A legatee function in Legacy House with the Hon. Lindsay Thompson CMG speaking. Date unknown but the men beside him are L/ John Stevenson and L/ Tony Norris who were president in 1993 and 1990 respectively. The paper label says his speech allowed members to share some of his parliamentary reminiscences. Photos were in a scrapbook of photos spanning 1980s to 1990s. From Wikipedia: 'Lindsay Hamilton Simpson Thompson AO, CMG (15 October 1923 – 16 July 2008), Australian Liberal Party politician, was the 40th Premier of Victoria from June 1981 to April 1982'. He served in the Victorian parliament for 25 years.A record that the speakers at Legacy functions were from very different walks of life and the subjects spoken about were many and varied. Colour photo x 2 of the Hon. Lindsay Thompson CMG, being guest speaker at Legacy House and a white paper label.White paper label with black type 'The Hon. Lindsay Thompson, CMG, guest speaker at Legacy House, allowed members to share some of his parliamentary reminiscences. Many a tale was told and enjoyed.'speakers, legatee event

A newspaper article promoting Legacy Week in The Age on 7 September 1960. The caption of the photo says 'Executive Officers of Legacy, Mrs Judith Saxon, Mrs Edith Upton and Mr Ivan Layton, were busy yesterday preparing badges and tins for the street appeal which will be held on Friday as part of Legacy week.' Behind them is a poster with the slogan 'Help Legacy' with an image of a Legacy Boy that was printed as a brochure in 1960 with the slogan 'The Legacy Boy, worthy son of a worthy father.' The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week and an early example of the type of collection tins used in the 1960s.Newspaper article of three people with collection tins for Legacy week in 1960 pasted to brown page of a scrap book .legacy week, fundraising, ivan layton

A black and white photo three men wearing aprons at a beach camp kitchen. The names on the back say it is Norm Smith, Max Allan and Ewan Graham. It is likely to be Somers Camp with a type of camp kitchen behind the men. In the early years of Legacy organised outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring close to the beach. Permanent camp buildings were built in 1930, and with an association with Lord Somers (Governor of Victoria) it was called Somers Camp. This photo was with a group of photos from around the 1930s from the early days of Legacy, including cricket team, football team, and camps at Balnarring/Somers (saved as 01915 to 01934).Legatee Savige's property at Balnarring became very important for Legacy providing outings and camps for junior legatees.Black and white photo of three legatees at a camp kitchen.Handwritten 'L R Norm Smith, Max Allan, Ewan Graham' in blue pen. Stamped '263' on back in purple ink.beach, legacy somers camp, norm smith, savige property

An example of a souvenir issued to commemorate Legacy's 90th anniversary. It says: "90th Anniversary of Legacy 1923-2013" There was a reunion of former Junior Legatees at Government House in 2013 to celebrate the 90th anniversary of Legacy. The handkerchief was donated back to Legacy from the family of Jacobina (Jackie) and Marjorie Bristol, sisters who were both junior legatees in the 1930s and 1940s after their father passed away, he was a World War 1 veteran. Jacobina later became Jackie Wood and Marjorie became Marjorie Bachmann. Also donated were girls' uniform, a photo of the girls at calisthenics classes, a junior legatee certificate and a $100 Legacy badge. These are catalogued separately at 01948 to 01952.A record of an item produced by Legacy to celebrate the 90th Anniversary and given out to former Junior Legatees at a reunion.A white handkerchief with the Legacy torch and text 'Legacy 90th Anniversary 1923-2013' stitched in blue thread in a cardboard sleeve. Embroidered "90th Anniversary of Legacy 1923-2013" in blue thread.90th anniversary, junior legatee, reunion

