This publication was produced in the early 1950s to provide the growing tourism trade (at this time), to the region with a more detailed overview of the facilities available to tourists of the region's attractions. This brochure is a very efficient and effective promotional publication. The increasing level of self promotion by local business and commerce sectors of the region the more sought after the region became and the greater the ability of the region to grow (non rural based economy). Some of the regions unique facilities and geological structures are well suited to those tourists who live in cities and "flat land" regional bush areas within Australia. This was a period when the average Australian domestic tourist was more able (finance and transport wise) to see more of their country within the short time they had for "holidays". In the late 1900s, however, with the increase to workers' recreational leave and better transportation (fares, ease of travel to overseas destinations) the local tourism numbers from other domestic locations have been steadily declining. From the 1970s onwards, the increased tourism demand from overseas tourists, for better facilities and easier access to these regional facilities, resulted in better transport, accommodation and communication, which has been a boon for all tourism within Australia. In the 21st century the world is becoming smaller and smaller for the international tourist, especially for those from crowded Asian cities. The greater attraction for "open" spaced locations such as this region are becoming a much sought after change of scenery. This pamphlet which targets the tourist, whether either from other Australian regions or the global tourist, is a good example of self promotion by a relatively small local population. This is especially significant because before the "tourist explosion" in the 1950s onward, these regional areas had a more introspective society with greater emphasis to locally established mores and values. The increased interactions with people from other areas and nations, combined with a greater global communication network is affecting those traditionally established mores to produce a some what unique social transformation which is constantly changing from one generation to the next. One important factor which tourism does bring is that it opens up the region to a wider range of people who look to the region for their own lifestyle changes.This pamphlet has a front cover in colour with the major activities in the region sketched depicting : sunshine, snow skiing, trout fishing, mountain climbing, golfing, swimming, alpine views, tennis, lawn bowls and picnics. The back cover is blank. The pamphlet is fastened together by two staples 30mm from top and bottom, and is folded with the cover slightly thicker than the fifteen pages. Thirteen pages have been printed on both sides. The first page has a black and white photograph of the hotel Alpine and the tall brick constructed Clock Tower. There are another five black and white photographs in the pamphlet.on front cover "Guide to BRIGHT"local tourism, regional information booklet, "time" related brochures, alpine local history

The Hoffman company was established in 1870 to mass-produce bricks using the Hoffman patent kiln and the Bradley and Craven brick press. Once established the company entered a period of expansion aided by Melbourne's building boom from 1870 to 1890. During this time approximately ten brick machines were in operation producing some 18,000 bricks per hour. An extensive pottery works were established initially supplying mainly tiles and drainpipes and later domestic pottery such as the company's Melrose ware. The company even had its locomotive shunt the works siding which connected with the Victorian Railways at South Brunswick. By 1890 Hoffman was the largest brick and pottery works in Victoria, however, the 1890s depression halted company expansion. The company joined the Brick Co-operative when it was formed in 1896. The cooperative regulated prices and output from member brickworks. As the depression ended business picked up and the works were expanded to increase the production of stoneware pottery, especially domestic wares. The brickworks, however, never recovered the momentum of the early period. During the 1920s and 1930s, the works gradually ran down, and following the Second World War, production reached an all-time low. The No.1 works were stripped and sold. (For further information regards Hoffman Kilns see note section of this document.) An item made in Melbourne by at the time the largest pottery works in Australia making industrial and domestic wares for the home and building industries. Stoneware Demijohn jug with cream and brown glaze. Printed around base of jug, MELBOURNE, 1929"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, melbourne, 1929, stoneware jug, hoffman potteries

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. These thimbles belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. They were used in the family home between 1919 and 1928 during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. Two alloy tailors thimbles dating from the early 1900ssewing, thimble, thimbles, sew, haeusler, haeusler collection, wodonga

