Margaret Law (nee Bartholomew) was born on 3 December 1837 in Stirling, Scotland. She emigrated to Australia with her family aboard the Ticonderoga, arriving in Melbourne on 22 December 1852. Around one hundred passengers died of typhus during the journey, and around seventy more after arrival. Two of Margaret's siblings were among the casualties. The Bartholomew family settled in Ballarat. Around 1861, Margaret married James Nicol Law in Ballarat. They had several children, the youngest of which was James Lindsay Gordon "Lin" Law, (1881-1963). James Nicol Law was killed in a train accident in Fingal Tasmania in July 1886. Lin Law married Elsie Russell on 12 January 1915 (BHS also holds a bridge jacket given to Elsie by Lin; see T0047). They settled in Brighton, moving into 'Blairgowrie', 306 St Kilda Street, in 1920. The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished. In 1906, Lin and his business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928.An orange pink (salmon) with cream spot, very fine silk organza dress from circa 1840. The dress features a wide scooped neckline, almost to the shoulder. The sleeves are set low with a gathered head to the sleeve and finished with a flounce, dropping to just above the elbow. The bodice is shaped and fitted to the body and features a centre front detail of the bodice fabric that is gathered, ruched and tapers in a v to the waist. The waistline of the dress sits on the true waist at the sides and tapers to a v at the centre front and centre back. The full skirt is gathered to the piped waistline and falls to the floor. The skirt features three horizontal pleats in the skirt fabric in between four bands of cream floral self embroidered detail. The dress is open at the back where it is boned and features lacing holes. The lacing is missing from the item. The bodice of the dress is lined with a very fine cotton lawn and boned.james nicol law, brighton, pauline margaret law, elsie russell, james lindsay gordon law, margaret bartholomew, pelaco

This digital image is taken at the home of a Melbourne District Nursing Society (MDNS) patient, and depicts a MDNS Sister attending to a lady who is lying in a wicker bed pram in the rear garden of her home. The wicker bed pram enabled the lady to enjoy fresh air and to be moved about easily. The image shows the MDNS uniform of a grey cotton frock with white collar, and a grey brimmed hat with a red Maltese cross in the centre of the hatband. In 1885, 50 years after Melbourne was founded, it was recognized that nursing care was needed for the sick poor in inner Melbourne. The Melbourne District Nursing Society (MDNS) was founded in February 1885 with one Trained nurse, known as 'Nurse' in those days, and a second employed six months later,. The two Nurses worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bags containing lotion, ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron, soap and small towel. They supplied equipment on loan, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing blankets and clean bed linen, and nightdresses as necessary. From its inception the Society was at the forefront of health care and liaised with Doctors. They provided high quality nursing care to a range of people, often in destitute situations, some lying on rags on the floor as they had no bed, others with just a bed and maybe a thin blanket, a chair and nothing else. Their ages ranged from babes, children, adults to the elderly. The Nurses gave medications as ordered, dressed wounds e.g. to the injured, and surgical cases, and to those with leg ulcers; attended to patients with ‘surgical ailments’ such as ‘hip disease’; gave care to those with acute illnesses such as bronchitis, pleurisy, pneumonia, measles, and scarlet fever, as well as those with chronic illnesses such as consumption (tuberculosis), heart disease, arthritis, cancer, debility, neuritis and paralysis. This image shows a Melbourne District Nursing Society (MDNS) Trained nurse (Sister) wearing a grey uniform with white collar, and a grey brimmed hat, which has a hatband with Maltese cross applied, standing behind and attending an elderly lady patient laying in a wicker bed pram outside her home. The Sister has her right hand resting on the pram and is looking down at the lady, and the lady, who has short grey hair, is smiling and looking toward the camera. Her body is covered with a floral cover. To the left, part of the horizontal weatherboards of a wooden house can be seen, and to the right and rear, a brick, tiled hip roof, building can be seen. The wicker bed pram has four spoked wheels and a metal frame that bends up to form a handle on its right hand side.melbourne district nursing society, mdns, mdns nurses, mdns patient care, mdns uniforms, rdns, royal district nursing service

