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

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Broze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, the bear hotel, staircase, window

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Broze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, the bear hotel, staircase, window

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Bronze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, the bear hotel, staircase, window

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Bronze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, bear hotel, staircase, window

Pat Grainger (1930-2023) had a distinguished career as a graphic designer. In the 1960s she lived in Brighton and was working with her husband Les Mason in the influential Les Mason Graphic Design studio in South Melbourne. This was one of three Norma Tullo outfits she owned at the time; she believed it would have been around 1967. Pat was a founding member of Port Melbourne Historical and Preservation Society and was active in local history and environmental and social justice causes. Norma Tullo (1936-2019) was an influential Melbourne fashion designer circa 1960s-1980s, part of a new wave of younger designers creating youthful, modern and affordable styles for a young market.Black and white paisley nylon hot pants dress (.1) with collar. Front button fastening with seven fabric covered buttons; short sleeves and accompanied with short red wool scarf (.2).Label, white text on black: "TULLO".pat grainger, paisley, melbourne designers, pat mason, norma tullo, 1960s

This image shows motorbike despatch riders who were tasked with transporting intercepted Japanese communications from the wartime wireless receiving station established in Chesterville Road, Moorabbin to Queens Road, St Kilda where the Directorate of Naval Communications and the code-breaking unit called FRUMEL (Fleet Radio Unit - Melbourne) were housed. The despatch riders would travel every two hours, all day and night. The wireless receiving station was established in Moorabbin because it was considered an area free of significant electrical interference and was not too far afield from the Melbourne headquarters in Queens Road. Moorabbin was originally established as a rural market gardening community.A secret wartime wireless receiving station was established in March 1942 in Chesterville Road, Moorabbin. The station was established on requisitioned market garden properties, and soon housed WRAN (Women's Royal Australian Navy) personnel and up to 35 US Navy servicemen. The Navy personnel intercepted Japanese coded communications and then despatched these by motorbike riders to Queens Road, St Kilda where the Directorate of Naval Communications and the code-breaking unit called FRUMEL (Fleet Radio Unit - Melbourne) were housed. The information intercepted by the wireless receiving station helped shape the Allied response to Japan's advances in the Pacific. Declassified defence records show that this unprepossessing station handled some of World War II's most sensitive secrets, and the despatch riders were a familiar sight in the Moorabbin area, though few were aware of their purpose. Black and white image of three men in uniform sitting astride three motorcycles in front of cars and buildings. The rider on the right is Jack Barker a local resident. Handwritten in red ink: A 602 / 90% Handwritten in blue ink: SW / 950301111 Handwritten in grey pencil: A 34 CHAP 6 / Spy basemoorabbin, despatch riders, wireless receiving station, world war ii, frumel (fleet radio unit - melbourne)

Thomas James Smith opened a small pharmacy in Hull, England in 1856. On his death in 1896, his nephew Horatio Nelson Smith took over the management of the business. Smith & Nephew plc is a British-based multinational medical equipment manufacturing company headquartered in London, United Kingdom. It is the world's largest producer of arthroscopy products, second-largest producer of advanced wound management products, third-largest producer of trauma and clinical therapy products and fourth-largest producer of orthopaedic reconstruction products. Its products are sold in over 90 countries with 11,000 employees. In 1928 the company developed the wound management product Elastoplast, recorded in Medical Journals worldwide. Since 1998 Smith & Nephew operates in three market segments through separate "global business units" under the Smith & Nephew brand name: Advanced wound management: advanced treatments for difficult wounds. Endoscopy: products for minimally invasive surgery, based in Andover, Massachusetts. Orthopaedics: hip and knee implants and trauma products, based in Memphis, Tennessee. Smith & Nephew was incorporated and listed on the London Stock Exchange in 1937 and in 1999 the Group was also listed on the New York Stock Exchange. In 2001, Smith & Nephew became a constituent member of the FTSE-100 index in the UK. This means that Smith & Nephew is included in the top 100 companies traded on the London Stock Exchange measured in terms of market capitalisation. .Today, Smith & Nephew is a public limited company incorporated and headquartered in the UK and doing business in 90 countries around the world. A tin cylinder with a lift off lid for ‘Cellona’ Plaster of Paris bandage, 3 inches wide x 4 yards long, made by Smith & Nephew Ltd, Hull, England mid 20thCLid - CELLONA / BPC Front - CELLONA / TRADE MARK / U.K. PATENT 385,658 / THE NEW AND IMPROVED / PLASTER of PARIS / BANDAGE / READY FOR USE / 3INS. 4 YDS. Back - ADVANTAGES …….. / DIRECTIONS………/ Made in England by T.J.SMITH & NEPHEW LTD. / LONDON, HULL, MANCHESTER, GLASGOW/ MAKERS OF ELASTOPLAST.* pharmacy, medicines, smith & nephew pty ltd, hull england, london england, plaster of paris, elastoplast, hospitals, nursing, wound dressings, orthopaedics, glassware, bottles, moorabbin, bentleigh, cheltenham

