, including an area of 12½ acres. hume reservoir australia, river murray waters scheme, hume reservoir construction, coffer dam

(1) Herbaceous Border 1984-5 (pre-Rainforest) #277. (2) View Admin Building from between Emily Gibson Beds. (3) Admin Building. (4) View of Bull Paddock, Dairy and beyond from roof of Admin Building. (5) Rear of Burnley. Tennis Court replaced by PSL 4-6 (DA) (6) Shady Walk Mondograss (Ophiopogon japonicus) Umbrella Grass (Cyperus alternifolius) (David Aldous). (7) Admin Building and Student Amenities Building. (8-10) Luffmann Ponds. (11) Frank's/Rock Point. (12-13) Oak Lawn. (14) Oak Tree lawn on reverse "Please return to Stuart Miller, Burnley College." (15) E. cladocalyx. (16) The Victorian College of Agriculture & Horticulture-Burnley Campus. U. procera to the left E. cladocalyx to the right DA. (17) Sugar Gum E. cladocalyx Burnley Gardens 1989 DA. (18) Burnley College in background DA Crack Willow in winter. (19) Tree unidentified. DA (20) DA View of trees behind Luffmann Ponds. (21) View of Burnley Gardens Pinus canariensis to the left Agathis robusta centre and sequoia sempervirens to the right DA. (22) Students in Citriodora Courtyard. (23) View of Emily Gibson Beds from roof of Admin Building. (24) Admin Building from Oak lawn. Annotated by David Aldous and Stuart Miller. herbaceous border, administration building, emily gibson beds, bull paddock, dairy, tennis court, shady walk, luffmann ponds, oak lawn, david aldous, stuart miller, student amenities building, sugar gum, citriodora courtyard

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.31 / ‘View of Sailor’s Creek Bridge’ / Albumen silver photograph mounted on boardOn Reverse" ‘Sailor’s Creek as situated in the Jim Crow Ranges, which Range forms a portion of the Great Dividing Range of Mountains in Victoria. These hills contain many romantic spots. The one which forms the subject of the present illustration is a view of the Bridge which spans the Creek. Gold has been found throughout the course of the bed of this Creek in payable quantities. The diggers, as may be seen in the photograph, have constructed sluices in the side of the embankment for the purpose of washing the fine gold contained in the wash-dirt.’nicholas caire (1837-1918), sailor's creek (vic), gold mining (vic)

This booklet, written by member Rita Williams, gives information on the history of the first decade of the South Western Embroiderers Guild, Warrnambool. The guild was formed in 1974 with an initial membership of 36. In the first ten years the guild members were active, making contact with other embroiderers, holding exhibitions, making a patchwork quilt for the bed at the Lighthouse Keepers’ Cottage at Flagstaff Hill Maritime Museum and making an embroidered mural of Warrnambool presented to the Warrnambool Regional Performing Arts Centre in 1983. This mural features over 80 local buildings, Norfolk Island pines and small figures and other objects. The Embroiderers Guild continues to prosper today. This booklet is of interest as it contains the early history of the South Western Embroiderers Guild, a significant organization in Warrnambool. This is a booklet of 24 pages with a cover in brown and cream tonings featuring an image of the Warrnambool Coat of Arms and a tapestry. The pages contain a sketch and printed material. The booklet was stapled but the staples have been removed.R.Isaacsouth western embroiderers guild, warrnambool, history of warrnambool

Laura and Bernard Ashley began printing fabric in their London kitchen in 1953. Commencing with head scarves and place-mats they gradually developed table-ware and bed sheets. In 1960 they entered the Fashion world with blouses and smocks . The ‘swinging sixties’ saw them in great demand for the feminine florals and flounces of the ‘maxi’ fashions and they opened in smart South Kensington, London. In 1970 they opened franchises in Australia, Canada, Japan, San Francisco that sold their range of fabrics, dresses and accessories. In 1980 home furnishings were added to the range. Laura died in an accident 1985, Bernard retired in1993 and the company is now Public Listed on Stock Exchange.‘Laura Ashley’ clothing, fabric and accessories were very popular in Melbourne in 1970’s.A lady’s white cotton half petticoat with crocheted flounce, Laura Ashley Pty Ltdclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, craftwork, textiles, laura ashley