Royal District Nursing Service (RDNS), Sister Meisser is visiting Mrs. Lata to attend to the nursing care she requires in her home. She is greeting Mrs. Lata on her veranda and is observing her interaction with her dog. Sr. Meisser is wearing her RDNS uniform of a grey cotton short sleeve frock with a small white arched material logo with 'Royal District Nursing Service' in blue capital letters emblazoned on it, attached to the upper sleeve. She is wearing her grey peaked hat. This had a metal RDNS logo attached to the centre front. Sister Meisser worked from the RDNS Moorabbin centre.From its earliest years when the Trained nurses of the Melbourne District Nursing Society (MDNS) began to wear uniforms, the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. Their Trained nurses (Nurses) firstly wore long grey frocks and a white cap with a long white tail hanging from the centre back. When bicycles were introduced the headgear changed to a white pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. Later the Nurses complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. This uniform was used when MDNS was granted Royal patronage in 1966 and worn until 1971 when the uniform changed to a blue V necked frock over a short sleeve white blouse in summer and a blue/grey skivvie under a blue/grey herringbone V neck tunic style frock made of winter material in the cooler weather. Black and white photograph of Royal District Nursing Service (RDNS), Sister Meisser, of Moorabbin Centre. She is standing on the left of the photograph; has short dark hair and is wearing her grey uniform with peaked hat and black shoes, and is holding her rectangular nursing case. She is standing on the veranda of Mrs. Lata's brick home, and is smiling as she observes, to her right, Mrs. Lata, who has grey curly hair and is wearing a light coloured floral frock. Mrs. Lata is sitting in her wheelchair and with her left hand is patting her pale coloured Labrador dog who has a dark collar and is sitting to her right. Mrs. Lata is in front of her security door which has a white door frame. The house has a white lantern shaped light attached to the wall on the left hand side of the photographPhotographer's stamp and the word 'Publicity'royal district nursing service, rdns, rdns uniform, moorabbin centre, mrs lata, sister m. meisser

The photograph is taken during an Education session at Royal District Nursing Service (RDNS). The Sisters are wearing their grey uniform cotton frocks and red cardigans of that era.Education was an integral part of Melbourne District Nursing Society (MDNS), later called Royal District Nursing Service, (RDNS), from its inception in 1885. Only Trained nurses (Nurses) were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. RDNS Trained nurses (Sisters) received In-service education and by the end of the 1960s there was an increased focus on rehabilitation and independence. Patients were offered rehabilitation and new lifting techniques were introduced to reduce physical strain on staff and family members. Royal District Nursing Service ran its own rehabilitation program requiring staff to be trained in techniques by RDNS Physiotherapists.Black and white photograph of Royal District Nursing Service (RDNS), Sister Pat (Paddy) Rowley on left hand side, and Sister Joanne Wilkinson on right hand side, demonstrating the use of a hoist which has transferred Sister Liz Thomson onto a bed in the centre of the photograph. The bed is covered with white sheets and Sr. Thomson is lying on the bed with the sling of the hoist under her. The lowest metal bars and wheels of the hoist are under the bed and the top bars across the bed. Sr. Wilkinson's right hand is undoing the sling from the top bar of the hoist, and her left hand is holding the strap of the sling which is under Sr. Thomson. The Sisters are wearing their grey uniform frocks and dark cardigans. A window with two long floral opened curtains are behind the bed, and a strip heater is seen high on the adjoining wall.Photographers stamp. Quote No GW 90royal district nursing service, rdns, rdns education, equipment, sister pat (paddy) rowley, sister liz thomson, sister joanne wilkinson

