‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Ordinary rice straw is used imaginatively here to create a most functional and beautiful container. Since a set of items in Japan is five rather than half a dozen (five teacups, five cake plates, and the like), this carrier contains just five eggs. Devised by farmers in Yamagata Prefecture in northern Japan, it is an example of packaging born of rural necessity. Interestingly enough, it seems to emphasize the freshness of the eggs. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Miniature copies of old-style rice bales are fashioned of reed (and tied with the same material) to serve as packages for sweets from the city of Saidaiji, near Okayama City. The material is appropriate, for Okayama is famous as a source of reed for making the floor mats called tatami. The handsome label, made of dyed paper, is fastened to the package with mizuhiki, the cords traditionally tied around ceremonial gifts. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981This tropical-looking package for rice crackers is woven with strips of bamboo sheath - an interesting variation in the use of this ubiquitous material. It comes from the island of Kyushu, from the vicinity of the volcano Asozan in Kumamoto Prefecture. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Shrimp and fish were often preserved by drying them and stringing them together with straw. The age-old technique is also used for other foods, including fish, peppers, and giant white radishes known as daikon. The shrimp here are likely to be from Kagoshima, the southernmost prefecture of Kyushu. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here candied papaya from the tropical island of Okinawa is wrapped in a betel-palm leaf to create a simple but strikingly effective package. Like many of the other packages shown in this book, this one has a distinctly regional flavour and, for mainland Japanese, an exotic flavour as well. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here a whole dried and salted fish (a yellow tail, to be exact) has been wrapped in a sheath of straw and wound with a continuous length of straw rope. The effect is attractively rustic, and the tightly wound rope makes a pleasing pattern. When the fish is to be eaten, it is necessary only to unwind the rope part of the way, slice off as much as is needed, and then close the package by rewinding. This rope-wound yellowtail, makiburi, as the Japanese call it, is a well-known product from the city of Kanazawa, Ishikawa Prefecture, in the Sea of Japan. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981These are containers for miso. The wooden box, a product of Osaka, is lacquered in black on the outside and in bright red on the inside. The binding of split bamboo, in natural colour, gives it a sturdy look. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

My work is informed by a philosophical and spiritual engagement with Buddhist ideas, particularly in response to environmental concerns. In this work I wanted to challenge myself and explore the limits of clay material. Clay allowed me to express myself and free my mind. When I revisited Australia in 2010 form my residency, the natural environment here still was the best to me. Li-Feng LO (1967- ) Born Taiwan Ceramic artist Dr Li-Feng Lo completed a PhD at Monash University in 2008. She was a resident artist in the Federation University Arts Academy ceramics studio in 2010. Li-Feng worked with Southern Ice porcelain to create sculptural forms in response to environmental concerns. Her work is informed by a philosophical and spiritual engagement with Buddhist ideas. These works were exhibited in the exhibition 'AIRed' at the Post Office Gallery in 2011. This was a group exhibition showcasing the work of six artists who undertook residencies at the Arts Academy over a couple of years. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Handbuilt (pinched), coloured porcelain form. Artist's Statement: In the beginning I try to use clay to achieve a dream-like quality by providing a feeling of flexibility like paper and fragility like glass. I was my artwork to the one with nature. Gift of the artist, 2010art, artwork, li-feng lo, ceramics, artist in residence, available, available ceramics, chinese

This is the first photograph taken of Trained nurses, who worked with the Melbourne District Nursing Society (MDNS) and has been kept in their Archives (now RDNS) since that time. The photograph, taken about 1892, records the uniforms worn by MDNS Nurses in that era, and records images of Nurse Kennedy, who commenced with the Society at the end of 1891, and worked in the Western District of the CBD until the end of 1893; and Lucy Smith who worked in the Eastern District of the CBD between April 1892 - June 1893 when she left to get married. Nurse Smith trained at the Nightingale Training School for Nurses at St. Thomas's Hospital in London, the first professional nursing school in the world and as such she was given the position of the first 'Head Nurse' at MDNS. Though Florence