This item was donated to the museum by Joseph Dallimore. Dallimore was brought up at Lake Gillear, and as a young man he left Australia to travel overseas both to help his parent's business in the wool trade and for pleasure. He wrote many letters to his parents keeping them updated with the prices he received from selling wool and on his travels. Later in life Dallimore enlisted in the Australian Army and went on to have a distinguished career during the Boer War. He would have collected this piano whilst on service in South Africa.South African thumb piano from the Zulu culture. It is a wooden panel board with 15 iron finger keys in it. They are stuck onto the wood at one end with some sort of glue and also held in place by an iron rod passing over the top of them. At the bottom of the board is a metal panel and attached to that is a small circular cymbal. There is a string tying the metal panel to the wooden board.There are no original markings on this although the original museum label is still stuck to the bottom which says, ' Native piano ( Mashona)' on it in script.south africa, joseph dallimore. war, boer war, zulu, finger piano, music

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

Letter describes the writers' meeting with Mr W H Irvine of the 'Bay of Islands' and his time working on the farm.Significant as the letter describes day to day activities on the farm just after the first world war. It also provides an impression of the personality of Mr Irvine. There is some description of the area at the time and Mr Lind included copies of some photos of the Bay of Island scenery.Photocopy of three page typed letter from Mr Henry A Lind, from Lindfield NSW, dated 4th Nov 1987, with a handwritten note at the end.bay of islands, peterborough, agriculture, henry a lind, w h irvine, returned soldier ww1

It is believed that is item was constructed by a veteran in the 1920s. An identical cenotaph to that in Whitehall, London was constructed outside Parliament house in Spring st Melbourne,Australia.This model could be an engineering model for our Spring st version. please contact Caulfield RSL if you have more information. A highly accurate well detailed brass scale model,22 cm high of the original first world war memorial the "Cenotaph" at Whitehall London the UKs national war memorial. An identical cenotaph was constructed outside Parliament house in Spring st Melbourne, Australia.The design is made up of a rectangular base a broad pillar and the cenotaph or coffin on top of the pillar. 3 wreaths also feature, 2 on the narrower sides of the pillar with the years 1914 and 1918 and one wreath on top of the coffin. It has 2 coats of paint on it the second(exposed) being a poor uneven coat of, off white gloss enamel, possibly just house paint.No makers marks or date can be found on the exterior of the model. Visible are the words " THE GLORIOUS DEAD" on each of the narrow sides of the model above each wreath is a year in Roman numerals.One side side for the beggining of world war one "MCMXIV" 1914 and "MCMXIX" 1919 for the official endcenotaph, whitehall

Made by the Returned Soldiers & Sailors Mill in Geelong, post-1924. Rug was given to NWM from another museum in Western AustraliaTartan rug with cream base, featuring pattern with blue, black, green, yellow and red believed to be the Dress Stewart tartan pattern. RS&S label stitched on back of one corner. Label has stitched signature of John Monash. Two of the ends are tasseled. Appears used with several stains and small holes. Reverse of rug is free of design with solitary light brown colour Bottom left front corner has label which reads "THE/ Dress Stewart" On rear of same corner has label which reads "THE GEELONG R.S & S WOOLLEN MILLS/ PURE/ WOOL/ THE John Monash RUG wool, rs&s, reutrned soldiers and sailors mill, rug, quilt, blanket, john monash, the dress stewart, world war one, world war two, tartan