Knitted fabric is made with a single yarn or sets of yarns moving in only one direction. Whether done by hand or by machine, the process is the same. The knitting needle loops the yarn through itself to make a chain of stitches. These chains, or rows, are connected to produce the knitted cloth. There are two types of commercial knitting machine. A flat-bed has its needles, one for each loop, arranged in a straight line to produce a flat fabric. A circular machine has its needles arranged on a rotating circle. The cloth forms as a tube which can be made into seamless clothing. Personal history of Edna Harris who used the machine.knitting machine, industry, design, socks, clothing, wool

This certificate was issued to Mary Freitag on 6th June 1910 on completion of her three years' training at St. Vincent's Training School for Nurses. It is signed by Mary Berchmans Daly, the Mother Rectress, and by A. E. Rowden-White, the honorary lecturer. Mary Freitag registered as a nurse and then went on to join the Australian Army Nursing Service in June 1917 and was posted to the Deccan War Hospital at Poona, India, which had 1,200 beds. There she tended the wounded soldiers brought from the battlefiends of Mesopotamia (Iraq). In March 1919, Mary then served on the hospital ship Varela before leaving the nursing corps to marry in September 1919.This item is of historical significance as an example of a graduation certificate that was issued to nurses at that time. It is a record of the service of Mary Freitag and it includes the signature of the Mother Rectress, Mary Berchmans Daly.Certificate hard bound in board covered with black leather. Gold lettering and a gold border decorate the front of the cover. The cover folds out to show printed certificate inside. Certificate inside is printed with nurse's name and signatures in black fountain pen.Nurse's name handwritten in black ink on the certificate: "Nurse Mary Freitag" Certificate is signed at the bottom: "A. E. Rowden-White, Mr" Hon. lecturer and "Mary Berchmans Daly", Mother Rectress. "6th June 1910" is written on the lower left of the certificate.nursing, world war i, graduation certificates, australian army nursing service, hospital ship varela, deccan war hospital, st vincent's hospital melbourne

Copy of copper bas reliefs - Capricorn and Aquila. Made by patients of the Bendigo Psychiatric Centre as part of their inpatient therapy activities. The bas reliefs represent the constellations Capricorn and Aquila. Once completed, they were used to identify the Aquila and Capricorn patient areas at the Psychiatric Centre. The Bendigo Psychiatric Centre, a forty bed hospital, opened in 1970 and closed in the 1990's. It was replaced by the Alexander Bayne Centre at the Bendigo Hospital and the John Bomford Centre, Kennington, named in honour of Dr. John Bomford. Dr. Bomford was a pioneer of Bendigo psychiatric services. He practised as a psychiatrist in Bendigo from 1964 until December 1970, when he retired.bendigo, hospital, psychiatric centre

Possibly taken by Peter Esdale; work commenced 1989.13 photographs of the Woodland and Robert Boyle Ponds and other views of Burnley. (1) View of the Robert Boyle Ponds and the Mud Hut, looking towards the car park at the back. (2) View of the Robert Boyle Ponds looking towards the car park at the back. (3) View of Grassland. (4) Close up of Grassland. (5) Close up of plants. (6) Close up of plants. (7) Grass trial beds in Field Station. (8) Administration Building. (9)Inside the Nursery. (10) Close up inside the Nursery. (11) Close up inside the Nursery. (12) Laboratory. (13) Award Cabinet inside the Administration Building. woodland, robert boyle ponds, burnley, mud hut, grassland, plants, field station, administration building, nursery, laboratory, award cabinet, administration building, grassland trials

small dark green hardcover book with an illustration imprinted on the front in black ink of men and a woman standing on the shore retrieving items from a shipwreck. A barrel, ropes and anchor are shown on a wharf at the bottom left. The back cover has the initials of the publisher RTS ( Religious Tract Society) ornately written in black on a lifebuoy with the ocean bed below. The title, The Old Endeavour is imprinted with a gold coloured rope style lettering. The frontispiece illustration opposite the title page depicts rescue boats, a man saving a child in the sea with his mother close by. Some black and white illustrations throughout and ornate floral strips of decoration at the top of each new chapter. 158p.fictionAn adventure story of a shipwreck and rescue. ships fiction, adventure stories, stories for boys

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 19. Driving first row of piles for coffer dam across the river. New South Wales. December 1925. Cofferdams are temporary structures used where construction is being carried out in areas submerged in water. They are most commonly used to facilitate the construction or repair of dams, piers and bridges. To divert the river, a Coffer Dam was built across the old bed above and below the Dam site and tying into the end of the concrete wall built inside the levee bank. This completely surrounded the remainder of the site of the Dam and south wing wall, including an area of 12½ acres. hume reservoir australia, river murray waters scheme, hume reservoir construction

P. S. Adelaide was a logging steamer operating between Echuca and Barmah forest. It was built in 1866 by G. Linklater, Echuca. Original owner J. G. Grassie, Poon Boon Station & S. H. Officer, Murray Downs Station. In June 1891 she was purchased by Murray River Sawmills and spent most of her working life on the Barmah Forest run. In 1960 she was purchased by Echuca Apex Club and steamed to Echuca. Installed on a bed of cement in Hopwood Gardens, Echuca before being restored to be refloated as a significant addition to the Port of Echuca maritime fleet (Parsons, R. Ships of the Inland Rivers. 2005. p.46)The P.S Adelaide is extremely significant as it it the oldest known wooden hulled paddle steamer in the world. She was built in Echuca in 1866 and still operates on the Murray River today. She has worked in the Wool Industry, the Timber Industry and the Tourist Industry.Colour (hand painted?) postcard and colour negative f P. S. Adelaide towing an outrigger barge. Three men can be seen on the lower deck and one on the top deck.on the front of the postcard:". Log barge & steamer Echuca" On the bow of the steamer: "Adelaide". On reverse of postcard, in blue pen:" PORT 16.3.82 COL NEG 13x18x1." In black pen encased in a square:"396.1" In blue fountain pen. Letter addressed to "Mrs. J. Robertson 37 Roxburgh St. Ascot Vale." " Your letter to hand(?) Sat. I am much better since my trip away. Was sorry to hear Jess(?) was not well. Hope she is better again. Hoping all are well. Love to all H." Postcard stamped: "Echuca Victoria Ap 6 08" Printed in green "Post W.T.P. Card". In has a red one penny postage stamp in top right hand corner.p. s. adelaide, echuca, port of (riverboats), echuca - history, post cards, echuca, paddle steamers, timber barges

There are 3 tracks; the third track was built in 1971, which gives an approximate date for the photo. At this time the original station buildings were demolished and replaced by buildings constructed from concrete bricks and a second subway replaced the overhead footbridge. According to Roderick Smith, a local railway enthusiast, originally there had been 3 railway houses at the Mont Albert end of the northern car park. These were demolished to extend the car park. Certainly 8 Bedford Avenue, built as the station master's house was demolished at this time. The palm tree had been planted in the station master's front garden and was retained in a small garden bed within the car park. A black and white photograph of a station with cars parked on both sides of the 3 tracks. A Harris train is departing the station heading towards Mont Albert. A palm tree is prominent in the station car park to the north.1971, surrey hills station, railway stations, car parks, public transport, trains, railway lines, palm tree

Devils' Bank was situated some two miles from Eltham. It is probably the section along the Yarra River where there are a series of rapids stretching past Petty's Orchard to Griffiths Park and the confluence with the Diamond Creek. Only three properties existed in this area in 1945 aerial maps, Worlingworth and the adjoining property on the bank of the Diamond Creek in Banoon Road and No. 2 Kent Hughes Road. Devils' Bank. The death of Ann Edwards, 77 years, an old resident of the district was reported who lived in an old hut at Devil's Bank who had been found dead in her bed on 13 May 1897 FOUND DEAD IN BED. (1897, May 28). Evelyn Observer, and South and East Bourke Record (Vic. : 1882 - 1902), p. 2 (MORNING.). Retrieved September 3, 2022, from http://nla.gov.au/nla.news-article60696388 A very similar view was published in the Leader paper in January 1908 - Devil's Bank Falls, Eltham VIEWS ON THE UPPER YARRA. (1908, January 11). Leader (Melbourne, Vic. : 1862 - 1918, 1935), p. 28. Retrieved September 3, 2022, from http://nla.gov.au/nla.news-article198106006 On the reverse of the postcard it appears to be postmarked Eltham, Dec 27, 1907 addressed to Mrs Christie Millmoss of Bull Street, Bendigo "Arrived here 10.45 am - ? ? raining cause of ? - ? till evenings it is lovely - but quite fresh after the (rain - crossed out) great ? - I may assume it all go well"Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 2 Sep. 2022michael aitken collection, devils bank, eltham, postcards, rapids, yarra river