The Library held books on all aspects of health and nursing, and staff members when undergoing Education had access to information held in the Library. The RDNS Librarian was available to provide access to particular information for many RDNS staff. The Library also holds the RDNS Archives.From its inception in 1885 the Melbourne District Nursing Society (MDNS), Committee recognized that a high standard of knowledge was required to nurse the sick poor in the community, so only Trained nurses (Nurses) were employed to carry out this work. From early times Lady Janet Clarke paid a yearly subscription, for MDNS Nurses, to Mullen’s Select Library, which became Melville & Mullen’s, so the Nurses could increase their knowledge. In 1966 MDNS gained Royal patronage becoming Royal District Nursing Service, (RDNS) which developed its own Library of books on health care subjects and employed a Librarian who also cares for the RDNS Archives.Black and white photograph showing two Royal District Nursing Service (RDNS), staff selecting books from the RDNS Library. The lady on the left hand side of the photograph has her dark hair drawn back and is wearing a floral blouse under a dark top and cardigan, and a dark grey skirt. She is standing with her left arm extended and is selecting a book from the top shelf of the four shelf book stand. The Sister to her right, who has short dark hair and is wearing a dark tunic style frock over a light grey skivvy, is crouched with her left hand in the 2nd bottom shelf and her right arm extended selecting a book from the bottom shelf. Each shelf of the book stand is filled with various sized dark and light covered books.Photographers stamp. Quote No. DR 9mdns, melbourne district nursing society, royal district nursing service, rdns, rdns library

A yellow hardcover fiction book for children with a coloured picture of children playing a game of red indians outside a decorated teepee. The girl is cooking with a pot over an outdoor fire and the boys are firing a bow and arrow and painting a pot. The title, The Prize is printed at the at the top of the cover in red lettering surrounded by a boy and girl each side. Publisher details are at the bottom. The spine is brown tape. The back cover has a faded red advertisement for Pears Soap.There are advertisements on the endpapers at both front and back. There is foxing and tanning noted on the edges of the pages. There are stories and poems written by various authors and black and white illustrations and coloured plates throughout. The title page is very ornately decorated with a black and white floral design and covered by a tissue paper page. The coloured frontispiece is of three boys playing soldiers with one sitting on a rocking horse. There are Contents, Poetry and List of Illustrations pages. 164p.fictionA collection of varied stories and poems for young children - 1918 ed. There are practical articles as well, such as some on gardening.children's fiction, poetry

A large yellow covered hardcover fiction book for children with a coloured picture of Humpty Dumpty sitting on a brick wall. He is wearing green pants with yellow stars and red and white spotted bow around his middle. There is a drawing of a girl and boy either side of the title The Prize at the top of the cover. There are books and candles drawn at the bottom under the brick wall. The spine is blank. There are advertisements on the endpapers both front and back. There is foxing noted on the edges of the pages. On page 72 there is a loose insert of black and white portraits of five men and a woman who appear to be wearing sporting or school clothes. There are stories and poems written by various authors and black and white illustrations and coloured plates throughout. The title page is very ornately decorated with a black and white floral design. The coloured frontispiece is of Humpty Dumpty again. At the front there is a Contents and List of Illustrations page. 140p.fictionA collection of stories and poems for young children - Volume LXVI (66)children's fiction, poetry

This piece was made in Japan and bears an export mark associated with Arnart Imports (N with a stylised crown). Arnart was an importer and distributor, rather than a manufacturer.Porcelain figurine of a male doctor holding a newborn baby. The doctor has brown hair and a moustache and is in surgical attire, with a white gown and white surgical hat. The cuffs of his blue trousers, and his brown shoes, are visible below the gown, and a blue jacket is visible through the gaps in the back of the gown. The doctor is holding the baby upside down by its legs, with his left hand around its calves, and is holding his right hand as if to tap the baby on the bottom. The figurine is standing on a white base decorated with green and black stripes, and is supported by a rectangular block which sits behind the figure. There is a gold coloured, floral decoration at the front of the base. There is a stamp on the underside of the base of the figurine consisting of the initial 'N' below a stylised crown. The number '3446/2' is handwritten on a sticker on the underside of the base. A second, oval shaped sticker is printed with the text 'Made in Japan'.

