Edith (Alice) Watson (1914–2010) studied at the Ballarat Technical Art School, at the School of Mines Ballarat, from 1930 until 1933. Watson was warmly regarded in her home town, Murtoa, easily winning local fundraiser, ‘Most Popular Girl’ in 1936. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths 1972 and 1988. Watson was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio. Alice's comprehensive folio of Ballarat Technical Art School work is held by the University's Geoffrey Blainey Research Centre.A cardboard box containing items used by Alice Watson to produce paintings. The items included are: tubes of oil colour; two paint palettes; paint brushes; imperial measure tape measure; pencils; an erasure; two pencil sharpeners; a roll of brown, gummed tape; small, round container of various pins; a State Savings Bank Victoria ruler; and a collection of scraps of artists paper held together with a metal clip which includes a list of paint colour names and a design tracing of a fuschia. There is a small, plywood, stretching board. alice watson, edith alice watson, ballarat school of mines, artists workbook, ballarat technical art school, paint, oil paint

The donors of the fur stole come from a local family in the Warrnambool area. They believe the fur stole is around 60 years old. The stole belonged to the donor’s mother, now deceased, who wore it to local balls and dances as an accessories and maybe for warmth too! The donors believe the fur could have been purchased in Melbourne or Toorak. The fur is likely to be from the Mustelidae family, which is the largest family of carnivorous mammals. They inhabit all continents except Australia and Antarctica. This species includes the weasel, badger, otter, marten, ferret, sable, mink, stoat (ermine) and wolverine. The fur is thick and dense close to the skin, indicating that it is the winter coat of the animal. This fur collar is representative of fashion accessories in Warrnambool and District in the 1940's - 1950'sFur stole, ladies; comprising two animals with heads and legs, stitched together to form a stole. The fur is believed to be the winter fur of animals from the mustel family and is not as soft as rabbit fur. The first head has only the nose, the second head has nose and eyes. The heads are dark brown, each animal has a dark brown stripe the length of its fawn coloured back. Tails are dark but not as dark as the head. The stole can be clasped together using a decorative knotted brown tie and hook, or by using the clip attached to the snout of the front animal. 1940-s - 1950s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mustelidae fur stole, mustel fur, fur stole with body head and legs, fur stole made with animals, ladies clothing, fashion accessory of 1950’s, fashion of south west victoria

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

Shillinglaw Cottage on its original site (present day 895 Main Road) showing old picket fence c.1964. The cottage and land were purchased by the Shire of Eltham as the site for a new shire office building. The cottage was destined for demolition but members of the community concerned at losing one of the areas earlist buildings (built c.1859) initiated a fund-raising campaign to save the cottage. In 1964 the cottage was dis-assembled, all the bricks numbered and reassembled several hundred meters to the south on a site between the Gahan house and the Eltham Railway Trestle Bridge (present-day Panther Place), which bcame known as the Eltham Common.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, shillinglaw cottage, fences, george w. bell collection, houses, main road

Shillinglaw Cottage on its original site (present day 895 Main Road) showing old picket fence c.1964. The cottage and land were purchased by the Shire of Eltham as the site for a new shire office building. The cottage was destined for demolition but members of the community concerned at losing one of the areas earlist buildings (built c.1859) initiated a fund-raising campaign to save the cottage. In 1964 the cottage was dis-assembled, all the bricks numbered and reassembled several hundred meters to the south on a site between the Gahan house and the Eltham Railway Trestle Bridge (present-day Panther Place), which bcame known as the Eltham Common.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, shillinglaw cottage, fences, george w. bell collection, houses, main road