This item(razor) was used by men, only before fashion dictated that women should shave their legs and underarms. There is information that this razor was first used circa 1922 and it lasted up until circa 1958. It permitted the user to have a compact shaving apparatus at hand in any environment. It provided a safe and easy way of sharpening the more permanent blade. This type of razor replaced the straight, open, or cut-throat razors. The mobility of this item was further enhanced by Gillette with their double bladed disposable razor. Time taken(shaving) and costs involved where crucial factors in the ever growing pace of domestic lifestyle in the post 1920s.This historical item presents that, even though the Kiewa Region was an inland rural settlement which in the 1920's was not as close to "modern" fashions and "gadgets", the basic living conditions where still maintained at city levels. This particular razor was in its heyday a sophisticated safety razor and brought down the demand for the services of the "professional" barber(shaver). One of the problems of the superseded straight razor was the high levels of cuts and nicks to the face. As this particular razor was fairly expensive it would have been used by men who were in the middle to upper socio-economical position in Kiewa Valley before the late 1950'sThis item is a Sheffield steel(stamped inside) metal box(Viscount model) containing a red leather fine shaving strap and in its lid a grey honing stone. Both bottom and top lids are removable to allow for replacements of strap and stone. On the bottom lid appears "The Whetter" trade mark, registered in the U.S.A. in 1950.Three bands of a Greek key pattern has been pressed on the lid. A circled identification inscription. " ROLLS RAZOR Ltd, MADE IN ENGLAND" and patented information appears within this inscription. "Patented in England and Abroad. English patents numbers 467383. 284428. 242718. 242717" On the outside of the base lid within a circle are "ROLLS RAZOR" and the sketch of a long haired naked man (side view), crouched, with both hands stretched forward operating the razor. On a slab underneath are the words "The Whetter"safety razor, non disposable, men's shaving implement

Used domestically, though any extra butter could have been sold to neighbours. Many families kept a cow or two for milk etc. Cream needed to be at least 2 days old - the thicker the better. The handle was turned until the cream turned to butter,the whey was poured off and the butter washed in cold water until the water ran clear. Generally salt and bicarbonate of soda were added. Two pats were used to form butter into 1lb lots. This butter was most typically meant for consumption by the family, but in some instances it may be taken away for consignment by commercial receivers of dairy produce. This item is typical of the period when food processing was done at home. It would have been before the time of mass food processing factories.A metal butter churn with cast iron hand crank on side. The bowl container has a steel lid. It sits on a tripod stand.dairy butter-churn farming

The ring was made for the donor by her father in Camp 3, Tatura. The Wied family were settled in Palestine upon the beginning of WWII. Being of German nationality, they were considered a threat to security by Allied forces & were interned in temporary camps, before being shipped to Australia. In Australia they were interned in Camp 3, Tatura, a family camp for enemy nationals. Many of the internees came with few possessions. This item is just one of the handmade domestic items fashioned in the camp from largely scrap materials to give some home comforts in the initially barren surroundings of the camps, particularly to those interned with families and young children. Small brown metal ring, with a small heart soldered to the ring. camp 3, tatura, world war ii, internment camps

Used by RAAF personell in accommodation quarters 1942 -1946. WWII wartime objects – living in the RAAF camp . They provide evidence of the contents of the RAAF barracks and recreation hut erected in 1942 and occupied until 1945. Some of the items such as cutlery, a wood heater/stove, domestic radio (remnants) were used in daily life by servicemen. Spoons x 3 (WPLS 0101.3; likely provenance); spoon and knife (0148.2 likely provenance)The two metal small spoons, two large spoons and knife without its handle are known to have been used by WWII RAAF or navy personnel in their accommodation quarters 1942-1945. The items, if original to the site, have second level contributory significance for the evidence they provide of the WWII buildings and their use between 1942 and 1945. Metal spoon and a serrated edged knife without a handle. Both items have some corrosion.

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. This house was owned and built by Louis Haeusler in Wodonga West,This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. A small wooden house built in a cleared area. This house was built and owned by Louis Haeusler C. 1910wodonga pioneers, haeusler family, glass negatives, dry plate photography, louis haeusler, pioneer housing