The Milton Shield was given to the College in 1968 by the eminent Sydney surgeon Conrad Blakemore (1898-1976), whose family had owned it for almost 100 years. There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London.There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London.The Shield is oval in shape, and is divided into several fields, each of which shows a different scene. The entire surface is covered in floral and animal decoration, and patterns. A cable moulding runs around the outer edge. The College’s Shield is set in a heavy timber frame bordered with red velvet and glazed.The central area is circular, depicting the archangel Raphael telling the story of the war in Heaven to Adam and Eve in the Garden of Eden. Immediately below this is the figure of the archangel Michael trampling on the defeated Satan. At the bottom of the shield are two figures representing Sin and Death. On either side of the central circle is a kidney-shaped field, the one on the left showing the army of the rebel angels assaulting Heaven, and on the right the fall of the rebel angels. At the top of the Shield are figures of cherubim and seraphim. The name of the Shield derives from the scenes on it, illustrating episodes from Paradise Lost by John Milton (1608-1674). Presented by Conrad Blackmoremilton shield, conrad blakemore, 1968, léonard morel-ladeuil

The items belonged Rueben John Tyrer V150812. He enlisted on 20.1.42 aged 44 year. At discharge on 5.12.45 he was a Driver in 37 Aust Field Works Coy. .1) Medal set, court mounted, set of (4) re R.J Tyrer. 1. 1939-45 Star. 2. Pacific Star. 3. War Medal 1939-45. 4. Australian Service Medal. .2) Ribbon set (2) mounted on brass strip with pin for attachment. 1. Ribbon re Pacific Star. 2. Ribbon re Australian Service Medal. .3) Badge, metal "To the Women of Australia". Circular floral wreath with crown at top, centre is a map of Australia. Under is a bar suspended by a link. The bar has one star meaning one relative serving in the Armed Forces. .4) Medal, gold colour, "60th Anniversary of the end of WW11". The front has a centre Coat of Arms, rear has a depiction of a map of Australia. .5) Black cardboard box to hold .4. The lid has an Australian Coat of Arms..1) "V150812 R.J. Tyrer". .3) "Issued by C'WLTH GOVT A221536" .4) "World War 11 Service to Australia". "World WW11 60 years 1945-2005". .5) "Australian Government Dept of Veterans Affairs. "60th Anniversary of the end of World War 11, For Service to Australia"medals, military, history

THE JACKET This jacket has been tailored to flatter the wearer’s figure. It also has elements that keep it in good shape and condition, preserve it from soiling and give it a longer life: - the hooks and eyes that join the jacket to the skirt allow the outfit to be made in two pieces but fit close to the body without exposing undergarments - the seams for the metal stays have been cut and stitched to allow maximum movement of the wearer and still keep a trim figure - the discreet breast pocket allows the wearer to keep a handkerchief, coins or other small items close at hand - the lining includes removable padded shields to absorb underarm perspiration - the lining has two cotton loops attached for hanging up to air and freshen it - new cuffs have been attached over the original sleeves that have buttonholes but no buttons. The buttons may have been used to replace missing buttons on the front of the jacket or perhaps to repair worn cuffs The amber coloured satin jacket is fully lined, has turned-back cuffs, a band collar, and looped, coffee-coloured braid trim. A row of closely spaced, round bronze buttons with a floral motif form a decorative closure most of the way down the front of the jacket, below which are metal hooks and eyes that finish at the waist. Underneath the cuffs there is a closely fitted cuff with a row of three button holes but no buttons. The jacket lining has vertical metal stays spaced around the midriff, sides and back. There is an absorbent, removable pad hand-stitched to the underarm section of each sleeve opening. A small satin pocket is stitched discreetly onto the lining above the chest on the right-hand side. There are also two cotton loops sewn onto the lining. Several small metal rings are sewn at intervals around the inside of the waist A satin bow from the same fabric is attached at the centre back of the jacket at waist level. antique satin jacket, colonial evening jacket, ladies evening jacket, 19th century ladies satin jacket, evening outfit

Long sleeved burgundy coloured coat - velvet fabric lined with ''dusty pink'' satin with woven floral pattern. Lining hand stitched to coat. Second layer of cotton lining across the shoulders and back( 39cmsLength). Sewn into neck and shoulder seams. Large uneven stitches attach the lining to side seams. Coat and lining have seven gored panels giving fullness to the coat. Fold over collar (14 cms). Front opening with ten velvet covered shanked buttons with fabric loops. Long sleeves gathered at shoulder and cuffs(2 cms), with six cms opening with press stud fastener.Owner of coat was Isabel Lilian Pegler (nee Mair) 1921-1997. The coat was worn to Saturday night dances. Isabel liked to point out that her coat had a double lining in the upper back for extra warmth as she liked to wear backless dresses to the dance.costume, female, long sleeved coat

