Camp 13, Camp Road, Murchison. Water trough made by POW's. Cream concrete with white octagonal shapes on each side.Camp 13, Camp Road, Murchison, Victoria. Octagonal decorative concrete water trough, in green paddock. Cream concrete with white octagonal shapes on each side.

Hand held cream coloured plastic optical magnifier with small globe inset under lenses. The black button on handle turns globe, which is powered by batteries, on and off. The magnifier can be detached to replace the globe or exchanged for a different strength. Cream and black handle with a black button to turn on light and a detachable magnifying glass attached at top.6/100 on magnifierassistive devices, ecshenbach

Baby's cream silk short sleeved top with V neck and hand sewn scalloped neckline, cuffs and hem is an example of the dressmaking skills of the women of the early settlers families in Moorabbin Shire in the early 20th C Early settlers and market gardeners established their families in Moorabbin Shirec1900 and this item shows the skill and craftsmanship of the women of these families Baby's cream silk short sleeved top with V neck and hand sewn scalloped neckline, cuffs and hemclothing,needlework, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, dairy farms, fruit orchards

This lady’s full length cream silk long sleeved nightgown with lace insert around neckline and cuffs is an example of the dressmaking and lacework skills of the women of the early settlers families in Moorabbin Shire in the early 1930'sEarly settlers and market gardeners established their families in Moorabbin Shire c1900 and this item shows the skill and craftsmanship of the women of these families A lady's full length cream silk long sleeved nightgown with lace insert around neckline and cuffs c1930clothing, petticoats, fashion, moorabbin, bentleigh, cheltenham

Collector says: Cream and blue panel blankets were the first style of domestic blankets I started collecting and both of these ones were found in Geelong op shops. Pairs of blankets were regularly advertised as ideal wedding gifts and 'The Bride' label is one of my favourite labels of all time. This is the only one I've ever seen but hopefully there are lots more out there being handed down the generations.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized cream blanket with blue stripesWarrnambool/The Bride/All Wool ---Deluxe/Made in Australiawool, blanket, blanket fever, warrnambool, bride

PHOTOGRAPH SHOWING THE CREAM BEING DELIVERED BY HORSE AND CART. BUTTER PACKED FOR MARKET AND CHILDREN WITH BASKET FOR BUTTER AND A BOY FOR MILK CARRYING A BILLY.PHOTOGRAPH OF THE CLUNES BUTTER FACTORY C 1905, SHOWING THE CREAM BEING DELIVERED BY FARMERS WITH HORSES AND CARTS. BUTTER PACKED FOR MARKET AND CHILDREN WITH BASKETS FOR BUTTER AND BOY WITH BILLY. BUTTER FACTORYphotography, butter factory

It is a cream coloured bank note with with brown and blue writing and emblems printed on itOn the front side is a picture of the Great Seal of the United States in blue on a cream background, Series 472 for 10 cents also the number C07094035C and it is called a Military Payment Certificate, for use only in United States Military establishmenrts by United States Authorized personnel. On the reverse side in brown writing it says Military Payment Certificate then a picture of the Great Seal of the United States in brown on a cream background, then for use only in United States Military Establishments by United States Authorized Military Personnel in accordance with applicable rules and regulations

Part of Honybun RSL Collection Ice Cream Ticket found inside dictionary.1 Pocket size Deans Dictionary in Brown Leather with gold engraved lettering. English- German (Deutch-Englisch) .2 Bon de- Glasse-Comme d'Rance (France) (ice Cream) cost 25 centimes -ticket to purchase ice craemDeans Waistcoat Pocket Dictionaries English- German (Deutch-Englisch) .books, reference