Group of men, a railway construction gang, some with shovels, pose beside an old R-Class 0-6-0 steam locomotive (built by Phoenix Foundry) during construction of the Heidelberg to Eltham line circa 1899-1901. The first wagon contains track ballast and the sides have been lowered for the men to shovel it out for distribution on the track. The tall man without hat beside the tender is "Mrs Batherway's Grandfather". Mr Harry Batherway lived in Bridge St, Eltham, between Tillings Timber and Joslyn's and is the original source of this photo about 1970 when photos were collected from the community for the Eltham "Pioneers & Painters" history publication.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection'. It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg B&W Print 18 x 25 cm B&W Print 16 x 21.5 cmsepp, shire of eltham pioneers photograph collection, eltham, railway construction, railway gangers, railways, steam locomotive, workers, old r-class 0-6-0 steam locomotive

In 1992 Shire of Eltham Historical Society member and Kangaroo Ground resident, Bruce Ness became aware that the old school teacher residence at Kangaroo Ground School was no longer being used. Over the years Bruce had been storing a growing collection of the Society's artifacts and objects including various machinery and farm tools. He proposed that this might present an opportunity to set up a museum with the Society's objects. It was proposed that a board be appointed containing representatives of the Society, the School Council, Shire of Eltham and "Friends of the Andrew Ross Museum." As a consequence, most of the Society's objects were transferred to the museum and the Society became more focused on documents, maps and photographs, etc.Roll of 35mm colour negative film, 3 stripsFuji 100shire of eltham historical society

The 1950's saw a revolution in small appliances for use in the average household. This hand held wrench was provided exclusively for the Coleman self heating kerosene (KVHS 0347A) iron and used for the regular changing the kerosene used in it. The iron 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. Kerosene supplies were cheaper than electricity but also more inconvenient than electric. Electrical appliances become cheaper to buy and maintain in the later part of the 1900's and the now older kerosene iron was faded out.This wrench was required to open the fuel container which stored kerosene in the Coleman hand iron(see KVHS 0347A). This item was part of the maintenance requirement of this particular hand iron. 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(use of this wrench was a part of rural life). The ability to store energy sources "on the farm" was a prerequisite of isolated regions, such as the Kiewa Valley, circa 1950s.This item is a flat cast iron wrench, which has been specifically made for KVHS 0347A (kerosene iron). The wrench has four specific forms cut into the steel which fit firmly around their targeted nut and other fixtures. Also see See KVHS 0347B- Instruction sheet; and KVHS 0347D Fuel can.ironing, iron maintenance tool, domestic appliances, household

Wilks Creek Bridge was built in 1870. It was last used for heavy vehicle traffic in 1980 and left to decay until it was demolished in 2008. The last remnants of the timber structure were destroyed in the Black Saturday bushfire of 7 February 2009. [from EDHS Newsletter No. 93, November 1993:] OTHER NEWS A small group of members represented the Society at the opening of the picnic ground at the historic Wilks Creek Bridge at Marysville. The event included the launching of a booklet by our friend Ann Thomas on the history of the bridge which was located on the old Yarra Track coaching route between Eltham and Woods Point. Ann has donated a copy of the booklet to our Society.Two colour photographsactivities, marysville, wilks creek bridge

This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 196 of Photograph Album with one photograph of a Victorian house on Ulupna RoadHandwritten: Ulupna Street (crossed out) Road [ top right] / 196 [bottom right]trevor hart, chimneys, porch, garden, single storey, return verandah, ulupna road, ormond, decorative brackets, cast iron frieze, cast iron columns, full length windows, villa residence, cast iron work, victorian period

This blazer was worn by Joyce Murphy at the Ballarat Teacher's College. David van Leeuwen decided not to have a blazer as he was older, and thought it too much like school days. He attended the Ballarat Teachers' College when 27 years, after serving in the army. Because he didn’t have a blazer he didn’t have anywhere to put the colours so he offered them to Joyce Murphy as they were going out together. There should have been a football embroidery as well, but Joyce Murphy didn’t want that on her blazer because it was too boyish. Gift of Joyce van Leeuwen nee Joyce Murphy, 2014A blue woollen blazer with pocket featuring the Ballarat Teachers' College logo, sports colours, and representation in tennis, basketball and hockey. The pocket is a dual one. Joyce van Leeuwen remembers: 'Towards the end of our College year, were were given written authorisation denoting our sporting teams, to take to Paterson & Powell for embroidery on our blazer pockets. On my pocket, the hockey sticks, the BB for basketball, as netball was then called, all mine. The tennis racquet is David's [van Leeuwen], as is the braid topping the pocket denoting the College colours. College colours were authorised for excellence in a chosen sport, and in our year, 1950, only two men's colours were awarded - David's for basketball and Neil Trezise's for football. Neil went on to play for the Geelong Cats [AFL football] and later was Victorian minister for Sport for some time.'ballarat teachers' college, blazer, joyce murphy, joyce van leeuwen, paterson powell, colours, embroidery, david van leeuwen, van leeuwen, costume, uniform, textiles