The internal decorative scheme of Villa Alba is significant as a fine example of the work of the leading Melbourne decorators, the Paterson Brothers. It is one of their first interiors to depart totally from the use of pre-prepared wallpapers of repetitive designs and it is a rare and comprehensive extant example of their domestic work. The decorative schemes in the ground floor hall, the dining room, the drawing, the vestibule, the stair hall, the upper hall, bedroom 1 and the boudoir are also individually of significance as outstanding examples of Victorian decoration. The frieze in the Dining Room of Villa Alba was painted by Hugh Paterson in 1883-1884, and depicts scenes from Walter Scott's novels 'Rob Roy' and 'The Heart of Midlothian.'High quality photographic record of the Rob Roy section of the frieze with annotations by Robyn Riddett. Photographs were taken by Trevor Mein.Panels 1 to 10 of scenes from Sir Walter Scott's novel 'Rob Roy'. Positioned below the architrave, each panel or lunette is separated by tromp loeil columns. The Rob Roy section of the frieze begins on the north wall, continues above the fireplace on the west wall, and concludes above the bay window on the south wall. [The panels on the east wall depict scenes from Scott's 'The Heart of Midlothian.][The captions on each image were created by Robyn Riddett using the text of each novel as a reference]villa alba museum, domestic interiors -- 1880s, hugh paterson, the paterson brothers, walter scott, rob roy

The internal decorative scheme of Villa Alba is significant as a fine example of the work of the leading Melbourne decorators, the Paterson Brothers. It is one of their first interiors to depart totally from the use of pre-prepared wallpapers of repetitive designs and it is a rare and comprehensive extant example of their domestic work. The decorative schemes in the ground floor hall, the dining room, the drawing, the vestibule, the stair hall, the upper hall, bedroom 1 and the boudoir are also individually of significance as outstanding examples of Victorian decoration. The frieze in the Dining Room of Villa Alba was painted by Hugh Paterson in 1883-1884, and depicts scenes from Walter Scott's novels 'Rob Roy' and 'The Heart of Midlothian.'High quality photographic record of 'The Heart of Midlothian' section of the frieze with annotations by Robyn Riddett. Photographs were taken by Trevor Mein.Panels 11 to 17 of scenes from Sir Walter Scott's novel 'The Heart of Midlothian'. Positioned below the architrave, each panel or lunette is separated by tromp loeil columns. The Heart of Midlothian section of the frieze is located on the east wall, continuing clockwise from above the door. [The panels on the north, west and east walls depict scenes from Scott's 'Rob Roy'.][The captions on each image were created by Robyn Riddett using the text of each novel as a reference]villa alba museum, domestic interiors -- 1880s, hugh paterson, the paterson brothers, walter scott, the heart of midlothian

made in Camp 3 by internees with wood from wood heapOrnate carved edged wooden rectangular tray.TATURA tray, camp 3, wood, tatura, o'toole, ivy, domestic, trays, food, drink, consumption, handcrafts, carving

The 1950's saw a revolution in small appliances for use in the average household. This hand held self heating(kerosene) iron was introduced as a time saving and more convenient iron for pressing clothes and other cloth fabrics. It replaced irons needing a separate fire source to heat the ironing plate. These irons continued to be in service, even when electricity was available in cities and larger rural towns (domestic electric steam irons were invented in 1938). This item was used before and during the electricity supplies available from the Kiewa Hydro Electricity Scheme. These irons remained in use within regional rural areas that had limited or unreliable electrical reticulation.In the 1950s and later the Kiewa Valley was still a relatively isolated region which was home to rural properties and small settlements. The availability of electricity and or the financial means to afford new types of electric hand irons ensured that older and sometimes less efficient ironing remained for an extended period covering the 1960s to 1970s. Kerosene products, such as this kerosene iron was a cheaper method for farm based domestic and other rural activities requiring a heat source. The use of kerosene as a heat/light source was able to be supplied in bulk and able to be used when floods severed vital roads into this region. The supply of electricity was in summer time subject to interruption from bush fire damaged wooden poles carrying the electrical cables. Self sufficiency by rural populations was the backbone of survival and the ability to store energy sources "on the farm" was a prerequisite of isolated regions, such as the Kiewa Valley, circa 1950s.This Coleman kerosene iron has a solid steel chrome plated(press) base with a painted (blue) wooden handle. The handle is stud fastened onto an oblong shaped rolled steel handle frame and screwed (two screws) onto the base plate. Both the heating plate and the top securing plate are shaped similar to a river boat. The main housing enclosing the heating element is enamel coated(blue in colour) steel and has a half hole for lighting the kerosene at the rear end. Behind the handle and protruding upwards is a stainless steel fully enclosed container (bowl shaped) for the main supply of kerosene to the burner or generator(enclosed within the main body of the iron. The bowl has an air valve and inlet for pressurised air intake (hand pump) On the bottom rear of the fuel bowl there is a screw regulated fuel pump. The fuel heated base plate provides the heat for this advertised "self heating iron(instant lighting). See KVHS 0347B- Instruction sheet; KVHS 0347C- Wrench; and KVHS 0347D Fuel can.Stamped on the base plate of the handle, front region "COLEMAN LAMP & STOVE CO." below this "WICHITA KAN" below this"TORONTO CAN". In the middle of the handle base and in larger print "COLEMAN Instant-Lite" At the rear location in large print "MODEL 4" in smaller print below "MADE IN U.S.A." below this "PAT#1718473"household appliances, alternative non electrical ironing appliances, domestic appliances, kerosene appliances