This jacket was bought in England for Elsie Law (nee Russell) by her husband James Lindsay Gordon "Lin" Law in 1930. Elsie used it as a bridge jacket. Lin was born in Ballarat 1881, the eighth child of Scottish migrants James Nicol Law and Margaret Law (nee Bartholomew). BHS holds an evening dress belonging to Margaret Law in its collection (see T0006.1). After leaving school at the age of 11, Lin began working as a salesman. In 1906, he and business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928. Lin married Elsie Russell on 12 January 1915 at St Mary's Catholic Cathedral in Sydney and they lived most of their life in Brighton. In 1920 they moved into 'Blairgowrie', 306 St Kilda Street, The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished.Cream silk jacket block-printed with art deco style pattern in red, blue, black and mustard colours. Lined with soft apricot-coloured satin. Wide stand collar. Front fastens low on hip with four silk covered buttons. Label, woven brown on cream silk, centre back: Eileen / Mulholland / Ltd. / 43, Wigmore St., / LONDON. W1.elsie russell, james lindsay gordon law, brighton, pelaco, bridge jacket, 1930s fashion, eileen mulholland, art deco

Dairy farms used cream separators to separate the milk and the cream before using it themselves or selling it to the dairy companies, shops or directly to the public.This cream separator was used by P & R Creamer on their dairy farm in the Kiewa Valley.3 parts - top brass lid with hollow cylinder enclosed across its top and extending beyond its circumference. 2. Stainless Steel hollow cylinders that fit the base and the lid but has 2 long curved spouts extending out - one for the milk and one for the cream to come out 3. Black cast iron stand that houses the gear mechanisms that drive the separator cones. The gear speed reduction wheel is on one side. "Alfa-Laval MOB / 80 Gall Capacity per hr / 48 Rev of Crank per Minute / Alfa-Laval Separator / Co. Ltd / 299 Sussex St. / Sydney" - on bottom side of the machinedairy; cream separator; kiewa valley; creamer family

A retractable tape measure inside a cream disc. On the front of the tape measure is a round red sticker. In the middle of the sticker is a red button for retracting tape measure. Eyelets are placed at every number between 0 and 10, then at 10 centimeter intervals. 1 white measuring tape with red markings and numbers including tactile raised eyelets inside cream round containerRotary 1.5 Futuba Measureassistive devices, rotary

Peters Ice Cream tub. Inside is an icing set consisting of a metal icing gun, a metal plunger, and 5 metal nozzles.Use by Date sticker says "Best before 19 SEP 92"

The cream plastic telephones replaced the black telephones of a similar design in the early 1980's. They were used throughout Australia until the mid 1990's when the wall units and touch phones were introduced.A plastic cream telephone with a dial and receiver which sits on top of the unit. The telephone unit has a fawn cord with a plug which is fitted into the wall."TELECOM AUST..."telecom, telstra, george evans collection

Two piece ivory satin evening dress. Bodice (.1) is decorated with central panel of finely pleated chiffon and embellished with ready-made strips of beading and artificial pearls. Short puffed sleeves. Russet coloured velvet band applied to waist of bodice and finished with a metal rosette. Plain gored satin skirt (.2) with cream velvet binding around hem. Label, printed grey on cream cotton, centre back bodice waist: Bussell, Robson & Bussell / MELBOURNE.evening dress, bussell robson & bussell, 1890s

Milk and cream were stored in steel cans for transportation to stores or local dairy companies.The dairy industry is and has been one of the major industries of the Kiewa Valley. This cream can was used on a dairy farm in the Kiewa Valley.Large steel dairy can used for cream or milk. The irregular shaped ring handles are welded on each side in an upright position. The lid is stuck on the can. The flat outer edge of the lid has an inscription. The centre of the lid is indented with a bar shaped handle welded across it to enable lifting.Embossed at the top of the straight sides is "Dairymaster" between the handles on each side. Lid: "B.L.Paynter" along the outer edge.dairy; cream can; kiewa valley

B/W photo on cream embossed card, held in modern folder with inscription. Original card has been cut down. Business name in photo is 'J Steward - Kerang Pioneer Steam Coach Building and Implement Work Engineering (General work and repairs neatly executed) Business name on cart: EA Barrett - BakerEarly photograph of commercial buildings in KerangB/W photograph of men standing outside coach building/works at Kerang Victoria on cream cardon re-cut mount card 'Kerang 1920'snightingale, thompson, kerang

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. 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."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.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."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

This babies dress was possibly worn by Mrs Cuthbertson nee Hooper, after her birth in 1881,( Mother of Joan Charles) and is approximately 150 years old.It is hand made cream silk with smocking to the front and back of the bodice.and the wrists of the full length sleeves. It was donated by the children of Joan M Charles- Melville J Charles,Joell E Stern, Beth Z Charles and Rhonnie M Dryne.Hand made Baby's dress, depicting the craftmanship and style of dress for the late 19th century.It is only one of two Silk baby's dresses in the Learmonth and District HIstorical Society Inc.collection.Baby's dress hand made of cream silk , with smocking across front, back,and wrists.clothing, babys dress, smocking, family of joan charles, haberdashery, mrs cuthbertson hooper

A desk flag produced by the Association for the Blind, possibly for fundraising. A metal rod sits in a black rubber base, with a cream felt triangular pennant atop. On the pennant are the words 'Association for the Blind' in caramel coloured writing near the narrowing part of the triangle. Four small rectangles make a frame around the logo of black half circle with black flame outline inside joined with white circle, amidst black background above and below the arc.Cream felt flag with words 'Association for the Blind' in caramel, standing on black baseAssociation for the Blindassociation for the blind, fundraising

Used in the Palace Hotel, TorquaySignificant because Hotel no longer exists, it was destroyed by fire. Opened in December 1888, destroyed by fire in the 1950's.Cream coloured ceramic cup with red strip with yellow edges and crest of the Palace Hotel Torquay in black on both cup and saucerCream coloured cup and saucer with red strip outlined in yellow and crest of the Palace Hotel Torquay in black. "Vitrified / Globe / Pottery / Co Ltd / Shelton / England." "Supplied by / John Dynon & Sons / Melbourne" Hallmark designpalace hotel torquay, hotel insignia

This lady’s cream fine cotton combination 'teddy' is an example of the dressmaking , lacework and needlework skills of the women of the early settlers families in Moorabbin Shire in the early 20th C Early settlers and market gardeners established their families in Moorabbin Shire c1900 and this item shows the skill and craftsmanship of the women of these families Lady's hand sewn fine cream cotton , 'teddy', a combination petticoat with a crotch that fastens with 2 mother of pearl buttons Shoulder straps and neckline are edged with crochet and the yoke has coloured needlework. Hand sewn gathering at hip line of side seams clothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork, bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

stoneware hot water bottle, generally a cylindrical shape with an opening at the top and a round knob on one end which presumably functions as a holder. The main part of the body is cream, with the knob end brown.Stoneware hot water bottle with a screw in lid. Generally a cylindrical shape with an opening at the top and a round knob on one end which presumably functions as a holder. The main part of the body is cream, with the knob end and lid, brown.hot water bottles., bed warmers

Diana Trewenack is the youngest daughter of Cedric Hirst and great granddaughter of Godfrey Hirst. Her father was Managing Director and Chairman of Directors of Godfrey Hirst Woollen Mills until its takeover in the 60’s. Diana was married at St David's Church in Geelong in May 1954. The material for the wedding gown was made with very fine cream wool woven at the Godfrey Hirst Woollen Mill. From discussion with Diana, the dress was put together by a local dressmaker in Geelong. It is fine pure wool and beaded on the edge of the wrap over skirt and on the long train.Cream coloured woollen wedding dress with long sleeves. Decorative beading pattern around cuffs and up the front edge of the dress. Zippers at each sleeve and back of dress. - 7825.1 Train, made with same cream woollen material as dress, with matching beaded edging. Attaches with clasp around waist of dress. - 7825.2 Veil made of cream tulle, with beaded headband. - 7825.3wedding dress, ceremony, godfrey hirst and co. pty ltd, woollen mills, textiles, fashion, dressmaking, diana trewenack, viel, gown

