Photograph - black and white. Photograph of a little house with a growing plant on the veranda roof. Standing outside at 2 men at either post, a man sitting and a lady standing neck to the sitting man. Written on the back of photo: To my dear Wife & children from their loving Husband and father J.M.Jones.Albert Russell, Menzies W.A.buildings, house, cloonan family collection. j.m.jones.

Kamilaroi artist Reko Rennie’s vision is an inclusive environment where people can sit and peacefully reflect on, mourn and acknowledge the deep trauma of the past, as well as connect with the ongoing strength and resilience of the Aboriginal community and support the process of healing. 'Remember Me' symbolises community resilience, identity and family. Positioned in a ceremonial ring, the seating and spears create a circle of gathering and remembrance within the park. In a contemporary and historical sense, the spear is an emblematic statement about struggle and adversity, and it is also an expression of identity and connection to land and culture.The 'Stolen Generations Marker, Remember Me', reflects the community’s wish to create a permanent tribute to the Stolen Generations and their families; a place of reflection and respectful commemoration. Integral to this is the surrounding garden with plants local to the area that have been re-introduced into the setting. Sited at the historically important Meeting Place in the heart of Aboriginal Fitzroy, the artwork honours not only the story of this place, but of all Aboriginal people who were taken away. This project was guided by the Stolen Generations Marker Steering Group and realised by Yarra City Council in partnership with the Victorian Government. Most importantly, it has received widespread grassroots community support. It was officially launched on the 20th anniversary of National Sorry Day (26 May 2018), which acknowledges the impact of the policies spanning more than 150 years of forcible removal of Aboriginal and Torres Strait Islander children from their families. On 26 May 1997 the landmark 'Bringing Them Home' report was tabled in Federal Parliament. The report was the result of a national inquiry that investigated the forced removal of Indigenous children from their families. This was a pivotal moment for many Stolen Generations. It was the first time the stories of forced removal were formally acknowledged by the Government and a recognition that these actions were inhumane. The impacts have been lifelong and intergenerational. A collection of bronze spears and a coolamon with accompanying seating, lighting and landscaping positioned in a ceremonial ring.stolen generations, fitzroy

60lbs rail that was used throughout the Victorian rail network. In 1887 Gibbs, Bright and Co. had a contract with Victorian Railways for railway and canal construction and supply of Krupp Rails. Gibbs, Bright and Co were merchant bankers and shipping agents and merchants who where also Directors of the GWR ( Great Western Railway ) and the Ship The "Great Britain" in England Gibbs, Bright and Company had principally been involved in shipping and trading, mainly in the West Indies, but following the discovery of gold in Victoria they established an office in Melbourne and soon became one of the leading shipping agents and merchants in the Colony. They expanded into passenger shipping and soon established offices in Brisbane, Sydney, Newcastle, Adelaide and Perth as well as launching passenger services between England, Mauritius and New Zealand. Gibbs, Bright also held a number of financial agencies from British mortgage, finance and investment companies as well as representing several British insurance companies in Australia. In addition they conducted a growing import business as well as an export business that included livestock, dairy produce, wool and flour. Also the company played a substantial part in the development of Australia's mineral resources, starting with lead in 1895, and later venturing into tin, gold, copper, cement and super phosphates. In Australia, after WWI, many of the larger companies were managing their own import and export so Gibbs, Bright and Company tended to focus its Agency business on smaller companies while expanding their interest into other markets such as timber, wire netting, zinc, stevedoring, road transport, marine salvage, gold mining as well as mechanical, structural, electrical and marine engineering. The Company's shipping interests continued to grow as well and still formed a major part of its business. In 1948 the parent company in England took the major step from tradition when they changed the business from a partnership into a private limited company. The name was the same, Antony Gibbs and Sons Limited, and in practice the effect of the change was very little. Some of the firm's branches and departments had already become limited companies and the formation of a parent company simplified the structure. The Australian operation was in time changed to Gibbs Bright & Co Pty Ltd in 1963. In 1848 Alfred Krupp becomes the sole proprietor of the company which from 1850 experiences its first major growth surge. In 1849 his equally talented brother Hermann (1814 - 1879) takes over the hardware factory Metallwarenfabrik in Berndorf near Vienna, which Krupp had established together with Alexander Schöller six years earlier. The factory manufactures cutlery in a rolling process developed by the brothers. Krupp's main products are machinery and machine components made of high-quality cast steel, especially equipment for the railroads, most notably the seamless wheel tire, and from 1859 to an increased extent artillery. To secure raw materials and feedstock for his production, Krupp acquires ore deposits, coal mines and iron works. On Alfred Krupp's death in 1887 the company employs 20,200 people. His great business success is based on the quality of the products, systematic measures to secure sales, the use of new cost-effective steel-making techniques, good organization within the company, and the cultivation of a loyal and highly qualified workforce among other things through an extensive company welfare system. From 1878 August Thyssen starts to get involved in processing the products manufactured by Thyssen & Co., including the fabrication of pipes for gas lines. In 1882 he starts rolling sheet at Styrum, for which two years later he sets up a galvanizing shop. The foundation stone for Maschinenfabrik Thyssen & Co. is laid in 1883 with the purchase of a neighboring mechanical engineering company. In 1891 August Thyssen takes the first step toward creating a vertical company at the Gewerkschaft Deutscher Kaiser coal mine in [Duisburg-]Hamborn, which he expands to an integrated iron and steelmaking plant on the River Rhine. Just before the First World War he starts to expand his group internationally (Netherlands, UK, France, Russia, Mediterranean region, Argentina). info from The company thyssenkrupp - History https://www.thyssenkrupp.com/en/company/history/the-founding-families/alfred-krupp.htmlHistoric - Victorian Railways - Track Rail - made by Krupp in 1888Section of VR Krupp 1888 Rail mounted on a piece of varnished wood. Rail made of ironpuffing billy, krupp, rail, victorian railways