A cake decorated to look like the Shrine of Remembrance. The event is the annual Fete in 1993. The cake was entered into the Melbourne Show and shows a lot of skill. It was used as a raffle prize at the 1993 fete held at Legacy House (see the article from The Answer). The article says: The 31st annual Club Fete was held at Legacy House and a highlight of the event was a raffle to win a spectacular cake depicting the Shrine of Remembrance. The cake, made by Mrs Audrey McMaster (friend of a former Junior Legatee) was a 1993 prize-winning cake at the Royal Melbourne Show. Mrs McMaster kindly donated the cake to Legacy and nearly $200 was raised from the raffle (won by Mrs Mary Thompson of Reservoir).Part of the annual fete organised by the Legacy Widows' Clubs for fundraising.Colour photo x 2 of a cake decorated to resemble the Shrine of Remembrance.Printed on back "NOV93". 00673.1 has P6 No 3 in pencil and E in blue pen.fundraising, answer, widows, cake

Photocopy of brief biographical notes in respect of the guest of honour, Colonel Sir Edward Dunlop at a Legacy meeting. Legatees met regularly and usually had guest speakers to entertain and inform on different subjects. This document was from a file of information about guest speakers (see also 00812-00822 and 00829-00837). The requirement to be a guest of honour at a Legacy meeting is highlighted in purple. It says: A Guest of honour shall be an individual who by reason of his services to the community and/or the ex-servicemen and his dependants, is unanimously deemed by the Board of Management to be worth of being so described". In this case Sir Edward (Weary) Dunlop was a speaker and his brief biography was included in this Bulletin.A record that the speakers at Legacy functions were from very different walks of life and the subects spoken on were many and varied. Weary Dunlop is famous for his work to many organizations but most notable was his service in WW2 as a Japanese prisoner of war.White A4 paper photocopy of a Melbourne Legacy Bulletin Page 3 mentioning the Guest of Honour at a meeting was Sir Edward Dunlop.dunlop, speakers, edward dunlop

These documents relate to the sale of land in Merri Street Warrnambool in 1959 by Swintons Pty Ltd of Warrnambool. The buyer of the land was George O’Grady, a Warrnambool baker. The land sold for £4000 and there was a shed on the land (called the ‘Office’) which George O’Grady indicated he wished to be included in the sale. William and Ann Swinton migrated to Australia in 1854 and for a decade William Swinton worked as a builder and carpenter in the Warrnambool area, erecting many buildings, including the Wangoom Presbyterian Church. In 1865 he opened a store in Timor Street Warrnambool, selling groceries, hardware, china and glassware. By 1888 the business was known as William Swinton and Sons. Branch stores were opened in Wangoom, Cudgee, Nullawarre, South Warrnambool and West Warrnambool. After William Swinton died his son Robert became the first managing director of Swintons Pty Ltd. In 1934 the business split with George Swinton and Sons selling clothing, furnishings and glassware and Swintons Pty Ltd selling seeds, produce and hardware. Today the Swinton family still operates a furniture and bedding shop in Timor St Warrnambool.These items are of some interest as being connected to the Warrnambool business of Swintons Pty Ltd. They will be of interest to researchers. The current Swinton business in Timor Street is the oldest family business in Warrnambool and, with the name Swinton associated with businesses in Timor Street Warrnambool for 152 years it is amongst the oldest family businesses in Australia.The items here relate to the sale of land by Swintons Pty Ltd., Warrnambool. .1 These are three pages of white paper with typed material, a lawyer’s signature in blue ink, one green stamp and a sketch of the land location. .2 This is a sheet of thick paper containing a plan of the land sold. The paper has printed material and a sketch of the land with part of it coloured in pink. .3 This is a small piece of paper torn at the bottom right edge. It has handwritten material (a letter) in blue ink..2 ‘Plan of Survey of Part of Crown Allotment 18 Section 3 Township of .2 ‘Plan of Survey of Part of Crown Allotment 18 Section 3 Township of Warrnambool Parish of Wangoom County of Villiers’ .3 ‘Tuesday Dear Mr Swinton I am writing to say that I would like to have the ‘Office’ Thanking You George O’Grady’swinton family,, warrnambool