In 1914 the Williamstown Grammar School trustees transferred trust in the school grounds and donated the original school building to the Department of Education to establish a state government high school for Williamstown. This meant the dissolution of the Williamstown Grammar school board and the school's senior students either went on to other grammar schools around Melbourne or enrolled at Williamstown High School. Williamstown High School continues today and the original Williamstown Grammar School building is still in use in the school grounds at Pasco Street. This would have been the end of Williamstown Grammar if not for the highly respected young head of the junior school, Mabel Molland. At the Williamstown Grammar School Speech Night at the end of 1914, the Williamstown Chronicle (Saturday 26 December 1914) reports that management of the school has been taken over by Mabel Molland and that she addressed the assembly saying, 'acceding to the expressed wish of many, I decided to carry on the junior school, and wish to thank the parents for their hearty cooperation in my undertaking'. The reputation of Mabel Molland as a teacher of enormous ability and continuing support from the community would enable the school to survive through depression, war and troubled finances, to see the reinstatement of a school board in 1956, the reintroduction of secondary education in 1978 and a now thriving multi-campus independent P-12 school in Melbourne's west. This photograph is the earliest known image of Mabel Molland (standing in the the third row, second from the right) with her students. The group is pictured in the grounds of the Holy Trinity church hall on the corner of Aitken and Pasco Streets, Williamstown, which was home to the School from 1915 to 1956.Black and white reproduction image on photographic paper of students in four rows with trees in the background, a board in the front row with the words Strathmore/Grammar School/Williamstown. Mabel Molland stands at the right and her sister, Mavis Molland, stands at the left.holy trinity hall, strathmore grammar, whole school photograph

Now 100 years old, this quilt belonged to the donor’s grandfather John William Huffstutter. John was Born in 1898 in a log cabin in the Ozark mountains of Missouri, USA. Tragically, John’s mother died when he was four years old. John said that he could always remember her voice calling his name as he hid under the porch in one of the many thunderstorms that frequent the area with his dog. John was raised by his grandmother and was treated as the youngest to her other children, growing up with his aunties and uncles rather than brothers and sisters. John began to study engineering at the State University of Iowa before serving in the US Army Engineer Corps in The Great War. He enlisted when he became eligible and served briefly before the Great War ended. He then returned to his engineering studies in Iowa, and shortly after finishing his studies got his first job with Westinghouse in Pittsburgh at age 23. It was when John was leaving for this job that he was given the quilts as a reminder of home from his grandmother Sarah Jane "Sallie" Tindall Coble, and her daughter (John's Aunt) Ottie Maude Coble Bittick. Widowed at age 78, John took to sleeping in his screen porch under one of these quilts. John remembered one winter in Missouri waking in his log cabin to find snow covering him and his quilt. When he died at age 94, the quilt he used was completely worn out and discarded. This remaining quilt was shipped to Australia, where Carol’s (the donor) immediate family had emigrated in 1970. Opening the box that contained the quilt released a wave of comforting smells, emotions, and a flood of childhood memories. Carol distinctly remembers sleeping under these quilts for afternoon naps at her grandparents' house. The quilt is 74 x 80 inches (1880 x 2030mm), matching the size of a modern-day king bed. It is made of various four-inch (100mm) squares. These squares are made of old men woollen suits in dark colours of browns and greys. The quilt is layered with a wool backing fabric and a batting lawyer of unknown material, possibly cotton or wool. The quilt is tied together with red wool yarn and the backing fabric is folded over the edge to be used as a binding. Embroidered across the front of the quilt in purple wool yarn is "John Huffstutter", "13 Oct 1921". A small, printed cloth label "HUFFSTUTTER" is pinned on the reverse of the quilt. The quilt is well-worn but in good condition considering its age. The care instructions passed down by word of mouth with the quilt were to "never wash, only air".Front embroidered. Purple handstitching: "John Huffstutter / 13 Oct 1921" Reverse. Printed cloth label: "HUFFSTUTTER"ozark, missouri, usa, textile history, quilt heritage

This set of two posters were displayed in the sale rooms for wool, skin, hides, and tallow at the Wool Exchange in Melbourne, on the corner of King and Little Collins Street. The posters were found in the storeroom under the white sale room in the late 1970s, when the Melbourne Woolbrokers Association moved around the corner to 530 Little Collins Street. The first poster is dated 21st of September 1914. It predates the second poster which replaced it on the 4th of December 1914. The posters detail that the Auctioneer will accept any bid from German or Austrian buyers on the condition that the buyer is not acting on behalf of any country which is at war with Great Britain. The Auctioneer also reserves the right to cancel any purchases found to be in violation of this condition. Presumably, the posters were in use until 1916, when Australia's 7th Prime Minister, Billy Hughes, negotiated the sale of Australia's entire wool clip to the British Government for the remainder of The Great War. The British government agreed to buy Australia’s entire wool production in 1916 at 55% above market price. In the end, £160,000,000 British pounds was paid by the UK Government to Australia for the nation’s entire wool clip between 1916‑1920. This would be equivalent to £7,619,760,000 in 2022 money when accounting for inflation, or $13,239,000,000 AUD.Two posters on yellowed card. The first poster is printed in black text with a title of “NOTICE”. The second poster is printed in red text with the same title, “NOTICE”. Both posters have 4 body paragraphs of text, detailing restraints put on potential wool buyers because of war with Germany in the Great War. Both Posters are finished with a date in the bottom left corner.the great war, world war one, melbourne wool exchange, melbourne wool brokers association, wool sales, 1910s