1855 Stephen Charman donated land to the Methodist Church so that a School could be established to educate the children of the early settler market gardeners and farmers in the Cheltenham area . Education was valued by the general community and as well as schools they established mechanics Institutes and Libraries in Moorabbin Shire. Cheltenham State School No. 84 was among the first schools in Melbourne. Stephen Charman, 1821-1906 a market gardener, donated land for the first Methodist Chapel, Cemetery and School in Charman Rd Cheltenham 1855. The enrolment was 36 pupils with Mr Frederick Meeres as Teacher. 1863 the school is called Beaumaris Common School No 84 with 70 pupils and Walter Meeres as Teacher. 1869 another 2 acres in Charman Road were granted by the Education Board and brick building built . 1872 State School 84 Beaumaris was increasing enrollments and 1878 a new brick school was built to accommodate 174 pupils and the name changed to Cheltenham State School No.84 1894 Mentone State School No.2950 amalgamated with Cheltenham SS No.84. 1910 the buildings were in disrepair, overcrowding was increasing and renovations were made 1912 with further additions in 1925 and 1937. Post WW11 extra prefabricated Classrooms were added as enrollment increased to 1038 in 1955.. Cheltenham East State School 4754 was opened as housing development spread over the City of Moorabbin . (J.Larson Sandringham HS) The names written on the photograph show the pupils belong to many early settler families.1855 Stephen Charman donated land to the Methodist Church so that a School could be established to educate the children of the early settler market gardeners and farmers in the Cheltenham area . Education was valued by the general community and as well as schools they established mechanics Institutes and Libraries in Moorabbin Shire. Cheltenham State School No. 84 was among the first schools in Melbourne. These pupils belong to the early settler families in Moorabbin ShireBlack & White photograph of pupils in Grade 5 at Cheltenham State School No 84 c1910Front ; 1st Rodda - Millege - Lemkie, Orr / 2nd Moorhouse, McGregor, Marriott, N. Bodley, E. Howard / 3rd; K.Whelan,E.Ould, D.Kilburn, Moorhouse, Roberts, - - Tilly - Teagal,Miller, Primer. - Martin, Caulfield Back Mrs Taylorcheltenham primar school, city of moorabbin, county of bourke, moorabbin roads board, parish of moorabbin, shire of moorabbin, henry dendy's special survey 1841, were j.b., bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, cheltenham state school no.84, methodist chapel cheltenham, methodist school cheltenham, beaumaris west state school, meeres frederick, meeres walter, education, early settlers, cancel

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s

Marina Couture was a luxe swimwear line produced by Watersun in the 1960s. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Silver lamé swimsuit featuring delicate brocade embellishment, an inbuilt underwire bra, a zippered back and elasticised edging on the legs and back.Label in bra, blue with gold crown logo and text: “MARINA COUTURE / 32”.swimwear, watersun, david waters, ada productions, melbourne designers, marina couture