An example of work done by the Governor of Victoria, Sir Brian Murray with Legacy in his role as patron. The Governor and his wife Lady Murray attended the Anzac commemoration ceremony for students that Legacy hold annually. Date was 1984 when Legatee Dean was president of Legacy. One of the annual "Anzac Commemoration Ceremony for Students" events, usually held just prior to ANZAC Day. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. Was in an envelope marked P8 Junior Legatee Photographs and including the text "Shrine Service ANZAC eve"A record of the Governor of Victoria performing his role as patron of Legacy.Black and white photo of the Governor with school children at the Shrine, white paper label attached.Paper label says "His Excellency, Rear Admiral Sir Brian Murray, KCMG, AO, Governor of Victoria, Patron of Melbourne Legacy, and Lady Murray, accompanied by Legatee John Dean, President of Melbourne Legacy, inspect a guard of honour of Junior Legatees at Melbourne Legacy's Annual School Children's ANZAC Commemoration at the Shrine of Remembrance." in black type.governor of victoria, wreath laying ceremony, anzac commemoration for students

The photos show Legatee Chas Wilks visiting Legatee Morrie Tonkin in hospital and presenting a certificate to mark his 50 years of service to Legacy. From the note it seems he gave his Presidential badge back to Melbourne Legacy. Legatee M.J.G Tonkin was president in 1952. Another copy of this photo was found with the date being 23 March 1989.A record that Legacy rewarded long term legatees with certificates for their 50 years of service.Colour photo x 3 of L/-Morrie Tonkin receiving his 50 year certificate and a note.Handwritten on reverse '1989 Presenting 50 year certificate to Morrie Tonkin' and '1989 Morrie Tonkin presenting his gold Presidential Legacy Badge (1952) to Melbourne Club'. Paper note says 'L'tee Morrie Tonkin receiving his 50 yr certificate in hospital by L'tee Chas Wilks.' and 'L17' which was number from an archive system. past presidents, service award, morrie tonkin

Every month Legacy's handicapped dependents are invited to go on outing for take part in recreational and educational activities. These programmes aim to develop independence and thus lessen the need for reliance on others for simple routine functions. Once a year there is a two week camp, this is believed to be Somers School Camp. These photos are from 1992. An article in the widows' newsletter in 1992 explains more detail on the 1992 camp. The article mentions that the annual camps run for two weeks at Somers Camp. It is a wonderful gathering of Junior Legatees, Legatees, and dedicated helpers. 50 junior legatees attended this camp (in 1992) with the personal attention almost one-to-one. With ages ranging from 22 to into the 60s, Legacy has to ensure it caters for the differing needs. Legatees headed by Camp Chief, Jim Hammon and Chairman of the Handicapped Dependents Committee, Merv Tickell, were supported by two Camp Co-Ordinators and 50 helpers known as 'leaders'. Many of the leaders are people in the workforce wishing to give something back to the community. Junior Legatees are organised into groups. They participate in horse-riding, swimming, golfing, strawberry picking, and many other activities. Photos were in a scrapbook of photos spanning 1983 to 1991.A record of the type of activities Legacy provided for the handicapped dependents of the Legacy families. Colour photo x 5 of the HDC camp in January 1992 and a white paper label.Label says 'January is holiday time for Legacy's Junior Legatees. Children aged 7 to 17 join together for a 10 day action packed holiday at Camp Howqua and Legacy's disabled dependants enjoy quality time at Somers Camp. Legatees, members of the Melbourne Legacy Leadership Group and volunteer helpers ensure all have a memorable time.'camp, handicapped dependents, somers school camp

Four photos of a junior legatee camp in January 1992 at Howqua in the alpine region of Victoria. January is holiday time for Legacy's Junior Legatees. Children aged 7 to 17 join together for a 10 day action packed holiday at Camp Howqua. Legatees, members of the Melbourne Legacy Leadership Group and volunteer helpers ensure all have a memorable time.'A record of the types of experiences Legacy provided for the junior legatees.Colour photo x 4 of the Howqua camp in January 1992 and a white paper label.Label says 'January is holiday time for Legacy's Junior Legatees. Children aged 7 to 17 join together for a 10 day action packed holiday at Camp Howqua and Legacy's disabled dependants enjoy quality time at Somers Camp. Legatees, members of the Melbourne Legacy Leadership Group and volunteer helpers ensure all have a memorable time.'camp, junior legatee outing, river

Photos of the unveiling of a memorial to Stan Savige in Morwell Victoria on 31st August 2006. It is a bronze bust mounted on a granite pedestal, it was installed in Legacy Place. The inscription on the front says: THIS MEMORIAL WAS ERECTED BY THE CITIZENS OF MORWELL TO HONOUR A GREAT HUMANITARIAN AND GREAT AUSTRALIAN Photos include the President of Legacy, Bill Rogers; Liza Price, Mayor of Morwell; Paul Buckley, La Trobe Valley CEO and a photo of Sir Stanley Savige KBE, CB, DSO, MC, ED. founder of Legacy who was born in Morwell 26.6.1890. He died 15.5.1954. The photos were sent to Legacy by Stan Wright. The inscription on the back (according to Monumentaustralia.org.au) says: A Distinguished Service Order (DSO) was awarded to Captain Stanley Savige, for conspicuous gallantry and devotion to duty during the retirement of Assyrian refugees from Sain Keleh to Tikkan Tappah between 26th and 28th July 1918; also at Chalkaman on the 5th and 6th August 1918. He was in command of a small party sent to protect the rear of the column of refugees who being hard pressed by the enemy. By his energy, resource and able dispositions the hostile troops, many of whom were mounted, were kept at a distance, although in greatly superior force. He hung on to position after position until nearly surrounded, but on each occasion extricated his command most skilfully. His cool determination and fine example under fire inspired his men and put heart into the almost panic stricken refugees, thereby averting what might have been a very serious situation.A record of a memorial to Stan Savige in his birthplace of Morwell.Colour photo x 8 of the Stan Savige memorial in Morwell.stan savige, memorial

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Victorian Bitter Ale being poured into the Melbourne Cup trophy and horses racing. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'A good thing for the Cup but better for the tonsils'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian). 'The photos were there when we were coming back from Western Libya sometime in March 1941, prior to the 6th Division going to Greece.' From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of the way Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Victorian Bitter Ale for the Melbourne Cup mural.tobruk, beer, victorian bitter ale, ale, horse racing, murals, world war 2

Malone Collection. Greeting card. Small white card & insert held together with white string. Front is vellum which is machine sewn onto the back page. It has blue forget-me-nots in an oval. The bottom part of the oval has an edging of flowers and the top part is blue with parallel embossing bordered in gold. At each top corner is a small posy of blue flowers with a gold rope hanging down to another posy on the right and on the left are two posies. At the bottom is a blue floral frame with Forget-me-not I?ain would say For I remember you always. Embossed border at the edges. Card & insert held together with white string. Given to Miss Malone.B. B. London and New Yorkperson, greeting cards, malone collection, malone collection, greeting card

Letter, dated 2 February, 1954, from Roy Michaelis to Mr. F. A. Stevenson. Letter typed on paper with printed letterhead. In the letter the writer mentions that he has a pipe line which has fouled up and he was inquiring if a scalebuoy would improve the problem. The second letter ( a carbon copy), dated 10/2/54, is to Mr Roy Michaelis from (name obscured). He mentions that he has thought about it but he can't see any way to help at the moment. He also says that the scalebuoy needs a steady flow of water which the hydraulic ram does not give. He also refers to some other work he has done elsewhere.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, michaelis hallenstein & co pty ltd, f a stevenson, roy michaelis