Nightingale never worked at St. Thomas’s she did form the curriculum for the nurses training and received regular reports regarding the probationers, as well as receiving the nurses in her home during the latter part of their training. According to Lucy's family she met Florence Nightingale. The photograph shows two of the three Trained nurses employed by MDNS at that time. All Nurses employed by MDNS from its inception in 1885 were trained and received their qualification in a Hospital, but in those times were called 'Nurse'. In Melbourne in 1885 it was recognized that skilled nursing was needed in the inner city to care for the sick poor in their own homes. On the 17th of February a meeting was held with prominent Melbourne citizens, five gentlemen and fourteen ladies. ‘Dr. Caffyn and Rev. Charles Strong explained the objects and scope of District nursing Societies that had been formed in other towns’ in UK. On that day the Melbourne District Nursing Society (MDNS) was founded, the first District Nursing Society in Australia. Subsequent meetings were held to form a Committee and to draw up a Code of Rules of the Society. It was decided only nurses who had attended a Nurses Training School and were fully qualified would be employed by the Society, and that the Nurses would keep a daily journal of their work. After interviewing several candidates, the first Trained Nurse, Mrs. Ferguson, was employed with a salary of £100 per annum and commenced work on the 1st of May 1885. She was employed for three months initially, but this was soon extended, “on the understanding she will make arrangements to live in the more immediate vicinity of her district”. A doctor was consulted before any person was seen. In rotation, a member of the Superintendence Sub-Committee supervised the Nurse’s visits and could assist to alleviate some of the poor social conditions they found. Though only Trained nurses were employed, the term ’Nurse’ was used in those days. Lady Janet Clarke, a philanthropist, was one of the first two Vice-presidents and President from 1888 until 1908 (except when overseas); she was a driving force in the Society. She held the first fund raiser for the Society at her home ‘Cliveden’ and went on to help organize many functions where she, along with Committee members, manned the stalls to raise funds. She also took her turn to accompany the Nurse, and was noted for her kindness and benevolence. Over the years the Committee, which was made up of 80% ladies, worked tirelessly for the Society; many Auxiliaries were formed. A second Trained nurse, Mrs. Joanna Cannon, was employed in late 1885, with a trial period of six months which was extended. She and Mrs Ferguson were the stalwarts of the Society in the early years, Nurse Cannon remaining with the Society for four years and Nurse Ferguson for five years, though both had a short break due to the heaviness of the work. Nurse’s salaries were reduced to account for the cost of uniforms, and again in later years when establishments were rented by the Society and the nurses could now live in the Nurses Home. 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. They educated their patients, and their Carers, in the curing and prevention of disease; teaching the importance of hygiene, cleanliness, ventilation and good nutrition. They taught them, by verbal instruction and demonstration, how to make poultices, to make and apply bandages, apply medical appliances such as splints; and the Nurses supplied milk, beef tea and cooked soup when needed. As the work increased a third Trained nurse was employed but this was arduous work, particularly in the heat of summer and many Nurses only remained with the Society for several months. In 1891 the first Nurses Home was rented for 1 year at £65 per annum at 66 Cardigan Street, Carlton; Nurses wages were now £60 per annum. A Doctor gave lectures from the Home to the public on the understanding and prevention of diseases. The Society decided to commence a Midwifery Service and Nurse Fowler, who had previously worked for the Society, was re-employed as their first trained Midwife. She began home births in August 1893 giving them Ante Natal care, taking midwifery bundles and providing clothes for the babe and mother as needed. Following birth, she gave Post-natal care to the mother and babe twice a day for three days and then daily for a week, and longer if required. She resigned after twelve months and Nurse Wilkie was appointed to the position. As well as walking, the nurses used Public transport in the limited areas it ran, though a taxi was used by the Nurses and Midwife in emergencies and at night. Late in 1891 the Society moved to larger rented premises at 49 Drummond Street and in 1902 moved to 188 Leicester Street, Carlton Sepia Photograph of two Melbourne District Nursing Society (MDNS), Trained nurses; on the left is Nurse Kennedy (sitting) and to the right Nurse Lucy Smith (standing). They are wearing the MDNS uniform of a long grey frock. Over this they are wearing a grey long sleeve jacket with self buttons down the centre. The jacket forms a V at the waist. Nurse Kennedy has a round visage with her central parted dark hair drawn back. She is wearing ear rings and holds the top of a closed umbrella in her left hand, the feral rests on the ground. She has a straw hat in her right hand. Nurse Smith has a long visage; is wearing ear rings and her central parted dark hair is drawn back. Her right arm is extended holding the back of the chair on which Nurse Kennedy sits. melbourne district nursing society, mdns, mdns uniforms, mdns first 'head nurse', rdns, royal district nursing service, trained nurse kennedy, trained nurse lucy smith

This photograph depicts the Sister-in-charge with a group of Melbourne District Nursing Society (MDNS,) Trained nurses, 'Nurses", with their bicycles, which were the first mode of transport purchased by MDNS in 1903. The bicycles enabled their Nurses to visit more patients over a wider area. They are identified as: L-R back row: Trained Nurses Taylor, Steele, Francis, Young. L-R front row: Isobel Curnow, Annie Roberts, Isabel Hawkes (Sister in Charge), Becker. Their uniforms were a grey cotton dress with white collar, cuffs and belt and their was a red Maltese cross on their pith helmets. They gave nursing care to the poor in the inner Melbourne and close surrounding areas (districts). On the 17th of February 1885, just 50 years after Melbourne was founded, a preliminary meeting of ladies and gentlemen who were anxious to form a society to provide "skilled nursing" for the sick poor in their own homes was held in Mrs William McCulloch’s home at Spring Street, Melbourne. At this meeting it was decided “that the association would be called the Melbourne District Nursing Society”, the first Society of its kind in Australia, and “that the special object of the Society shall be to secure skilled nursing for the sick poor in their own homes”. On the 16th of March a Committee was formed to “arrange for engaging one "duly qualified nurse”. On the 1st of May 1885 a Nurse, Mrs. Ferguson, was employed at £100 per annum, and a second Nurse, Mrs. Joanne Cannon, commenced six months later. In that era the term ‘Nurse’ was used even though they were ‘qualified’ i.e. ‘trained’ nurses. They worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They provided high quality Trained nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness, fresh air and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed, as well as providing wood and coal in the winter. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag 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. Trained midwives began home births in late 1893 taking midwifery bundles and providing clothes for the babe and mother as needed. As the work increased a third Trained nurse was employed but this was arduous work, particularly in the heat of summer and many Nurses only remained with the Society for several months. Permission to use bicycles was given to the Nurses in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each which included maintenance for one year. Bells and wooden frames were added, at a cost of £5 per frame, so the Nurses could carry extra equipment. Nurses’ bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week and if patients could not arrange to have it collected the soup was delivered by the Nurses on their bicycles. The use of bicycles caused a change in uniform, with white pith helmets, and veils covering them and tied under their chin, now being used. 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 by a Doctor, 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. In 1913 a Nurse had her Board and residence, uniforms, bicycles and laundry expensive provided and was paid £50 a year for her first six months. At the end of a year her salary is increased by £5, and later she earns £60 a year. Over the years the nurses complained that their veils became wet in the rain and asked for a change of uniform but this did not occur until 1921. Bicycles continued to be used in inner areas until 1945. Sepia photograph of eight Melbourne District Nursing Society Trained nurses posing with their bicycles in a park; some are partly hidden. Nurse's uniforms consist of long grey dresses with white belts, cuffs and collars and white pith helmets with a Maltese cross in the centre. Oblong leather nursing bags of varying sizes are strapped to five of the bicycles. In the centre is Sister-in-charge – Mrs Hawkes (in white); to her left are 4 Nurses and to her right 3. L-R – Front row – Trained Nurses Curnow, Roberts, (Hawkes) and Becker. Back row – Nurses Taylor, Steele, Francis and Young. Trees and a palm are in the background. The bicycles have two large wire spoked wheels at either end of the black V shape bicycle frame; a rubber tyre runs around the outside of each wheel. The metal handlebars are a horizontal configuration and are attached with a central column into a black vertical column at the front of the V shape bicycle frame which has ‘fork shaped’ thin metal pierces running down either side of the wheel attaching the frame to the central hub of the wheel. The rear wheel is attached the same way to a central column at the rear of the frame which runs up to V shape solid seat. At the bottom of the V of the frame a pedal is attached with a rotating arm on either side of the bicycle and on the right side the rotating arm is attached to a sprocket which has a chain running around it back to a smaller sprocket on the hub of the back wheel. The chain has a thin metal guard over it. There are narrow thin metal mud guards running a short distance above the top of each wheel. melbourne district nursing society (1885-1957), bicycles, nurses, uniforms, mdns, mdns transport, rdns, royal district nursing service, trained nurse annie roberts, sister-in-charge isabel hawkes, trained nurse taylor, trained nurse steele, trained nurse francis, trained nurse young, trained nurse becker, trained nurse isobel curnow

This Certificate was presented to Trained nurse, known as 'Nurse' in those days, Nettie Osborne on completion of six months employment with Melbourne District Nursing Society (MDNS). This is the only example of a MDNS Nurses certificate in the RDNS collection. In 1913 the MDNS Nurses had their board and residence, uniforms, bicycles and laundry expenses provided. Newly employed Nurses were paid £50 a year for her first six months. At the end of a year her salary was increased by £5, and later she earned £60 a year. .Following the founding of the Melbourne District Nursing Society (MDNS) in February 1885 to care for the sick poor in Melbourne, subsequent meetings were held to form a Committee and to draw up a Code of Rules of the Society. It was decided that only nurses who had attended a Hospital Nurses Training School and were fully qualified would be employed by the Society. After interviewing several candidates, it was on the first of May 1885 when the first Trained nurse, known as 'Nurse' in those days, Mrs. Ferguson, was employed by MDNS with a salary of £100 per annum. She was employed for three months initially, but this was soon extended, "on the understanding she will make arrangements to live in the more immediate vicinity of her district". A Doctor agreed to assist the Nurse with advice at any time. In rotation, a member of the Superintendence Sub-Committee supervised the Nurse’s visits and could assist to alleviate some poor social conditions they found. A second Nurse, Mrs. Joanna Cannon was employed by MDNS six months later, with a trial period of six months which was extended. They were the stalwarts of the Society in the early years, Nurse Cannon remaining with the Society for four years and Nurse Ferguson for five years, though both had a short break due to illness through the heaviness of the work. Nurses salaries were reduced to account for the cost of uniforms, and then when establishments were rented by the Society and the Nurses could now live in the Nurses Home. The Nurses worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They liaised with Doctors and provided high quality trained nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness, fresh air and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag 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. They provided 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. As the work increased a third Nurse was employed but this was arduous work, particularly in the heat of summer and many nurses only remained with the Society for several months. A Trained Midwife was employed in August 1893. The work was arduous, particularly in the heat of summer. Permission to use bicycles was given to the Nurses in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each which included maintenance for one year. Bells and wooden frames were added, at a cost of £5 per frame, so the Nurses could carry extra equipment. Nurses’ bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week and if patients could not arrange to have it collected the soup was delivered by the Nurses on their bicycles. The use of bicycles caused a change in uniform, with white pith helmets, and veils covering them and tied under their chin, now being used; straw hats were worn in summer. Over the years the Nurses complained that their veils became wet in the rain and asked for a change of uniform but this did not occur until 1921. Bicycles continued to be used in inner areas until 1945. Public transport was also used over the years, in conjunction with a Motor Auxiliary from 1929 to 1971. MDNS began with its own small fleet of vehicles in the early 1950s which gradually expanded into a full fleet.The coloured Certificate is made of white paper attached to a buff card forming a boarder. It is in gold print on the white background which has a thin gold border. In large bold script are the words "Melbourne District Nursing Society" In between the words "District" and "Nursing" is a red Maltese cross which extends above and below the writing. Underneath this, in smaller capital letters, are the words "For Nursing Sick Poor In Their Own Homes"/. Below this in bold script are the words "This is to Certify that"/. Under this, written in black handwriting, is "Nurse Nettie Osborne"/; below this in script is "has acted in the capacity of District Nurse", then in black handwriting the words "Six Months"/. The next two lines read "having fulfilled her Duties to the satisfaction of her Committee, /"and appreciation of her Patients". The Certificate is signed in black by Mary Leeper, Vice President; Kate Hood; Hon. Treasurer; C.M. Tatham Hon. Secretary, and has Date; 8th July 1913 in black handwriting. On paper attached with tape to the back of the Certificate, is a copy of a photograph of two unidentified people. [Possibly Nettie and her husband]. Some small marks, and in one area a small area of cracking is seen on the white background of the certificate.certificates, mdns, melbourne district nursing society, rdns, royal district nursing service, nurse nettie osborne

Matron Freeman and the MDNS Trained Nurses are wearing long grey coats and white pith helmets, which display a red Maltese cross.The Pith helmets are held on with a white veil. The two Bicycles with nursing bags attached to handlebars show the transport used by MDNS at that time.. Nurses - Back - L-R - O'Sullivan, Deans, Warren, Amess, Pat Lee and Jane with bicycle Front - L-R - Blanche Wilson, Matron Janie Freeman, Peake and Brown. In February 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 with one Trained nurse (Nurse), and a second employed six months later. This was the first such service in Australia. They worked in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They provided high quality nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag containing lotion ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron. They loaned equipment, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing clean bed linen and nightdresses as necessary. Trained Midwives began home births in August 1893 taking midwifery bundles and providing clothes for the babe as needed. This was arduous work, particularly in the heat of summer. Permission to use bicycles was given to the Nurses in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each which included maintenance for one year. Bells and wooden frames were added, at a cost of £5 per frame, so the Nurses could carry extra equipment. Nurses’ bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week and if patients could not arrange to have it collected the soup was delivered by the Nurses on their bicycles. The use of bicycles caused a change in uniform, with white pith helmets, and veils covering them and tied under their chin, now being used. In 1913 a Nurse had her Board and residence, uniforms, bicycles and laundry expensive provided and was paid £50 a year for her first six months. At the end of a year her salary is increased by £5, and later she earned £60 a year. Over the years the Nurses complained their veils became wet in the rain and asked for a change of uniform but this did not occur until 1921. Bicycles continued to be used in inner areas until 1945. 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. They educated their patients, and their Carers, in the curing and prevention of disease; teaching the importance of hygiene, cleanliness, ventilation and good nutrition. They taught them, by verbal instruction and demonstration, how to make poultices, to make and apply bandages, apply medical appliances such as splints.Sepia photograph on brown card mount with 'Kirk Studio' on bottom right of the card. The photograph shows Matron Freeman and nine Melbourne District Nursing Society (MDNS) Trained nurses, (Nurses), with bicycles. The back row of six Nurses are standing and the Nurses either end are holding bicycles which have leather oblong nursing bags attached to the handlebars with two straps. The front row are seated. All are wearing the MDNS uniform of long dark coats and white helmets, with white scarves covering them and tied under their chins. A Maltese cross can be seen in the centre of the helmets. Both bicycles have two large wire spoked wheels at either end of the black V shape bicycle frame; a rubber tyre runs around the outside of each wheel. The metal handlebars are a horizontal configuration and are attached with a central column into a black vertical column at the front of the V shape bicycle frame which has 'fork shaped' thin metal pierces running down either side of the wheel attaching the frame to the central hub of the wheel. The rear wheel is attached the same way to a central column at the rear of the frame which runs up to V shape solid seat. At the bottom of the V of the frame a pedal is attached with a rotating arm on either side of the bicycle and on the right side the rotating arm is attached to a sprocket which has a chain running around it back to a smaller sprocket on the hub of the back wheel. The chain has a thin metal guard over it. There are narrow thin metal mud guards running a short distance above the top of each wheel.Photographer's embossed stampmdns, melbourne district nursing society, mdns uniforms, mdns transport, mdns matron, rdns, royal district nursing service, nurse blanche wilson, nurse pat lee, nurse deans, nurse o'sullivan, nurse warren, nurse amess, nurse peak, nurse brown, matron janie freeman

The photograph appeared in the MDNS Annual Report of 1922 and is taken on the veranda of the Melbourne District Nursing Society (MDNS) Nurses Home at 39 Victoria Parade, Collingwood. The Sisters lived and worked out of the Nurses Home from June 1914 to 1953. They attended the disadvantaged in the inner suburbs of Melbourne. The Sisters and Matron are wearing the grey uniform and hat with a red Maltese cross is in the centre of the hatband which was introduced in 1921. These Sisters, plus two others visited 29.079 visits in the metropolitan area and in suburbs as far distant as Elwood, Glen Huntly, Deepdene, Essendon and Fairfield. Of the 1666 patients on the books 394 were midwifery patients nursed in their own homes. It is believed the Matron in the photograph is Matron Reynolds. In February 1885 it was recognized that nursing care was needed for the sick poor in inner Melbourne. The Melbourne District Nursing Society (MDNS) was founded on the 17th of February with one Trained nurse (Nurse) who qualified under the Hospital training system, commencing on the 1st of May, and a second employed six months later, both working in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They provided high quality nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag containing lotion, ointments, powders, liniment, bandages, dressings, a case of spirits, and the Nurse's own clean apron. The also supplied equipment, such as earthenware hot water bottles, splints, urinals, bed pans, bed cradles, feeding mugs, and air-cushions as well as providing clean bed linen and nightdresses and clothes as necessary. In 1891 the first Nurses Home was rented for 1 year at £65 per annum at 66 Cardigan Street, Carlton; Nurses wages were now £60 per annum. A Doctor gave lectures from the Home to the public on the understanding and prevention of diseases. The Society decided to commence a Midwifery Service and Nurse Fowler, who had previously worked for the Society, was re-employed as their first trained Midwife. She began home births in August 1893 giving them Ante Natal care, taking midwifery bundles and providing clothes for the babe as needed. Following birth, she gave Post-natal care to the mother and babe twice a day for three days and then daily for a week, and longer if required. She resigned after twelve months and Nurse Wilkie was appointed to the position. As well as walking, the Nurses used Public transport in the limited areas it ran, though a taxi was used by the Nurses and Midwife in emergencies and at night. Late in 1891 the Society moved to larger rented premises at 49 Drummond Street and in 1902 moved to 188 Leicester Street, Carlton. The Nurses were becoming exhausted, particularly in the heat of summer. Permission to use bicycles was given to them in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each, which included maintenance for one year. Bells and wooden frames were added at a cost of £5 per frame so the Nurses could carry extra equipment. Nurses bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week, and if patients could not arrange to have it collected, the soup was delivered by the Nurses on their bicycles. Their use caused a change in uniform, with white pith helmets, and veils covering them and tied under their chins, now being used. In 1904 the Society relocated to rented premises at 5 Royal Terrace, Nicholson Street in Fitzroy. In 1913 a Nurse had her ‘board and residence, uniforms, bicycles and laundry expenses’ provided and was paid £50 a year for her first six months. At the end of a year her salary was increased by £5, and later she earned £60 a year. Over the years the Nurses complained their veils became wet in the rain and asked for a change of uniform, but this did not occur until 1921. In 1914 the Society was at last able to purchase their own premises, 'Floraston' 39 Victoria Parade in Collingwood. During the Spanish Influenza epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford 'T Model' cars were procured which enabled the Nurses to triple their visits. It was recorded on the 21st of May, that the seven Nurses had visited 1,212 persons with influenza in the last three months, how many visits to each is not known. In the whole of 1918 the Nurses, including midwifery cases, visited 1,100 persons. It was also recorded on May 7th the Nurses were delivering 100 quarts of soup to the needy each morning. In winter they also carried wood in the cars to distribute to their destitute patients as needed. In 1921-22 many of the people nursed by the Trained nurses (Sisters) suffered from malignant and tubercular disease, often the Sister would visit to find the patient was desperately ill living in a room alone and no one there to even give them a drink. In these cases the Sister would send them to hospital, but if possible most cases were nursed in their home. During July 1921- 30 June 1922 the four Midwifery trained Sisters averaged 8 confinement cases a week and sometimes gave Post Natal care to 15 to 18 patients a day. At the time of confinement a Student from the Women's Hospital accompanied the MDNS Sister and if complications occurred the patient was transferred to the Women's Hospital. The Society often had to provide blankets, sheets, set of baby clothes and night gowns for the mother. In many instances the Society provided milk for many months. The midwifery Sisters often travelled long distances in the cars Through constant use the cars were in such a poor state they were sold in 1927 and the Sisters went back to using public transport, as well as their bicycles which continued to be used in inner areas until 1945.. The Midwives used taxis when a birth was imminent. Black and white photograph showing 9 Sisters, 5 standing at rear and Matron, in the centre, of 4 seated Sisters on a balcony wearing their Melbourne District Nursing Society (MDNS) uniforms of grey coats, with revered collars and belt, over their partly seen grey uniforms with white collars. Five of the Sisters are wearing glasses. All are wearing grey brimmed hats with a Maltese cross in the centre of the lighter colour hatband. Part of deep metal scroll work of the veranda rail can be seen. A concrete wall is behind the Sisters.mdns, mdns matron, miss reynolds, royal district nursing service, rdns, melbourne district nursing society, mdns uniforms

The Sister-in-Charge, Florence Lee-Archer, and a Trained nurse (Nurse) are about to leave the Melbourne District Nursing Society (MDNS) Nurses Home at No. 5 Royal Terrace, Nicholson Street, Fitzroy to visit patients. The MDNS moved into these larger premises at No. 5 Royal Terrace, Nicholson Street, Fitzroy in May 1904. This establishment was their Headquarters as well as the Nurses Home. Sister-in-Charge Florence Lee-Archer and five Trained nurses, known as 'Nurse' in those days, were employed by MDNS at that time to visit and give nursing care to the poor in their own homes. 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, called 'Nurse' in those days, and a second employed six months later, working in the now CBD, ie from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care and liaised with Doctors. They provided high quality nursing care; educated their patients in the curing and prevention of disease and teaching the importance of cleanliness, fresh air and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag 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. Trained midwives began home births in August 1893 taking midwifery bundles and providing clothes for the babe as needed. The Nurses provided 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. The Nurses were becoming exhausted, particularly in the heat of summer. Permission to use bicycles was given to them in 1898 and the Society decided to purchase their own in 1903. A business man offered ‘new free wheel’ bicycles at £13 each, which included maintenance for one year. Bells and wooden frames were added at a cost of £5 per frame so the Nurses could carry extra equipment. Nurses bags were strapped to the handlebars. Soup was made for those in need 2-3 times a week, and if patients could not arrange to have it collected, the soup was delivered by the Nurses on their bicycles. Their use caused a change in uniform, with white pith helmets, and veils covering them and tied under their chins, now being used and straw hats in summer. In 1904 the Society relocated to rented premises at 5 Royal Terrace, Nicholson Street in Fitzroy. In 1913 a nurse had her ‘board and residence, uniforms, bicycles and laundry expenses’ provided and was paid £50 a year for her first six months. At the end of a year her salary was increased by £5, and later she earned £60 a year. Over the years the Nurses complained their veils became wet in the rain and asked for a change of uniform, but this did not occur until 1921.Digital Image showing, on the right, Melbourne District Nursing Society (MDNS) Sister-in-Charge Florence Lee-Archer wearing a long white uniform and white cap with long white tail (veil) seen hanging from its rear. On her left, is a MDNS Trained nurse (Nurse) wearing a long grey uniform with white collar and cuffs, and wearing a pale colour straw hat with Maltese cross in the centre of the white hatband. The hat is held on by a veil over the hat and tied under her chin. They are standing by their bicycles, the front wheels and handlebars seen; the Nurse has a nursing bag attached to the handlebars of her bicycle. Behind them and to their right, a black sign with the words 'Melbourne District Nursing Society - For Nursing the Sick Poor in their Own Homes' written in white capital letters can be seen attached to the metal spiked fence. Behind this are some shrubs and part of a building in the rear.Melbourne District Nursing Society - For Nursing The Sick Poor In Their Own Homes.melbourne district nursing society, mdns, mdns headquarters, mdns matron, rdns, royal district nursing service, sister florence lee-archer

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