Maker unknown. This blanket was part of the standard army issue kit and belonged to Lois Denshams father, who served at Gallipoli during the first world war. Before donating the blanket to the Running stitch collection, it was kept by Lois' Aunty Nita. Lois remembers that it was kept in her fathers original kit bag and kept at her aunts place because of sad memories about the war which her mother found difficult. The humble army blanket had many uses during war times. Issued with two blankets, it was all a soldier had as a bed to keep warm or without a tent, all they had to provide shelter from the sun, rain or wind. (They were supplemented with a woollen army 'great coat', but soldiers still had to huddle together as keeping warm and dry was a desperate game.) The Lighthorsemen used them under their standard leather saddles for extra padding and in the hospitals they were sometimes the only bedding for the wounded. This blanket belonged to Lois Denshams' father who served in the Australian Army in the First World War, landing at Gallipoli. Since the war, army blankets have come to be regarded as the basic type of blanket -no frills. This blanket was used in the Densham family since that time for camping trips.Grey woollen army blanket with stripes near either ends.world war i, running stitch group, running stitch collection

Collected by Charles Honybun during World War 1World war 1 Mitcham RSLWooden butt used to extend Luger pistol into a small rifle . Leather strap and cover for end that is attached to pistol. Leather strap to attach to soldiers belt. Metal screw attach leather to wood.Fissutzor SCF7 y/52arms, ordnance

World War 2 Army uniform of Capt. Noel Edmund Charles West. Donated by Mitcham RSL after it closed in 2013. After the war Capt West served in Japan with the 27th War Graves Unit.Pair of service green wool putees with cotton tapes. Labels on one end. V414 1942 size Made in AustraliaV414 1942 Size Made in Australiacostume, male uniform, military

A pair of earphones from the Army, World War 2Two black bakelite earphones connected to metal hinges and two cloth band head rests. Brown material wire at receiver fitting end; there is no connection fitting.Type TH 37A|OTE-49028 (on metal)|Telephonics Corporation New York NY OTE 490 800HZcommunication, radio, arms, ordnance

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Yellow cotton handwoven place mat with fringing on two ends.domestic items, table setting, handcrafts, weaving

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Blue and cream cotton hand woven place mat. Cream fringing on two ends.domestic items, food & drink consumption, handcrafts, weaving

from the Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Pair of wooden dumbells with lead weights attached at each end.A.Tillrecreations, sports

From the Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Cream hand woven with self embroidery at each end and fringe.domestic items, food & drink consumption, handcrafts, weaving

These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections

Part of World War 2 army uniform worn by Captain Noel WestWord War 2|Australian War Graves UnitArmy Khaki officers peaked cap. Rising sun badge on front with narrow leather strap around front of cap. Small button on back end of strap which has a map of Australia engraved in the centre. Leather binding around inside of capLondon Stores Ltd. opp GPO Melb.costume, male uniform, military

Black and white photo of War Memorial in Whitehorse Road,Mitcham.The much travelled (located and relocated) soldier has been placed n many since the end of WW1:|1. Centre of Whitehorse Road within reserve midway between Mitcham Road and Station Street (see photograph 562)|2. Closer to Mitcham Road and on the garden /lawns between Whitehorse Road (main throughway) and the northern service| road. (see NP562)|3. On his pedestal outside the Memorial Hall on the corner of Whitehorse Road and MacDowall Street.|4. Currently mounted in the gardens of Halliday Park in Mitcham Rd.war memorial mitcham