The British Australasian Tobacco Co. was based in Melbourne and Sydney. The parent company was founded in England, circa 1902. This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll your own" gadgets on the market but most rural users, especially males used their palms. (Ref Victorian Collections)Roll your own cigarettes were popularly used in rural areas, especially when "tailor made" cigarettes were more expensive. Tobacco consumption in Australia is decreasing and fewer smokers are "rolling their own" cigarettes.A dark green rectangular shaped metal Havelock tobacco tin with a weave pattern. It is made from tin plated thin rolled steel. The lid is attached by two hinges.Lid - top left in gold coloured letters "HAVELOCK". bottom -"READY RUBBED TOBACCO" "2oz NET WEIGHT WHEN PACKED". Rim - "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside lid -black print on gold background - "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"tobacco cigarettes tin

As stated the roll is from 1939 through to 2005. In 2004/5 The Eaglehawk Sub Branch of the RSL wound down and amalgamated with the Bendigo District RSL Sub Branch Inc. The Sub branch initially from 1939 - 1943 rented a building located at 18 - 22 High St Eaglehawk. The Mathews bros then donated it to the Sub Branch in 1943 as per the plaque Cat No 8117. The Sub branch moved to a new building which was a Nissan Hut at No 2A Market Place in Eaglehawk 1957. This building was opened as per the plaque Cat No 8118. The original plaque Cat No 8117 was moved to the new building as well. The Branch remained there until they amalgamated with Bendigo. The building and land was sold in 2011.Honour Board rectangular shape, timber construction, all text in gold paint re the past Presidents, Secretaries & Treasurers from 1939 - 2005.“Eaglehawk R.S.L HONOR Roll - Past Officers”brsl, smirsl, ehrsl, honour

Early settlers in the Parish of Moorabbin, County of Bourke, established market gardens and farms in the area of Henry Dendy's Special Survey 1841 Brighton. Small communities grew near Churches & Schools and shops and businesses were established. Following the opening of the Railway line from Caulfield to Mordialloc 1881 the shops and business moved from the Tucker Road /Centre Road ( East Brighton ) East Bentleigh area to be close to the transport. Shops, businesses and housing developed along Centre Road between Thomas Street and Jasper Road. Mr Arthur Moore established his 1st shop in 395 Centre Road c1930 and later moved along the road to a site next to Coles Variety Store.Following the opening of the Railway line from Caulfield to Mordialloc 1881 the shops and business moved from the Tucker Road /Centre Road East Bentleigh area to be close to the transport. Shops, businesses and housing developed along Centre Road between Thomas Street and Jasper Road. Mr Moore established his 1st shop in 395 Centre Road c1930 and later moved along the road to a site next to Coles Variety Store.Black & White photograph of Mr Arthur Moore's 1st Chemist Shop, 384 Centre Road Bentleigh c 1930 back Handwritten information unsignedbentleigh shopping centre c1930, east brighton, railway line caulfield -mordialloc 1881, chemists, pharmacy, moore's moorabbin shire, smith j l, smith mary ann, stanley helen, smith vic, smith harry redvers, chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, mckinnon, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b., bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards

Circa 1918: Various Photos of the Cheltenham Methodist Youth Group. Row 1 and 2: "At Flinders". Row 3: 1st Left, "Holidaying at Cockatoo". in 1852 Stephen Charman, who had arrived in Melbourne 1842 aged 21 years as one of Henry Dendy's emigrants, purchased 160 acres in Spring Grove ( now Cheltenham). Stephen and his family lived in a wattle and daub hut and worked hard to establish a market garden, poultry and pig farm. The first Methodist Church Services were held at their home. In 1855 Stephen gave 1 acre of his land on Balcombe Road to the Methodist Church for a School, Burial ground and a Chapel which was built in 1857.The Methodist Church, Balcombe Road was the 2nd religious building to be erected in Spring Grove now known as Cheltenham c 18577 small black and white photographs of the Cheltenham Methodist Youth Group at Flinders, Cockatoo and unkown locations, c 1918 . First 3 photos are of male cyclists on a trip to Flinders, Victoria. Photo 4 shows 6 ladies and a man on holiday at Cockatoo in the Dandenong Ranges ,Victoria . Photos 5 to 7 show men, women and children in bushland surroundings of unrecorded locations.Photo 1 - 3 on back : Flinders 1918 Photo 4 left on back : Holiday at Cockatoo right on back : Whitehead Photo 5-7 nilcheltenham, cheltenham methodist youth group, 1914, 1918, charman stephen, gettens mary, spring grove, methodist church, charman road, balcombe road, dendy henry, henry dendy's special survey 1841, youth groups, social groups, market gardners, early settlers, pioneers, dairy farmers, poultry farmers, pig farmers,moorabbin, brighton,

The Schreder HP 14T is a variant of an all metal single seat sailplane designed by Richard Schreder of USA in the 1960s. The HP14T featured a ‘T’ tail in place of ‘V’ tail of the HP14V. The design was marketed to home builders in kit form. The Museum’s Schreder HP14T (VH-GIB) first flew on 31 August 1974. It has recorded 280 hours in the air from 239 launches to 28 January 1989, the date of its last flight. It is understood that VH-GIB was partly constructed in North America and completed in South Australia by C.G.M. Coxon. Ownership passed to the Georgeson Syndicate of Rockhamption, Queensland and later to Warren Mayfield of Victoria. Warren Mayfield donated the glider to the Museum in April 2002. All metal single seat glider sailplaneRegistration lettering on rudder and fuselage sidesaustralian gliding, glider, sailplane, schreder, coxon, georgeson, mayfield, slingsby, bache, waikerie gliding club

Robert GORDON Robert 'Andy' Gordon is a potter supplying ceramic wares to stores across Australia as well as exporting to Canada, the U.S.A. and New Zealand. to China. Robert and his wife Barbara started making pottery in 1979 in a tin shed at Gembrook in the Dandenongs, Victoria, which they called the Pack Track Pottery, selling their wares at the St Kilda markets. In 1987, they expanded to purpose-build premises in nearby Pakenham where they are still based today. Wares made at Pack Track Pottery are painted 'Robert Gordon' or 'Gordon' in oxide. Wares made at the Robert Gordon Pottery are stamped 'Robert Gordon Pottery Australia', 'Robert Gordon Pottery Australian Made' or 'Robert Gordon Australia'. Glazed potrobert gordon, australia studio pottery, ceramics, pack tack poyyert, pack tack pottery

This photograph commemorates a visit by American Fashion Models to Prestige Textile Studio in July 1950. Melbourne’s Myer Emporium in conjunction with Neiman Marcus, Dallas, Texas presented the first American Fashion Parades in Australia in July 1950. Ruth Hancock, the leading model and buyer for Neiman Marcus, directed the Parades, and the eighteen year old modelling prodigy, Carmen dell’ Orefice, described by Cecil Beaton as ‘the world’s most beautiful woman’ was one of the stars of the runway. In a bid to encourage a market for Australian textiles in the United States, the models visited textile manufacturers and design studios in Melbourne, such as Yarra Falls Mills and Prestige Studios, one of Melbourne’s premier textile design studio. Ann Carew, 2020This photograph is historically significant for its association with Prestige Textile Studio, and it's association with the Australian Textile Industry. It highlights the role that Myer Melbourne played in promoting the Textile Design Industry and Australian Fashion to the United States of America.Black and white photograph of 8 models from the US, laying on the floor of the Prestige Studios. Names of the various models have been drawn on the floor from the foreground to the background of the photo, with eagles and stars in between each name.Models pictured include Ruth Hancock, Carmen Dell'Orefice, and Margaret Edwards.USA MODELS / VISITING AUSTRALIA carmen dell' orefice, prestige textile studio, ruth hancock, margaret edwards, fashion, rmit design archives, models, usa