Sheet of paper with six labels gummed to it. There are two of each, Salad Oil, Olive Oil and Castor Oil. The labels are blue on white paper for the Salad Oil and Olive Oil. The Castor Oil is green on white background. The top of the label has the trade mark which has a blue/green B and two white S's in front of it and Prop Ltd. Underneath.It has trade on one side and mark on the other. It has some floral work and a bullet on the left and right. Under this is the name of the contents. Under the contents is Bottled by Bendigo Soldiers' Stores Prop. Ltd. Head Store - corner Myers & Mitchell Streets, Phone 950 and Branch - corner. View & Rowan Streets Phone 830. Stamped Sample by Cambridge Press, Hargreaves St. Phone 130 Bendigo. Date 7/5/24. The labels are for 5 ozs Net and 10 ozs Net for each oil. Written at the bottom of each label is the quantity required.business, printers, cambridge press, cambridge press collection, bendigo soldiers' stores, oil labels

Burgundy and cream fine striped cotton, with a woven floral motif one cm in diameter. High 4.5cm stand-up burgundy collar, with a lace overlay. A pleated, and padded cap extends from the underarm seam at the front, over the shoulders, and partway over the back panel. Sleeves tight fitting at wrist, fasten with five buttons and button holes.(Four present on one sleeve, three on other sleeve).A fine burgundy pleated band finishes the sleeve at the wrist. Waistline is V pointed at front and back. At front pleats are stitched down 11-13cm long, then open up to form shaped, folded effect at the bust line. A burgundy yoke sits behind this effect, and extends over the shoulders, and high neckline. Back waistline also extends to a deep V shape at centre back. 18 button holes and 15 buttons fasten the centre back - (three buttons missing).costume, female, burgandy and cream bodice

Yields information about the Royal Visit to Ballarat and the tram decorated for its visit along with other arrangements.Set of three eight digital images taken of Queen Elizabeth II to Ballarat 6/3/1954 by W. J. Llewelyn. .1 - Street view of Sturt St looking East at St Patrick's church, with No. 38 in the background and the wooden crowd control barriers stacked by the footpath. .2 - Crowd waiting at the intersection of Sturt and Lydiard St. .3 - Crowd waiting in Sturt St, with soldier's, outside Myers Store .4 - Crowd and guard of honour waiting at the station. .5 - The Queen and Duke in the official car in Sturt St. .6 - ditto with Myer Store in the background. .7 - Scottish unit marching at the intersection of Bridge St and Grenville St with he Bucks Head Hotel in the background. Note the sign on the hotel pointing to the Floral Carpet at the Alfred Hall. .8 - Band at the City Oval. Date obtained from http://wiki.prov.vic.gov.au/index.php/Royal_Visit_1954,_Locations_for_Visiting_Municipalities,_Ballarat (accessed 11-6-2017)trams, tramways, civic functions, royal visit, railway station, lydiard st, sturt st, city oval, myers, tram 38

Scrap Quilts are quilts, usually pieced, that are made from a wide variety of fabrics, in various colors and designs. The quilt may be made from one Bloc design or different designs. Scrap Quilts can be carefully planned by color and design or improvisational in design.Hand stitched single bed patchwork quilt with a series of patchwork squares made from scrap materials, including clothing. Each square has a central point with narrow strips arranged in the form of a maze. Viewed at an angle and highlighted when photographed, a diamond pattern appears. "Autumn tones dominate the the quilt. most of the pieces appear to come from men's clothing (browns, tweeds, checks). Most squares include a red strip and some pink or lilac pieces from women's clothing or home furnishing fabrics. The backing is a heavier linen fabric (possibly curtain fabric) with predominant colours of green, red, pink and green in a floral design. At the top of the quilt several cotton tabs have been attached to allow the quilt to be hung. These have not discoloured so may be a more recent addition, A gathered border (6cms wide) is on all sides in the same fabric as the backing.linen, scrap quilt, patchwork quilt

The ‘Alexandra Gardens’ in Cotham Road were designed and laid out by George and Thomas Pockett. The Governor of Victoria officially opened them in 1908. A report of the opening stated that “…the gardens have been laid out in large sloping lawns, divided by wide graveled paths, and dotted with tastefully arranged flower beds, which are now bright with autumn bloom”. The massed beds of shrubs and flowers included beds of chrysanthemums, a specialty of George Pockett, the Garden’s first curator. A large rotunda was constructed in 1910 to mark the Jubilee of Kew. A plaque memorialising the contribution of George Pockett, was attached to the original rotunda after his death in 1922. By 1911, electric lighting was installed to allow the public to access the Gardens, and the concerts that were held within them on summer nights. The Gardens were later to include the Jubilee Fountain, moved from the front of the Kew Post Office in 1925. The Kew Council commissioned the substantial bluestone entrance gates in 1933.The Kew Historical Society is fortunate that the City Engineer, Mr Poulter, donated a number of items held by the City of Kew to the Society for safekeeping, rather than identifying them for destruction. The most significant items donated included old maps, including those issued by the Board of Works. Other items included photographs of public works undertaken by the Department. The By-laws are part of that donation and tell us lots about the social values of the period.The Mayor, Councillors and Burgesses of the Borough of Kew published By-Law No.45 in 1908 to regulate the “Conduct of Persons whilst at or Within the Gardens known as the Alexandra Gardens”. The By-Law also set a charge for “Persons Using or Entering in or upon the said Gardens”. The 17 by-laws included predictable prohibitions on expectorating, using indecent language, interfering with the floral displays, or indeed with the caretaker gardeners. Other acts prohibited included a warning that “Children under the age of ten years not being under the control of some competent person may be removed from said gardens”. The Alexandra Gardens were at one stage surrounded by a picket fence. This might explain the prohibition on climbing upon or getting through over or under any fence at or within the gardens. The financial penalty for breaching the By-Law was determined as “…not exceeding Ten pounds and not less than Five shillings”. This original copy of the By-Law was donated to the Kew Historical Society by the City of Kew.alexandra gardens (cotham road, kew), city of kew

The RDNS Sister is giving care to the elderly man in his own home. She is wearing her winter uniform of a blue/grey skivvy worn under a blue/grey herringbone woolen V neck tunic style dress.The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Black and white photograph showing a Royal District Nursing Service (RDNS), Sister, who has short dark hair and is wearing the RDNS winter uniform, standing side on to the right of, and attending, an elderly gentleman who is seated on a couch in his lounge room. On the left, the gentleman has sparse light hair and is wearing dark pants and top over a tartan shirt. A white towel is laying on his right leg. To his right, the Sister has her right arm outstretched straightening clothing at his neck, and is supporting a glass in the mans left hand with her outstretched left arm and hand. The glass is partly hidden by her hand. The man is looking up at the Sister and has his right hand near the glass. The Sister is wearing a uniform skivvy under a V neck tunic style dress. In the background, part of floral curtains and white voile curtains can be seen.Photographer stamp. Quote No. DO 75royal district nursing service, rdns, rdns patient care, rdns uniform