Edith CURNOW (1913–2003) Ballarat | Australia Edith Gertrude Curnow undertook Industrial Art teacher training at the Ballarat Technical Art School, with a five-year Senior Technical Scholarship, between 1926 and 1931. She taught for a time before marrying compositor James Lawn in 1937. She reportedly continued to teach at the Ballarat Technical Art School as Edith Lawn. She retired in 1972 at which time she was the Lecturer in Charge of Craft Edith Lawn was a member of inaugural Ballarat School of Mines Old Girls Association, and served as first Press Correspondent. Her daughter, Valda Lawn (later D'Angri) also attended and taught at the School.Colour photograph of Edith Lawn nee Curnowedith lawn, ballarat school of mines, edith curnow, univesity women

Alfred Deakin was the second Prime Minister of Australia, after having served under Edmund Barton as Attorney-General. He held the office of Prime Minister three times: 1903-4, 1905-8 and 1909-10. He was buried in St Kilda cemetery after a state funeral. Elizabeth Martha Anne (Pattie) Browne married Alfred Deakin in 1882, when she was 19 years old. They had three children, Ivy, Stella and Vera. Pattie Deakin was awarded a CBE (Commander of the British Empire), for her contribution to public life. The award was announced in the 1935 New Years honours list, two days after her death.Colour photographBack of photograph: Deakin. 950821/501 Ric Clarke. The headstone reads: Alfred Deakin Born 3rd Aug 1856. Died 7th Oct. 1915. And His Wife Pattie Deakin Born 1st Jan. 1863. Died 30th Dec. 1934.st kilda cemetery, alfred deakin, pattie deakin

Collector says - "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." 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. " Tan and brown plaid fringed travel rug. Albany Woollen Mill/Travel Rug/All Pure Wool/Emblem: A, Albany blanket, blanket fever, wool, rug, albany, albany woollen mills

Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him.Collector's note: "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."Fringed plaid travel rug, brown, yellow and blue Onkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note- "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. "Fringed travel rug, red, blue, green and blackOnkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him." Collector's note: "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. "Fringed travel rug, teal and brownAn Onkaparinga 100% pure wool production. In emblem: Made in Australiawool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note: "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."Plaid travel rug, double-sided , fringed , brown and orangeThe Seal of Quality/"Onkaparinga" /Pure Wool/Manufactured in Australia by Onkaparinga Woollen Co.Ltd/Owner___wool, blanket, blanket fever, travel rug, onkaparinga

This media kit was produced by Melba Industries, part of the Austrim Textiles Group. It contains three photographs, as well as other company information. The photos depict Mr Alan Jackson, the chairman of Austrim, Mr Tom Quick, the general manager of technical textiles at Austrim, and a shot of the new packs being made in the old Valley Mill. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Media kit from launch of 'Jumbuck', Australian made nylon wool packs made by Melba Industries (part of the Austrim Textiles Group) in Geelong. Contents of media kit produced for the launch of 'Jumbuck', Australian made nylon wool packs made by Melba Industries (part of the Austrim Textiles Group) in Geelong.Media Kit / JUMBUCK TM / AUSSIE-MADE WOOL PACKS / The Aussie-Made Pack / For A Cleaner Clipblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack, jackson, mr alan ao - austrim nylex ltd quick, mr tom - austrim nylex ltd