The water cart was in itself a complete invention of John Furphy and was first made in the 1880's. At the time no similar article was used in Australia. Few houses of the time were designed to collect rain water from the roof and hence, water needed to be collected elsewhere and transported for stock and domestic use. The method of carting water was then confined to horse drawn drays or sleds with mounted wooden barrels or casks. At the same time the growing demand for agricultural implements, led to the establishment of a foundry with a furnace to cast components rather than the time consuming task of forging. This became the catalyst for the efficient production of the robust and mobile water carrier known then, and now, as the Furphy Farm Water Cart.Four colour photographs showing a tank made by Furphy and Sons, Shepparton.furphy, shepparton, water storage

Home manicure sets became increasingly popular during the 1920s. The manicure tools are made of steel and the handles and case are fashioned from xylonite, a form of celluloid. Xylonite (derived from the Greek word ‘xylon’ meaning ‘wood’) is best known for use in products made by the British Xylonite Co. Ltd. Among the earliest items made from the material were knife handles, tubes and insulating materials for electric cables. Because of its light-weight and durability, xylonite became widely used in domestic items such as coral jewellery and manicure sets throughout the early twentieth century. This item does not bear a brand name but was manufactured in England c1932 This item is significant because it is representative of accessories used by women in the early part of the Twentieth century and was donated by a member of the Wodonga Community.A shell shaped manicure case made from xylonite or celluloid. The case is lined with blue velvet. The set includes nail scissors, a nail file and buffer as well as other implements. Also in the set are 2 small round containers.On back of case: Made in Englandvintage manicure set, women's accessories

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico bag with yellow and blue graphic text on front.Front: COOK-WELL \ SELF- \ RAISING \ FLOUR \ PREPARED WITH \ PHOSHATE AERATOR \ HENRY BERRY & Co (A/S??Ltd) \ 568 580 COLLINS STREET \ MELBOURNE \ NET 7 LBSwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and red, white and black text. Back of bag shows red and white graphic image of a woman wearing a dress and heeled shoes holding a coffee cup, with red and white text.Front: THREE BEARS \ PORRIDGE \ FLAKED \ OATMEAL \ SOMEBODYS BEEN TASTIN' MY PORRIDGE \ AN' THEY'VE EATEN IT ALL UP \ Jas. F. McKenzie & Co. Pty. Ltd. \ AUSTRALIA \ 7 LBS. NET. Back: MCKENZIES \ EXCELSIOR \ COFFEE \ ESSENCEwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and white and black text.Front: THREE BEARS \ PORRIDGE \ ROLLED \ OATS \ SOMEBODYS BEEN TASTIN' MY PORRIDGE / AN' THEY'VE EATEN IT ALL UPwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with colour image and black text. Image shows a full length brown horse with bridle.Front: PARSONS FARM ANIMAL SERIES No.3 \ SUFFOLK \ The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England \ and is noted for its hardiness. From 15 to 16 hands in height. The Suffolk in general is smaller than \ the Clydesdale. The head is rather coarse, with the neck short. The body long deep and wide with \ a round full appearance. The croup is straight and legs short and free from leather. The invariable \ colour is chestnut, varying from light to dark.wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic blue and yellow image and text on front. Image shows head and shoulders of person resting on forearms surrounded by flora. Back of bag shows blue and white image of a cube with text and star graphics.Front: HARPER'S \ STAR \ AVENA \ BRAND \ ROLLED OATS \ ??INCORPOR?? ??STORIA?? \ ????? \ AUSTRALIA Back: THE \ SILVER STAR \ RICE \ STARCH \ ROBERT HARPERS AND CO LIMITED \ AUSTRALIA \ THE \ BEST \ IN \ THE \ WORLD \ WONT \ STICK \ TO THE \ IRON \wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico flour bag with red, blue, white and yellow graphic image and text. Image shows head and shoulders of a woman wearing a bakers hat. Reverse side shows same image with slightly different text.Front: O*SO*LITE \ SELF-RAISING \ FLOUR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261 \ SELF RAISING \ SELF RAISING \ SELF RAISING Back: O*SO*LITE \ SELF-RAISING \ FLOUR \ PREPARED WITH PROSPHATE AERATOR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