In 1880 Melbourne hosted its first major international exhibition the "Melbourne International Exhibition". In 1888 Melbourne hosted its second major international exhibition the "Melbourne International Centennial Exhibition".Two-piece evening dress comprising separate bodice and skirt made of gold-coloured silk damask woven with large curvilinear design in cream. Cream tulle trim around neck embellished with beads and artificial pearls. Similar trim down centre front and around lower edge of bodice. Short puffed sleeves Neckline trimed with wide gold satin riboon and bows. Bodice is boned and fastens centre back with hooks and eyes. Gored skirt pleated into waist. .1 - bodice . 2 - skirtLabel, woven blue on cream, centre back bodice: QUOD FACIMUS VALDE FACIMUS, George & George Ltd / Federal Emporium / Melbourne, International Exhibition Melbourne, Costumes and Mantlesgeorge and george, evening dress, georges of collins street, 1888

Sea View Tea and Refreshment Rooms, Marine Parade (below Brook's Boat Sheds). Mrs Blyth (late of Bendigo) Proprietress. I.X.L. Ice Cream. Roof promenade for Afternoon Tea and Summer Drinks. black and white photograph fair condition unmountedSea View Tea and Refreshment Rooms, Marine Parade (below Brook's Boat Sheds). Mrs Blyth (late of Bendigo) Proprietress. Tel. 1478 w. I.X.L. Ice Cream. Roof promenade for Afternoon Tea and Summer Drinks. K42 Sea View. p.64 St Kilda by the Sea Annual 1915-16 Season F600.65. NationalLibraryof Australia, Canberra.

Set of two, Photograph, Black and White of MMTB (G), Q 190 at Camberwell Depot and the Drivers Instruction Car. .1 - Has depot on the background, dated 24/8/1955 - has number WJN or WJW 208 in top right hand corner. .2 - on the depot fan, dated 4/1949, with a note that it was still painted in old chocolate and cream livery. Has number CLC29 in top right hand corner. See Reg Item 5161 for another photo of it in Chocolate and Cream colour scheme.In ink on the rear: .1 -" MMTB C-190 (Green and cream livery), Camberwell Depot (Drivers Instruction Car) 24/8/1955. Has KSK number WJN208 in to right hand corner." .2 - "MMTB G-190 Camberwell Depot for use as Drives Instruction Car. Note: Still painted in old chocolate and cream livery. -/4/49" Has KSK number CLC29 in to right hand corner.trams, tramways, q class, camberwell depot, livery, driver training, tram 190

Associated with issue to personnel leading up to and including WW2 in Britain . Circa pre 1940's. Associated with issue during WW2. Small cream coloured tin with white cross centrally placed on the lid. Tin opens with hinges and has wording on the lid "Aid A;; First Aid Outfit Tin made in England". There is a faded description of the contents. Within the tin is a smaller cream and red coloured circular tin containing boric ointment. The first aid outfit tin is 130mm x 75 and the small circular tin with boric ointment is 35mm x 35mm. The lid of the tin says : Aid All First Aid, a white cross emblem and underneath the emblem the wording OUTFIT TIN. There is a description of the items and then the annotation that the tin is made in England. Both tins are cream in colour with red edgings. aid all first aid outfit tin pre 1940's, white cross first aid outfit tin, pre ww2 and ww2 issue

Cream china Jug with three gold and two blue decorative lines painted around top, one gold line down handle. Small spout, angled handle.H. Aynsley & Co. Ltd. England' Painted on base, 'Made in England' imprinted on basedomestic items, food & drink consumption, jug, milk, stripes, china, h. aynsley, cream, england

This gown and hood was owned and worn by Marjorie Scott, Assistant Dean, College of NursingBlack College of Nursing academic gown with 9.5 cm red satin central frontal strips at open front and cream lined red hood. There are 6 centimetre pleats each side and below the back yoke and sleeves are voluminous.There is a cream label inside top rear back with embroidered details in red ' Raymond W. Bredin & Son, 17 Glenola Road, Chelsea Vic. Robe Makers stitched to gown in black cotton.academic gown, nursing