The bronze medal commemorates the centenary of the government of Victoria from 1851 to 1951, as well as the centenary of the discovery of gold and was presented to the Shire of Wodonga in 1951. It was commissioned by the Victorian Government in 1951 to commemorate 100 years of the separation of Victoria from the colony of New South Wales in 1851. The medal was designed by the sculptor Andor Mészáros (1900-1972) and minted by K.G. Luke in Melbourne. The bronze medal has local, state and national significance, as it commemorates the centenary of 100 years of government in Vctoria. It also has aesthetic and social significance as an example of a limited edition bronze medal designed by the prominent sculptor Andor Mészáros, who is known for his work depicting the history, culture and sporting life of Australia.Bronze medal commemorating the centenary of the government of the State of Victoria from 1851 to 1951, and the centenary of the discovery of gold. Obverse: In the centre of the medal, a man and a woman riding a horse and the inscription "EQUALITY AND JUSTICE / THROUGH FREEDOM" in raised letters around the edge. The man is holding a torch representing equality and the woman is blindfolded holding a sword representing justice. The horse has broken free of its shackles representing freedom. Reverse: A stake surrounded by Australian floral motifs in the lower part of the medal; the inscription "CENTENARY OF THE GOVERNMENT OF VICTORIA 1851-1951" in raised letters around the top edge, and "Preseneted to / The Shire of / Wodonga / 1951" in engraved letters in the centre. The medal is in a small presentation box with dark green velvet lining an insert for the medal in the lower part and a light coloured textile printed with the dates 1851 and 1951 printed in the lid. A piece of paper with a text about the meaning of the inscriptions accompanies the medal and fits inside the lid of the small presentation case.Obverse: "EQUALITY AND JUSTICE / THROUGH FREEDOM" in raised letters around the edge. Reverse: "CENTENARY OF THE GOVERNMENT OF VICTORIA 1851-1951" in raised letters around the top edge, and "Presented to / The Shire of / Wodonga / 1951" in engraved letters in the centre of the medal. medals, australian commemorative medals, centenary of victoria, numismatics, shire of wodonga, wodonga, centenaries, gold, andor mészáros

Newspaper clippings of 4 photos.Captions are: (1) "A dainty basket of dahlias arranged by a girl student at Burnley Horticultural School yesterday for the Royal Horticultural Society's display of autumn blooms in St. Kilda Town Hall." (2) "Miss Freda Lette arranging a basket of Madame Edouard Heriot roses for Mrs. J. S. Oliver at the National Rose Society's show in Melbourne Town Hall." (3) "Gardening girls (pupils at the Burley Horticultural School) taking in their dahlia exhibits at the Royal Horticultural Society Show at the St. Kilda Town Hall today." (4) " Floral Beauty and a fair admirer at the Royal Horticultural Show - Miss Jean Scott, of Burnley Horticultural School, with three choice specimens of gladioli, champions in their class. Left: Emile Aubrun variety, grown by Mr. G. Swensen, Ballarat. Also see B99.1046. (5, 6) Charlemagne and Sunnyside varieties, grown by Mr. R. Hayes, Ballarat."burnley horticultural college, students, female students, burnley horticultural gardens, freda lette, madame edouard heriot roses, mrs j.s. oliver, national rose society, flowers, dahlias, jean scott, royal horticultural society, royal horticultural show, g. swensen, r. hayes, national rose society show, gladioli

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchenware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the 'Bull in a China Shop' and 'Creative Tableware' names. 'Sol' (c.1912-1963), 'Studio' (1953 on) and 'Royal Staffordshire' (post-1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Chamber pot ceramic white with handle at side and decoration around top. Unclearwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, champer pot, personal hygiene, personal item, ceramic pot, domestic object

Porcelain figurine of a woman holding a baby. The woman is wearing a blue dress, with a blue floral pattern, underneath a white medical coat. She has blonde hair which is tied loosely behind her, and white slip on shoes. She is holding the baby in front of her chest, with the baby's back leaning against her left forearm and the baby's head cradled in her left hand. Her right hand is supporting the baby from beneath. The baby is loosely wrapped in a white blanket, with its torso visible. The woman is standing next to a small table which supports a set of baby weighing scales and a bottle of talc next to the scales. A cloth trails down from the table to the floor. There is a manufacturing mark on the back of the base of the statue. The top row of text is obscured, but the remaining test on the mark reads 'porcellane/PRINCIPE/MADE IN ITALY'. A small Certificate of Origin tag is attached to the weighing scales by a small, thin cord. Sticker underneath the base of the statue reads 'BELLINI/PONTE VECCHIO/FIRENZE'.