The work was installed at the cnr of Bridgport St and the Midland Hwy, adjacent to the Daylesford Library, in 1999. The work was commissioned by the Friends of the Library, Daylesford and funded by Arts Victoria and the Australia Council. Poemscape: a physical anthology is a much loved site specific installation work commissioned by the Friends of the Library, funded by Arts Victoria and the Australia Council, made by Daylesford resident Patrick Jones in response to his interests in the provision of public food, the development of locavore sensibilities and the rethinking of economies of material accountability and regard. Patrick Jones is a poet and non-fiction writer, a visual artist and ecological thinker. In 2013 Patrick Jones was awarded the degree of Doctor in Creative Arts from the University of Western Sydney for his thesis, 'Walking for food. Regaining permapoesis.'Public Art Environmental installation work installed near the Daylesford Library. Poemscape: a physical anthology comprises of 19 apple trees (18 Fuji apple trees and 1 Granny Smith apple tree) planted on the corner of Bridgport St and the Midland Hwy, adjacent to the library. Adjacent to each tree is a hardwood plinth at topped with a laser engraved brass plate that has been screwed in place. The text of each plate is by 19 poets including the artist and Daylesford resident Patrick Jones, local poets Peter O'Mara, Toby Sime and Robert Campbell, Australian poets Geoff Page, Kath Walker, D T Sime, Judith Wright, Ramona Barry, Jack Davis, Robert Campbell, Christopher Brennan and International Poets Dylan Thomas - Welsh, Sylvia Plath - American, Choku Kanai - Japanese, William Blake - English, Duo Duo - Chinese (translated from the Chinese by John Rosenwald), Yannis Ritsos- Greek (translated from the Greek by Kimon Friar & Kostas Myrsiades), Michel Deguy - French (translated from the French by Clayton Eshleman), Seamus Heaney - Irish and Rainer Maria Rilke - German. The title plate adjacent to the Granny Smith apple tree is by the artist/poet - Patrick Jones. See photographs with images of each of the laser engraved brass plates. permapoesis, artist as family, patrick jones, william blake, kath walker, chaku kanai, peter o'mara, sylvia plath, dylan thomas, geoff page, duo duo, d.t. sime, judith wright, yannis ritsos, michel deguy, ramona barry, seamus heaney, jack davis, rainer maria rilke, robert campbell, christopher brennan, hepburn shire, daylesford library, public art, installation art, environmental art, hepburn shire public art collection

Brass Beam Balance in Wood and Glass Case used for Weighing Gold used by Shuttleworth Family who worked a Cyanide Plant at Deep Leadstawell

Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac

From the Chapman family photograph albumPhotograph on card backing. Landscape - House weatherboard miners cottage with brick chimney corrugated iron roof, front door open leading through to back yard - front yard trees and plants. Woman with two children. Woman in long dress one boy in trousers shirt and top. Younger child in dress. Henderson

From the Chapman family photograph albumPhotograph on Card. Ruth Henderson same background an plant. Standing hand in pocket wearing woven hat with band. Long skirt open buttoned jacket, white blouse, bowtie.(G)

From the Chapman family photograph albumPhotograph on card backing. Landscape - House weatherboard miners cottage with brick chimney corrugated iron roof, front door open leading through to back yard - front yard trees and plants. Woman with two children. Woman in long dress one boy in trousers shirt and top. Younger child in dress. Henderson

Mr and Mrs Hooper in Studio Portrait Ballarat. From Chapman family album. Sepia Studio Portrait Gentleman in hat and three piece suit resting on back of ornate chair. Woman in straw boater hat dress with puff sleeves holding small case in gloved hands sitting on another chair. Pot plant between couple.