Black and white photograph of a Bendigo Single Truck straight sill tramcar (were numbers 1 to 12) prior to fitting windscreens (Destination Eaglehawk page 30 - says this occurred in 1920). Tram has "Dewar's imperial whisky" roof advertisement, "Bendigo Tramways" on the letterboard, on the front dash, advertisements for "O-T+ drink additive on either side of the headlight and "Silverline Soap" on the panel either side of the bumper bar. See Reg Item 1712 for side on view of this tram. Photograph appears to be a photo of another print, with black ink "18" in the bottom left hand corner on the newer print on copy 1 of the item only. Two copies held. See page 30 of Destination Eaglehawk trams, tramways, bendigo, esco

Demonstrates aspects of the Ballarat Tramways management system of Traffic Inspector rosters and that they worked a 38 week. Gives two different arrangements.Typed sheet, two carbon copies, giving two forms of rosters for Traffic Inspectors. Titled "Traffic Inspectors' Rotating Duty Rosters" and dated 29-8-1966, has rosters for four traffic inspectors - four week rotation and for three inspectors - three weeks rotation. Shows the hours of work (all 38 hour week), starting and finishing times, for each day of the week. Note under heading says "As from 17 May 1954". Did it change with the number of inspectors available? That is with one of the four being on leave. See also Reg. Item 3421 for the 1954 arrangements. Two copies held. 3rd copy added 12/3/2009Both copies marked in top right hand corner in black ink "BTPS 808"trams, tramways, timetables, sec, ballarat, crews, inspectors

Set of two documents - pamphlets to ask passengers about the changes to routes 1, 6, 8 and 55 - 2015. .1 - 3 fold pamphlet, DL size colour on off white paper titled .1 - "Help plan your future tram services" asking feedback via an on-line survey. Shows the possible route changes on a map and basis of the changes. Has contact details on the rear. Two copies held. .2 -DL sheet cut for hanging within a tram, titled "Have your say on proposed changes to these routes - 1, 6, 8, 55, noting that a brochure could be picked up on the tram. Have PTV, Yarra Trams and Vic. Govt. logos.trams, tramways, route 1, route 6, route 8, route 55, route 58, tram routes

Black and white photograph of Volvo Articulated bus in "The Met" colours, c1985, Number 06 at Doncaster depot. Has other buses in the background. Model No. B10ML on radiator. Web site: http://www.showbus.co.uk/Australia/gallery/met2.htm accessed 20/8/2013 - says under a photo of a similar bus: "In 1985 Japan took delivery of 100 Volvo B10ML articulated buses for services to the World Expo in Tokyo. The order caused a stir at the time as Japan was self-sufficient in bus production. However articulated buses were not street legal, so after the Expo the buses were all exported. Seventy nine of them ended up in Australia, popping up all over the country."On rear in ink "MTA Newly acquired Volvo Artic Bus"trams, tramways, the met, buses, doncaster, tram 6

Winner of the 175th Anniversary of Edward Henty landing at Portland, Acquisitive Art Prize.Gouache on paper depiction of Edward Henty's arrival at Portland Bay. Cream coloured mat board. Light coloured wooden frame. Wire hanging cord. A colourful border depicting native animals as well as other items such as a steam train, shovel, cartwheels surrounds an image of the coastline. Each corner of the border shows a sailing ship. In the foreground are two Indigenous Australians seated on the floor surrounded by bushland. To the left stands a man in European clothing - green trousers and a striped top. He is ankle deep in the water. Behind him are two baskets which he holds with a chain. Behind that are two sheep. Top left is a parchment which says, Thistle the Pioneer, Nov 19th 1834.Front: Back - 'Jennifer McCarthy Edward Henty - Arrival 2009' - Brown texta Also framers sticker1834, the thistle, henty, colonial, portland bay