Gallipoli, 2nd World WarBrass medallion with '60th Anniversary of second World War 1945 - 2005 } in plastic container on stand Medallion with 90th Anniversary Gallipoli Landing 1915 - 2005 }medallion, world war 2, 60th annivesary end of world war 2, 90th anniversary callipoli landing, callipoli

WWII historical significance from the African CampaignWWII African Campaign brass tankard from 1943 describing various battles carried out by the 8th Army. Possibly trench art.Engraved with various battles carried out by the 8th Army. Also engraved with The North African Campaign ends on the 13th May 1943.ww2, second world war, world war 2, world war ii, tankard, mug, african campaign

Belt issued to Japanese Naval Officers up until the end of WW2Black leather belt with a two piece brass buckle. The centre of the buckle has an embossed anchor and lotus flower and the two parts of the buckle appear to have been gilded. It comes with a black leather sword hanger which has brass clips at each end. One end is missing the brass securing rivet whilst the rivet at the other end has a hook attached to it. Attached to this hook is a brass S shaped snake with a brass ring around the body. The inside of the belt has four eyelets and a hook on each end to allow for adjustment. It's missing one sword hanger, a belt loop on the LH side and two loops on the inside that the hangers attach to.world war 2, japanese navy

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

These quilts were made from 10 inch squares and sewn together. Each square had the name of the donor embroidered on it, the quilts were made by Red Cross members. The Shire Emblem was also added. One of these quilts was found after the 1939/45 war in Egypt and sent to the Museum in Rutherglen Scotland. The Council of Rutherglen Scotland was later amalgamated into South Lanarkshire, and the holdings of the Rutherglen Museum sent to the South Lanarkshire Museum. Martha Valentine communicated with the South Lanarkshire Museum, to enquire if they still held this item. Sharon Paton, of the South Lanarkshire museum replied with the comments: "Yes I can confirm the quilt (RG.1992.7) is part of the Rutherglen collections transferred to us by Glasgow City Council in 1995/6 during council re-organisation. We are very pleased you have given some more information on the history of the quilt since many of the items transferred to us at that time, did not arrive with a lot of historical information. I attach photographs of the quilt taken yesterday. Due to space restrictions in that store, I couldn’t unroll it fully, but hopefully before the end of this year we can do that when we are working in our storage sites. It was very easy to locate. It was last displayed around 2003/4 for our Treasures of South Lanarkshire exhibition at Low Parks Museum." We were pleased to see that it had a good home. Colour photograph of a handmade quilt. Photograph was printed from a digital image sent from the South Lanarkshire Museum in Scotlandquilts, handcrafts, red cross, world war ii, quilt

Found at the rubbish tip. Postcard written by Percy Fullerton during WWI to his future wife Fern Aitken.Black and white photograph on postcard, showing church with tall steeple.At bottom of photo: "S 2469 Parish Church, Grantham" On back of postcard: "22/10/17 | Darling Fern, Doing A.1. and hope to be out of Hospital by the end of the week. I had the pleasure of looking down on this church last week, think I told you in my last that I had been up flying. Trusting this finds my bonnie little girl well as it leaves yours lovingly. Percy xxxx"percy fullerton, fern aitken, world war 1, world war i, ww1, wwi

Describes the end of conflict in Europe 1945The Sun News Pictorial (Melbourne Victoria) dated May 8th 1945.Front page headline says Unconditional Surrender By Germans to all Allies. War ends in Europe. Paper contains 16 pages and is priced 2d. Seems to be original.

Galt Mfg Co in Canada produced shell percussion caps for allied munitions during WWI. This cap would have been attached to the end of a shell and provided the ignition to cause the shell to explode. It has a small arrow in a circle on the base which indicates use in the Australian Military.This object can tell the story of allied war production, showing that it was produced in Canada and used in Australian munitions. Brass shell fuse, rounded pyramid in shape.m Has multiple sections and a ring of measurements around the circumference. Lighter coloured cap on the top. Has a number of holes on the surface.Underneath: Galt Around the cirumference: DC, and measurements 1-22 cmgalt, shell, percusssion, cap, munition, brass, manufacturing, war, wwi