From Chapman Family AlbumSepia Studio Portrait Child standing on chair holding basket. in front of plantAlice Righetti in script. R. Bloomfield Rees Eaglehawk

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

James Dearing was the head gardener for Benjamin Nathan, who owned Rippon Lea between 1909-1935. Dearing is believed to have worked for the Nathan Family at their previous home in High St., Armadale. He is understood to have left the employment of the Nathan's in about 1914-1915.Decorative prize certificate awarded to Mr James Dearing, head gardener to Benjamin Nathan, by the Royal Horticultural Society of Victoria on the 11th February 1909, for "1 new or rare Plant". Certificate is made of white paper mounted on to cardboard. Decoration and text are very similar to RL 0448- the certificate is a cream coloured cardboard with printed text and decoration in green ink. The decorations consist of: a shield with a lion and a horse on either side, at the top of the certificate; a sheild with a kangaroo and an emu on either side, with advance Australia below, on the bottom of the certificate. On either side of this are two circles, the right circle consists of flowers, the left circle consists of fruit. Surrounding all this are various flowers and foliage filling up the space inside the border decoration.Handwritten in ink: Mr James Dearing Head Gardener to/ Mr Ben Nathan Armadale/ 1 new and rare plant/ Dendrobium Nobile .........../ WR.............. Vice/ James R a Milligan/ 11' February 1909rippon lea, dearing, james, nathan, benjamin, royal horticultural society of victoria

This is the story of three families of Joneses who grew plants, bulbs and flowers in the Shire of Nunawading for the Melbourne market over a period of about 70 years.non-fictionThis is the story of four families of Joneses who grew plants, bulbs and flowers in the Shire of Nunawading for the Melbourne market over a period of about 70 years.ogden, liz, jones, roger, shire of nunawading, flower farm, flower growing

The Rutherglen Miner was one of Rutherglen's earliest newspapers. Mr C.H. Adcock was Principal of Rutherglen Viticultural College - 1914Three leaflets, each one written by G. H. Adcock. Originally paper covered, they have been bound together in a hard black cover with one of the titles hand written in white on the spine.Written inside front cover: "Presented by Van Adcock, Grandson of G.H. Adcock, 1981" First booklet: Plant Life in its Relation to Agriculture. Published by Miner Print, Rutherglen. [undated]. Second booklet: Phylloxera. Reprinted from the Journal of the Department of Agriculture / Victoria, January, 1914, pp. 51-55 Third booklet. Saltbushes. Reprinted from the Journal of the Department of Agriculture, Victoria. Issued March, 1905plants, agriculture, phylloxera, saltbush, adcock family, viticultural college rutherglen

This was the site of some of the first vines that were planted in the Rutherglen grapegrowing area. It is no longer operating as a winery. Established in 1858, Gehrig's is the oldest family winery in Victoria.Black and white photograph with a view over a vineyard. Trees and building with a square tower in the backgroundOn back of photo: "Gehrig's"wineries, north east victoria, wine industry, gehrigs winery

This was the site of some of the first vines that were planted in the Rutherglen grapegrowing area. It is no longer operating as a winery. Established in 1858, Gehrig's is the oldest family winery in Victoria.Black and white photograph with a view over a vineyard. Trees and building with a square tower in the backgroundwineries, north east victoria, wine industry, gehrigs winery

Information from donor: "The orange booklet was printed mid-to-late 1930’s or early 40’s by my father Curtis Drenen, and written by my grandfather Thomas Drenen. The original publication would have been handset by Thomas’s employees as he had a keen interest in the mines financially. This booklet has been set and cast in hot metal on a linotype machine my father purchased after taking over the Rutherglen “Sun” and passing of Thomas in July 1932. This booklet was one of half a dozen I put together when I found some flat sheets of 8 page sections stored away in a cupboard. I folded, collated the sections, stapled and trimmed these Sheets during my time at the “Sun” from 1951 to1969. Where the rest are I have no idea. I wrote the final paragraph on Page 44 from a copy provided be my mother." Thomas Drenen was Proprietor and Editor of The Rutherglen "Sun," from 1886 to 1932. The articles in the book were first published in 1904.Small book of 44 pages, stapled, with cover of orange heavy paper.On cover: "Robert Drenen, 11 Hinchley St., Wangaratta" At bottom of last page, the last line "In suspending work the mine was not dismantled, except taking the ropes" is followed by handwritten lines: "down. However no further was done with the mine and the plant and machinery was later sold to Mr S.P. Gollings and eventually dismantled. THE END."drenen family, gold mining

The Boroondara General Cemetery is registerd by Heritage VictoriaBoroondara Cemetery in kew was established in 1858. It has an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. Some notable memorials include The Springthorpe Memorial (VHR 522), The Syme Memorial (1908), The Cussen Memorial (VHR 2036). Burials within the cemetery include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii'). Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. Digital images of a red brick gatehouse at Boroondara General Cemetery in Kew.cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial