Black and white copy of original : man dressed in uniform, woman holding onto arm, dressed in short dress and hat. Narration: Lieut. D. Canning with Ms. Francy Morse on the verandah of 'Craigmore' Guest House in Myrtle St., ( Now Don St., ) Bendigo. 'Craigmore' was a guest house for men during the war years, it is now Frew Hall, a part of the new Girton College. At the time of the photo it was part of the old Girton College. The tree in the background is understood to have been planted by a visiting member of the Royal family in the late 1920's. It was one of a pair on either side of the steps up onto the verandah. The two trees were cut down several years ago go make way for developments on the site. Francy and her mother ran the boarding house for a number of years with mostly around 10 boarders. Photo 21.9.1941.

These forceps belonged to the late Colin Noel de Garis. Also donated was a foetal scalpel electrode applicator- see donation form. There is a note that former honorary curator Peter Renou collected the donation. Peter Renou does not recall being involved in the donation.( Source: Grainne Murphy 15 November 2010.) This design of obstetrical forceps, with a screw in the handle, was introduced by George Thomson Elliot (1827-1871), a New York obstetrician. (Source: National Museum of American History, 'Obstetrical forceps') The 'sliding pivot' on the forceps was designed to prevent the compression of the baby's head. (Source: Elliot, GT, 'Description of a new midwifery forceps : having a sliding pivot to prevent compression of the foetal head, with cases', c.1860)"The Elliot forceps and its modifications (Elliot, Tucker-McLane, Tucker-Luikart) have shorter blades and an accentuated cephalic curve that is more suitable for a rounded fetal head that has not undergone extensive molding. In addition, Elliot instruments, because of their overlapping shanks, do not distend the perineum in the same way as the separated shanks of the Simpson-type forceps." (Source: Sakornbut, EL, 'Chapter 18 - Intrapartum Procedures', in Ratcliffe SD et al (eds.), 'Family Medicine Obstetrics', 3rd ed., 2008) Obstetric forceps, Elliot's. Consists of long shanks, made of forged chrome plated metal with metal handle, four finger grips, and distinctive screw and pin at the end of the handles. This screw functioned as a means of regulating the lateral pressure of the handles when in use. obstetric delivery

This pessary belonged to Dr Olga Bolitho who inherited it from Dame Ella MacKnight. Used by Olga Bolitho once or twice, according to correspondence dated 14/5/00 from Olga Bolitho [held with the donation form] Dame Ella Macknight was an obstetrician and gynaecologist who worked at the Queen Victoria Hospital, Melbourne. She was appointed as a Dame Commander of the Order of the British Empire on 1 January 1969 for services to medicine. She gained her MB BS in 1928 from the University of Melbourne. After qualifying as an obstetrician and gynaecologist, (MD, Melb.1931, DGO Melb 1936), she was associated with the Queen Victoria Hospital from 1935-1977. Her appointments included honorary obstetrician and gynaecologist from 1935-1964; vice-president of the Committee of Management for 1963-1971 and president from 1971-1977. She was president of the Council of the Royal College of Gynaecologists from 1970-1972.After her death in 1996, her family set up a post graduate scholarship in her honour with the Royal College of Gynaecologists & Obstetricians.Clear plastic pessary. Pessary is circular, with a wide flange and a short stem. The stem is attached to the flange, rather than the pessary being moulded as one piece. There are two small holes in the flange, either side of the stem.intrauterine device, pessary

Photo: Hand coloured sepia print of male. Man has full beard, short hair, dressed in brown jacket . Written on bottom of photo in small script ' Bent Photo, Sandhurst' Written on back: photographed by Bent late Batchelder centre of Pall Mall Sandhurst. Signed on back by D. Field, July 5th. 1876.Bent Photoplace, fortuna, family history, lansell, fortuna, bendigo

Index, ill, p.259.non-fictionebastian Haffner was a non-Jewish German who emigrated to England in 1938. This memoir (written in 1939 but only published now for the first time) begins in 1914 when the family summer holiday is cut short by the outbreak of war, and ends with Hitler's assumption of power in 1933. It is a portrait of himself and his own generation in Germany, those born between 1900 and 1910, and brilliantly explains through his own experiences and those of his friends how that generation came to be seduced by Hitler and Nazism. germany - history - 20th century, national socialism - germany

This is believed to be a figurine of Queen Victoria. Staffordshire pottery began to be produced in the 1840s, at the beginning of the reign of Queen Victoria, and the Queen and her family were popular subjects for depiction in pottery.Painted ceramic figurine of a woman holding a baby. The woman is wearing a dark blue dress with gold lapels and a white frilled collar, and a decorative gold pattern at the hem. The woman is also wearing a white bonnet with gold bow at the top and a red flower at the front, white gloves, and yellow slippers. The woman has short, dark coloured hair visible beneath the bonnet, and rosy cheeks. She is seated on a stool and cushion, and is holding a baby on her knee. The baby is dressed in a long white gown, with a hood. Sticker beneath the base of the statue carries the handwritten number '44'.

The Vliet is a canal in the western Netherlands, in the province of South Holland. It starts at the Oude Rijn at Leiden and joins the Delfshavense Schie canal at Delft. Places along its banks include Voorschoten, Leidschendam, Voorburg, The Hague and Rijswijk. The canal was dug in 47 AD under command of Roman general Corbulo, who wished to connect the river Rhine, of which the current Oude Rijn stream in Roman times was the main branch, to the Meuse estuary. It is unclear what the canal's trajectory was beyond the current city of Delft; the Delfshavense Schie canal, which connects Delft to the Nieuwe Maas river was not dug until 1389. In the Middle Ages the Vliet was an important trade link that attracted all kinds of trade, as it flowed through the heart of the County of Holland. Windmills have been constructed alongside the Vliet, including the completely renovated mill 'De salamander' in Leidschendam. The Vliet area was particularly attractive among richer families, who built their mansions along its banks.An historic small town scene etched (or possibly printed) on thin metal and subsequently fastened to a plywood backing. The delicately presented scene is said to show the intersection of Old Church Street and the Vliet Canal bridge in Voorburg, as well as a section of wharf. On the canal are one large and two much smaller vessels. A very tall crane-like construction arises from the wharf to the roof of waterside buildings. The people are soberly dressed in possibly 17th or 18th century costumes.On the reverse has been written: "Oude Kerkstraat Brug over de Vliet Voorburg". (Old Church Street; Bridge over the Vliet canal; Voorburg). However, research proves that the church is actually the Old Church in Delft, a short distance further down the Vliet Canal.

In this era women of Marianne Gibson's position in society were chaperoned and chauffeured, their role was that of wife and mother, busy in their home. Women did not have the vote and those who worked were servants who lived with families. The Gibson family was well respected in the community and Marianne was the mother of 8 children.The Marianne Gibson Quilt is one of the finest examples of crazy patchwork quilting known to exist globally. It features items from her husband's hardware shop, household objects, oriental designs as well as local fauna and flora and the quality of the needlework is outstanding. It is extremely well preserved and unfaded. For a short film about the Marianne Gibson Quilt, visit Culture Victoria: http://www.cv.vic.gov.au/stories/marianne-gibsons-crazy-patchwork-quilt/11762/marianne-gibsons-crazy-patchwork-quilt/The Marianne Gibson Quilt is owned by the Wangaratta Historical Society and was placed on the Victorian Heritage Register in 2011. Marianne Gibson was born in Ireland and 1863 and married her cousin Alexander McCulla Gibson in 1864 in Wangaratta. The quilt is"...one of the finest examples of a crazy patchwork quilt in the world" (Victorian Heritage Register) and is composed of 9 blocks featuring silks and velvets with a backing of beige silk. The crazy patchwork style popular between 1876 and 1920 encompasses many different patterns that tell stories of that age and uniquely showcases local flora and fauna. Marianne made the quilt between 1891 and 1896. She loved flowers, birds, her garden and especially her family. This is evident in her quilt embroidery and stitching so lovingly demonstrated. Marianne died on 8th March 1911. She left the quilt to her daughters Clara and Edith who gave it to their housekeeper Miss Alma Gard in 1934. When Miss Gard retired to a nursing home in 1985 the quilt was donated to the Wangaratta Historical Society. MG 1891marianne gibson quilt crazy patchwork local fauna flora

Tells a short story of the early families who settled at Whroo, a gold mining area, located near Rushworth. The town is no long in existence. Written by Doris KIngA5 size booklet with soft cardboard cover. Cover has a black frame in from the edge with the book title in that in black print. Cover is a grey scale photograph of the Whroo mining site. 88 pages.titlewhroo, families of whroo, doris king

Private William James Richardson was a driver in the 4th Artillery Brigade. He enlisted on 16/07/1915 and embarked for Europe on 18/11/1915. He returned and married Elsie Park in 1938. They lived in the Park family home in Montgomery Street - now 'Josiah's Short Stay Accommodation'.richardson, park, 4th artillery brigade

Two Pair Gloves. One Gold shade short fabric (Suede Like). A longer glove same shading with a very deep fringe around top. McClure familystawell clothing material

From a family who had three generations that worked for Dennys Lascelles. This is a balance sheet and annual report for the year 1922. Names of note featured in the document include DPC Wilson, WF Volum and JSB Orr.Off-white two page folded paper booklet with black text. Front page lists the directors and staff of Dennys Lascelles responsible for compiling the report. The inside pages state numbers and figures for the previous financial year. The back cover has a short paragraph about the document.

From a family who had three generations that worked for Dennys Lascelles. This is the annual financial report for Strachan, Murray and Shannon for the financial year of 1923. Their head office was in Moorabool St, which is now Westfield.Off-white two page paper document. Front cover has a list of the staff responsible for compiling the report. Middle two pages have an overview of the report and a series of numbers describing the finances of the company. Back cover has a short paragraph about the document.

From a family who had three generations that worked for Dennys Lascelles. This is the annual report for 1923 and features an overview of the company's finances.Off-white two page paper document. Front cover lists the Dennys Lascelles staff responsible for compiling the information in the report. Middle two pages list numbers and figures for the previous financial year. Back cover has a short paragraph about the document.

Huttley FamilyB/w. Portrait (Bust) Young Man, curly short hair, moustache, no beard. 3 Piece suit, light pattened tie.?? (Missing Corner) lbourne "EDEN" Sydney Supior Platinotype. On Reverse: Alfred Huttley (My father) Madge's Fatheralfred huttley, huttley

A Short History of the Harvey and Clark Familes in Australia.1: Yellow card with Black Plastic Binding. Black Design with Text Inside. 2: Orange Paper with black design Text inside.The Ranks of The old Pioneers by Harvey A.L. Clark A Family History Inside: Donated to the Stawell Historical Society by Harvey A L Clarkstawell, harvey

Huttley - Martin familyB/W: Young Woman - Short sleeved blouse and shorts on female bicycle with cushion at front - Taken in backyardLorna Huttleyhuttley, martin

Joshua born 1848 dressed in suit with right hand in coat. Agnes or Emily with short curly hair and Leg of Mutton sleeves dress. Arthur wearing three piece suit with Fob watch on chain. Front row Walter sitting down arms folded wearing three piece suit. Anne (mother) hat on head holding card, dress puffed sleeves with tie around waist. Agnes or Emily hair is pulled back, frilled collar and puffed sleeves with embroidered bodice. Both Giles women married Heal Brothers.Writing on back of photo

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