Henry Francis was previously in business at the goldfields at Ballarat, before coming to Melbourne in 1856. TROVE : Advocate (Melbourne, Vic. : 1868 - 1954), Saturday 19 July 1879, page 11. H. F R A N C I S & CO (Late FRANCIS & SWIFT) DISPENSING AND FAMILY CHEMISTS, M , 31 BOURKE ST. EAST, Melbourne. IMPORTERS OF Drugs, Chemicals, Patent Medicines, Surgical Instruments, And Surgical and Medical Appliances generally, H, FRANCIS & Co. solicit attention to their large and complete stock of WATER AND AIR-PROOF GOODS, Beds, Cushions, Mattresses. Pillows, Hot Water Bottles, Bed Sheeting, Portable Baths, Elastic Stockings, Ladies' Abdominal Belts, Shoulder Braces, Trusses, &c., Which, owing to their buying Direct from the Manufacturer, through their London agents, they are now able to supply at much' more reasonable rates than have hitherto obtained. THE GERMAN & FRENCH MINERAL WATERS Hunyadi Janos, Friedrichshall, Carlebad, Vichy, Pullna, Vale, &c., &c., Continually in stock, and supplied in quantities to suit purchasers. DISPENSARY AND RETAIL ESTABLISHMENT: 31 Bourke Street East; Melbourne. Wholesale Laboratory—Dawson Place, Swanston St, MEDICINE CHESTS SUPPLIED & REFITTED. TROVE : Argus (Melbourne, Vic. : 1848 - 1957), Thursday 17 January 1957, page 9 'ANTINOIS EAR PLUGS Ensure mental rest; soothe the nerves in factories, plane, or train travel 3 pairs, 2/6, post free H. Francis & Co., Box 5Ó2H, Melb.' Aqua tinted clear glass rectangular with angled corners in section bottle for stopper seal, with graduations on two sides for dosage quantities. Embossed text on front , angled sides and base.Embossed on base 'K' over '4616'. On one angled side graduation marks for one tablespoon doses, on other side graduation marks for two tablespoon doses, on front 'H. FRANCIS & Co'.

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." 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." Checked blanket, pink, blue and creamCastlemaine/100 pure virgin wool blanket, blanket fever, wool, castlemaine, castlemaine woollen mill

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: 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.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. " Queen sized brown, green and blue checked blanketEagley Blanket, Pure Woolblanket, blanket fever, wool, eagley woollen mills, victoria

Note from collector: 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.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." Double sized checked blanket , mint, peach and cream Pure Wool/Embassy/Made Expressly for the Myer Emporium Ltd./"For Value and Friendly Service"/by Invicta Mills/Made in Australiablanket, wool, blanket fever, invicta mills, myer emporium

Note from collector: 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.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." Queen-Sized plaid blanket, brown, lemon, tan and mint100% Pure Lambswool/Gibsonia/Exclusive To All Foy and Gibson Ltd. Stores/Famous Since 1868blanket, wool, blanket fever, gibsonia, foy and gibson ltd

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.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." Queen sized checked blanket in purple, pink and cream"Invicta"/Gold Medal Mill/Made in Australia/Woolmark Emblem/Pure New Woolwool, blanket, blanket fever, invicta gold medal mills

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.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." Queen sized checked blanket, aqua and orange Laconia/Make "Goodnight" a Certainty/Pure Lambswool/Made in Australia wool, blanket, blanket fever, laconia