During the Victorian goldrushes of the 1850s thousands of Chinese migrants arrived to seek their fortunes. At that time many came to the lucrative gold fields of Northeast Victoria. After the Gold rush, many Chinese migrants returned home. However, a number settled in the area as merchants, hawkers and market gardeners in surrounding towns including Wodonga, the Ovens, King, Buffalo River and Kiewa Valleys. They also rented lands and established themselves in the hops and tobacco farming industries. Items of Chinese origin made their way into many households. Importation of Chinese mass produced items such as this lantern continued well into the 20th century and were common domestic items across Australia before households were connected to electricity.This item is representation of kerosene / paraffin lamps used throughout Australia to provide lighting inside and outdoors prior to the widespread availability of electricity.A small hurricane lamp with a rounded tank and small carry handle attached to the top. A larger handle is also attached at the top of the frame. It has a lever to open the glass tank. It has a metal base which is filled with kerosene. It has a screw knob to open the kerosene receptacle. The metal hood also has vents. The Chinese characters around the base translate to "Shanghai Guanghuaheng".Around base : Chinese characters. On top : "Made in China KWANG HWA"kerosene lamp, domestic appliances, chinese artefacts

Irons such as this were very popular prior to the widespread introduction of electricity in Australia. It was manufactured by the Tilley Lamp Company Ltd. In 1818 John and William Henry Tilley established W. H. Tilley, in Stoke Newington, London, England. During WW1 they started to use paraffin as a lamp fuel in pressurised containers. A production plant was established at Hendon, just north of London, and the first commercial lamps were produced after World War 1. During the 1920s the company diversified into domestic lamps. This expanded to other appliances such as heaters and eventually to irons. The use of paraffin or kerosene as a fuel was a much cleaner form of heat, especially when compared to older flat irons which used coal.This item is significant because it is representative of domestic appliances used in the Wodonga District prior to the introduction of electricity throughout the area.Cream coloured iron with a black Bakelite handle which attaches to the fuel tank. It has a steel sole plate. The heat of the iron is provided by a paraffin burner.On Metal plate: Model D.N. 250 Made in England British Pat. 524719 Australian Pat. 114305 On Knob at rear: ON/OFF TILLEYdomestic appliances, tilley paraffin iron, tilley lamp company ltd.

The Leader Spare Corner Book warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, domestic, kitchen, cookery, household hints, food

A tea strainer is a type of strainer that is placed over or in a teacup to catch tea leaves. When tea is brewed in the traditional manner in a teapot, the tea leaves are not contained in teabags, but rather are freely suspended in the water. As the leaves themselves may be distasteful, it is usual to filter them out with a tea strainer. Strainers usually fit into the top of the cup to catch the leaves as the tea is poured. Some deeper tea strainers can also be used to brew single cups of tea, much as teabags or brewing baskets are used - the strainer full of leaves is set in a cup to brew the tea, and then removed, along with the spent tea leaves, when the tea is ready to drink. By using a tea strainer in this way, the same leaves can be used to brew multiple cups. Tea strainer use declined in the 20th century with mass production of the tea bag, but is still preferred among connoisseurs who claim that keeping the leaves packed in a bag, rather than freely circulating, inhibits diffusion. Many assert that inferior ingredients, namely dust quality tea, are often used in tea bags. Tea strainers are usually either sterling silver, stainless steel, or china. Strainers often come in a set, with the strainer part and a small saucer for it to sit in between cups. Tea strainers in themselves have often been turned into artistic masterpieces of the silver- and goldsmith's craft, as well as rarer specimens of fine porcelain. Brewing baskets (or infusing baskets) resemble tea strainers, but are more typically put in the top of a teapot to contain the tea leaves during brewing. There is no definitive boundary between a brewing basket and a tea strainer, and the same tool might be used for both purposes. Tea strainers are also used by patients trying to pass a kidney stone. The patient urinates through the strainer, thereby ensuring that, if a stone is passed, it will be caught for evaluation and diagnosis. Source: www.wikipedia.net This item has historical significance in the evolution of Tea drinking.The Strainer being needed if a cup of tea was to be poured without tea leaves being present in the tea liquid.As Tea bags have been introduced into everyday life tea strainers are an item of the past. This particular tea strainer was an item for everyday useage.White enamel tea strainer, round in shape with flange edges, 7 small circle areas of perforations in the concave area of the utensil, a small perforated handle (same material) at one outer area of the item.domestic, kitchen, food, preparation, white, enamel, tea, strainer, beverage, perforated, utensil, round, flanges, leaves