Set of four cuttings from The Courier, Ballarat dated Saturday 13/7/2002 regarding the reintroduction of trams to Ballarat. 2239.1 - Front page with caption "Trams: 67% Say Yes", written by Alex Easton regarding a survey of 312 residents by the Courier. Also has a photo by Jeremy Bannister of former tram driver Alan Jeffreys at the controls of a tram in Wendouree Parade with Roger Salen in the background. 2239.2 - page 9 - Editorial written by Stuart Howie titled "Lets make sure we all get on the right tram" discussing the positive and negative attributes and problems of spending a large amount of money to return trams to Ballarat. Has a digitally composed photo of No. 13 in Lydiard St. North, showing destination "CITY" and a photo of the Eureka Stockade. 2239.3 - Page 4 - lead article titled "Trams would be bad for mall: manager", written by Alex Easton quoting David Nolan and the impact of trams on the mall, along with a cartoon about a tram ticketing machine being out of order. Cartoon by inkcinct. Also continues from page 1, lead article. Notes that readers can have they say on a web poll. 2239.4 - Page 8 - Letter to the Editor, by William J Hoath titled "Put tram plan to the vote", asking for any tram proposal to be put to the vote of ratepayers. Also on the side in a column titled "Short Takes", titled "Link lake to the tram line", provided by Joan C. Ryan of Ballarat.ballarat revival, letter to the editor, ballarat city tramway, lydiard st. nth

Ric Edwards was born in Melbourne, but moved to Beechworth in 1962. He had strong associations with Beechworth Prison, which is now called Beechworth Correctional Centre after 144 years. Ric had a strong role in creating the education program for the prisoners. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Although Beechworth is famous for its history in gold, the project by Jennifer Williams is significant as it captures the everyday life and struggles of residents living in Beechworth during the twentieth century. Ric Edwards story is significant as his story brings to light the prison system in Beechworth and it gives insight into not only Ric's role in the prison, but it also gives insight into the psychology of the prisoners.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, burke museum, edwards, ric edwards, beechworth prison, beechworth correctional centre

Charles Ladson in 1926 in Beechworth. The recording details Charles' life growing up in Beechworth, his working life as a carpenter and as woodworking teacher, and later his marriage. Charles grandfather arrived in Beechworth following the gold rush and set up shop as a trader. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.The recording of Charles Ladson's life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural, historical, social, and religious heritage of the region. Charles details important historical events, local life, and hardships in the region's history that had a lasting local, regional and national impact. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mr Charles Ladsonteacher, burke museum, beechworth, charles ladson, ladson, religion, listen to what they say, gold rush

The 1971 flood was the the worst flood on record. At Jarrahmond it was at least 11 metres and up to one and a half kilometres wide on the flats causing enormous damage to the flood plain. Records say that "The brown floodwater stain in Bass Strait could be seen from passing airliners." Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au) The railway line was destroyed and was not expected to be opened for a fortnight. Orbost was cut off by 50 square miles of Snowy River floodwater. This train was being shunted across the viaduct when waters smashed through washing away several trucks sending the crew running for their lives.This is pictorial evidence of a significant local event. It is connected to the history of the railway in East Gippsland.A large black / white photograph of flooded railway yards with a train engine stranded on a small section of track surrounded by water and debris.on front - "1971 Flood, Railway Yards"floods-1971-orbost orbost-railway natural-disasters-orbost

Medals awarded to John Michael Martin, born Bendigo, enlisted No 2396 in the 7th reinforcements 9th Bn AIF on 22.6.1915 in Brisbane, aged 21 years 3 months, embarked for Eygpt 20.8.1915, hospital with Mumps 7.12.1915, rejoin unit 5.12.1915, transfer to 49th Bn 2.4.1916, embark for France 5.6.1916, attends 1st ANZAC Bombing School 5.1.1918 - 24.1.1918, WIA 10.8.1918 GSW to right knee severe, amputated, another entry says right thigh, embark for Australia 16.3.1919, discharged medically unfit 12.12.1919. John Martin was actually John Michael Tilley, Martin was his mothers maiden name, why he enlisted under her name is unclear.Medals, three, with ribbons unmounted. .1) 1914 - 15 Star. .2) British War medal 1914 - 19. .3) Victory medal 1914 - 1919.On all three, “2396 Pte J.M.Martin 9/Bn A.I.F”medals, awards

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

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