Suitcase brought by Dutch immigrant.The fact that the owner reinforced and mended the suitcase suggests the Dutch trait of taking care of things and making them last. The stencilled initials suggest this case was probably stored in the hold.Brown painted suitcase of reinforced oilcloth with metal handle and two metal locks. A small door lock has been added to the lid which has been reinforced on the inside by a timber slat. A plywood slat has been added to the handle side of the case. The rims of lid and case are made of metal, as are the corners. The papered interior of both case and lid shows a small floral pattern in black and beige although, as part of the reinforcement, a coat of brown paint has been added to the inside of the lid and case, but not the bottom. Of the two straps designed to hold down the contents one is still in place, but the other has been replaced by a length of elastic. The original strap is made of cotton, now a dirty white with blue edging, and does up with a small metal buckle. The interior of the case shows a lot of wear and tear with evidence of multiple repairs. A small black metal chain holds up the lid, the corresponding one on the opposite side is missing. On the inside: the timber slat carries the name A.T.A. RIJKEN in black ink and also on a black Dymo label. On the outside: the handle side displays the initials A.T.A.R. and the figure 3 in white stencil. The lid bears evidence of a label in the bottom left hand corner. The lock, added by the owner, is 3cm in diameter and branded ELZETT Made in Hungary.luggage

War and family memorabilia collated by Betty Thornton, daughter of local Thomas Thornton. WW1 & Family Memorabilia - Thomas Thornton contains: ~ 2 x leather-bound photo albums containing b&w photos of family members, some labelled with hand-written notes ~ Sample of small stones containing copper ~ Several sized detachable buttons used on WW1 service uniforms (cuffs, collars, shirts) ~ Small purple-coloured cardboard box containing a number of service medals, fund-raising badges, royal family medallions ~ B&W photos of Thomas Thornton and comrades in uniform ~ Small leather-bound book containing information about servicemen known to Thomas Thornton (My Roll of Honour) ~Small white cardboard box containing plaster Welcome Home plaque in the shape of Australia. Lid has floral decoration, Auld Land Syne and Thomas Thornton written in the corner ~ Photocopies of Thomas Thornton's war records (AWM) ~ Homemade cardboard frame covered in clear plastic, containing some WW1 items of Thomas Thornton see photosthornton, ww1, copper, badges, medals, buttons

Document on foolscap paper some notes on Dudley House Bendigo Victoria, Australia courtesy of Mr Geoffrey, C. Ingleton father was the former Town Clerk of Bendigo, appointed 1 January 1924. The layout of the building at ground floor level involved the removal of walls along the left side from the entrance creating one large room. Alterations required replacement of doors, 1920's style , with decorative glass panels and door knobs of the period. This report contains excellent descriptions of furniture installed at the house, including a grandfather clock, framed etchings, easy chairs with loose floral covers, and a number of 'occasional chairs' of Rose-wood or Cedar in Edwardian design. The furniture was purchased from Morley Johnson of Bendigo and Sydney. There were also china cabinets, a gramophone in a large upright rose-wood cabriole-shaped cabinet. The name Dudley house may have been earned by reputation, or had a connection to a former tenant - perhaps a State Official or a caretaker.bendigo, history, dudley house

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This nightgown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. The item appears to have been made or altered to accommodate a pregnant belly, however purpose made maternity clothing was not common at this time. Mrs Ward-Cole’s six pregnancies took place in 1843, 1844, 1845, 1847, 1849 and 1851. The style of this garment in particular the shape of the sleeves would indicate that it is most likely to have been constructed in circa 1860, so whilst it appears to be a maternity item, and historically has been referred to as thus, this purpose cannot be confirmed. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolishedA hand sewn ivory cotton muslin nightgown, c. 1842–1850. The bodice is made of delicately embroidered muslin in a floral design. The open flat collar features a scalloped lace frill underneath. The bodice fastens with thirteen mother of pearl buttons down the centre front. After the fourth button, the remaining buttons are concealed beneath a full gathered modesty skirt, which falls from just below the bust line. The modesty panel is secured horizontally across the bodice by six mother of pearl buttons. The sleeves finish over the back and palm of the hand in two flattened peaks. The front of the gown consisting of the modesty front is full length. The modesty gown at both sides joins two panels that are an integrated part of the bodice. At the centre back there is a very full gathered panel with lace trim that falls to create a train. It is semi-attached to the bodice with a top section secured with mother of pearl buttons and small ties. The purpose of this design feature is unknown. st ninians, george ward cole, brighton, night gown, thomas anne ward cole