[1] Three Bears Porridge Flaked Oatmeal Bag: This textile bag originates from Canadian Cereal Mills Ltd., which marketed "Three Bears" flaked oatmeal. Popular in the early 1900s to mid-century, this product combined functional packaging with a child-friendly incentive — a cut-out cloth doll. The practice of printing toys, games, or clothing patterns on flour or oat sacks was a common marketing strategy, encouraging reuse and appealing to families during times when thrift and creativity were essential, especially during the Depression and wartime years. The Three Bears brand played off the enduring popularity of children’s nursery tales, while the doll encouraged children (and parents) to reuse packaging creatively. This object captures a unique intersection of food marketing, household resourcefulness, and early 20th-century domestic life. [2] Mammy Self-Raising Flour Bag: This item is a mid-20th-century Australian flour bag, branded “Mammy Oven Puff”, produced by A. Mammy Products Pty Ltd in West Footscray, Victoria. The use of the name "Mammy" and the caricatured illustration draws on a now widely recognised and offensive racial stereotype originating from American minstrel culture, commonly used in product branding in the early-to-mid 20th century. While the bag reflects a specific period in Australian domestic and commercial packaging history, it also exemplifies racially insensitive advertising that would be considered inappropriate and harmful by today’s standards. Such items are preserved today in museum collections to help document past social attitudes, consumer culture, and the evolution of racial representation in advertising. [3] Bandung Blue Triangle Brand Flour Bag: This bag represents a mid-20th-century Australian flour export product, particularly aimed at international markets such as Indonesia (as indicated by "Bandung"). The “Blue Triangle Brand” was likely a registered trademark used by a Melbourne-based flour mill engaged in both local and overseas trade. The use of durable cloth bags for bulk flour was common prior to the widespread adoption of paper and plastic packaging. These bags were often reused domestically for household textiles, clothing patterns, or storage. The export reference (Bandung) underscores Australia's historical agricultural trade ties with Southeast Asia, especially in wheat and flour exports. – Roy SCHMIDT resided with his siblings Mabel and Jack at ‘Parklands’ 85 Lake Avenue Natimuk home of Heinrich Friederick ‘Heiny’ & Minna Christina SUDHOLZ nee LANGE and their children Louis, Sophie, Alma, Lena (Roy's Mother), Florence 'Florrie' and Edward ‘Ted’.[1] Three Bears Porridge Flaked Oatmeal Bag: A vintage cloth oatmeal bag printed with black ink on both sides. One side is branded with "Three Bears Porridge – Flaked Oatmeal", showing an image of three bears behind a gate, referencing the well-known “Goldilocks and the Three Bears” fairytale. The opposite side features a printed cut-out doll design, showing a young girl with curly hair holding a bouquet of flowers, intended to be sewn into a stuffed toy. Instructions note that the reverse side (the doll’s back) could be obtained from a second bag. The design combines product branding with a promotional activity for children, typical of early- to mid-20th-century grocery packaging aimed at reuse. [2] Mammy Self-Raising Flour Bag: A small vintage cloth flour bag with printed branding in faded red, blue, and black inks. The front of the bag features a central image of a caricatured smiling African American woman wearing a headscarf. The text is unevenly faded but legible in parts. The bag has a rectangular shape with an open top edge and signs of previous use, including creasing and some fraying at the corners. [3] Bandung Blue Triangle Brand Flour Bag: A large, rectangular vintage cloth flour bag made of cream-coloured calico or cotton. The front of the bag is printed in bold blue ink with branding and export information. It prominently features a large triangular logo reading “Blue Triangle Brand” and numerous lines of text in block and stylised fonts. The bag is open at the top with frayed edges, suggesting it was once machine-stitched shut and later opened.[1] Three Bears Porridge Flaked Oatmeal Bag: Front side (branding side): "THREE BEARS Porridge – FLAKED OATMEAL" "7 Lbs. Net." “Packed and guaranteed by Canadian Cereal Mills Ltd., Toronto” Reverse side (doll pattern): "This is the Front for Three Bears Cut-out Doll" "In order to complete this Doll it will be necessary to obtain the Back Design from another Bag of Three Bears Rolled Oats or Oatmeal." [2] Mammy Self-Raising Flour Bag: Main product name: “MAMMY OVEN PUFF SELF-RAISING FLOUR” Additional text: “The Only Creamed Flour” “Prepared with phosphate aerator” “A. MAMMY PRODUCTS PTY. LTD., Sunshine Rd., West Footscray. Phone: FW 7321” “7 LBS. NET” (near top edge, very faded) [3] Bandung Blue Triangle Brand Flour Bag: The bag is printed with the following: “10270” “G.W.C | H.L” “BANDUNG” “BEST AUSTRALIAN” “BLUE TRIANGLE BRAND” (inside the triangle logo) “GROWER & GRINDERS” (curved around the logo) “Patent Roller” “MELBOURNE” “FLOUR” “50 LBS. GROSS WHEN PACKED” These inscriptions indicate that this flour bag was manufactured in Melbourne, Australia, and was likely exported to Bandung, Indonesia.farm equipment, flour, milling, oats

This case is for a testing voltmeter recorder. The last time it was certified by SEC Vic laboratories on the 17/4/77. It was used extensively in the transportation of the mobile recorder which was sometimes placed for periods of one month at locations experiencing unacceptable fluctuations of power. These locations would cover the North East regions of Victoria. They cover voltage drops at domestic and business properties especially those that were experiencing regular fluctuations(daily) at approximately the same time of the day. As the electrical network is required to operate within a set level of voltage, fluctuations outside of this has to be investigated and necessary remedial action taken. This is especially so for rural properties where power "drainage" can occur through animal/bird and tree interference. See KVHS 0302 (A) for the instrument.This case for a mobile voltage recorder is very significant to the Kiewa Valley because it highlights the difficulties that can occur in maintaining a power supply that experiences fluctuating power demands by the rural industries that it supplies. The requirement of a mobile testing apparatus to cover the various sections in the Kiewa Valley and other rural areas in the northeast region is one of necessity as electricity once connected to a rural property is a labour saving supply as generators on rural properties require a higher degree of maintenance an ultimately at a higher cost. The testing of the SEC Vic supplied electricity to rural properties,those who had previously run on generators, had to be quick and unassuming with certainty of correct supply levels.This heavy and thick all leather case for the "easy" transportation of the Volt meter recorder has a opening top which pop riveted to the main body(rivets are aluminium). The all leather top has a shaped carrying handle which is also riveted on. There are two straps on the side of the top which can be fastened to the main body by metal "shoe" buckles. The bottom end is secured to the main bag by large rivets.Tick grade stitching is on all corners.Nilsec vic kiewa hydro scheme, alternate energy supplies, alpine growth in electricity consumption

Alfred Milner, 1st Viscount Milner was a British statesman and colonial administrator. He played an influential role in the formulation of foreign and domestic policy from mid 1890s to early 1920s. In 1897he became High Commissioner for South Africa and Governor of Cape Colony. He pushed the Transvaal Republic to war, oversaw the war and organised the reconstruction after the war. Milner left South Africa in 1905 after being involved in many of the changes that took place while he was there. Honours Awarded: Companion of the Order of the Bath (1894); Knight Commander of the Order of the Bath (1895); Knight GrandCross of the Order of St Michael and St George (1897); Knight Grand Cross of the Order of the Bath (1901); Knight of the Order of the Garter (1921). Individual image from photographed poster of tobacco and cigarette cardsalfred milner, 1st viscount milner, statesman, colonial administrator, high commissioner, governor of cape colony, transvaal, south africa, companion of the order of the bath, knight grand cross of the order of the bath, knight grand cross of the order of st michael and st george, knight of the order of the garter