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Flagstaff Hill Maritime Museum and Village
Container - Cocoa Tin, First half of 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin base and external tin lid, with round internal lid .Colour printed. Used for cocoa. Caption of a woman drinking cocoa, red Australian flag and British flag on other faces. Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," (Display side) "Manufactured by Hoadley's Chocolates Ltd, Australia.Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," "Manufactured by Hoadley's Chocolates Ltd, Australia.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, tin, tin plating, food containers -
Flagstaff Hill Maritime Museum and Village
Container - Tea Tin, First half of 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin container painted yellow with printed crosses and circles,. The lid is labelled "Robur Cross Stitch Company" and "R" imprinted in the centre although the lid is badly corroded. ‘Cross – Stitch’ (printed green in small crosses and circles) followed by ‘Nett Weight ¾ lb. (printed beige in crosses and circles). Pure Blended Tea. Robur Tea Co Ltd’ flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, robur tea co ltd, tea, tea caddy, tin, tin plating, food containers -
National Wool Museum
Textile - Blanket, Challenge Woollen Mills, Clan Murray series of Challenge, c1950s
Collector says - "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display." " 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." Checked blanket, pink, blue and lavenderClan Murray series of Challenge/Lambswool 'Perma-nap' blankets/All pure wool/Super Grade blanket, blanket fever, wool, challenge woollen mills -
National Wool Museum
Textile - Blanket, Eagley Woollen Mills, 1960s
Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. " Queen sized brown, green and blue checked blanketEagley Blanket, Pure Woolblanket, blanket fever, wool, eagley woollen mills, victoria -
National Wool Museum
Textile - Blanket, Gibsonia Mills, 1950s
Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Queen-Sized plaid blanket, brown, lemon, tan and mint100% Pure Lambswool/Gibsonia/Exclusive To All Foy and Gibson Ltd. Stores/Famous Since 1868blanket, wool, blanket fever, gibsonia, foy and gibson ltd -
National Wool Museum
Textile - Blanket, Laconia Woollen Mills, 1960s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Queen sized checked blanket, aqua and orange Laconia/Make "Goodnight" a Certainty/Pure Lambswool/Made in Australia wool, blanket, blanket fever, laconia -
National Wool Museum
Textile - Blanket, 1960s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.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."Queen sized checked blanket in corn, beige and green 'Mareeno' /Pure Australian Wool/Export Quality/Made in Australiawool, blanket, blanket fever, mareeno -
National Wool Museum
Textile - Blanket, Myer stores
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."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."Queen sized Checked blanket, lemon, tan and greenMyrall/Pure Wool/Myer's Own Brand/Made in Australiawool, blanket, blanket fever, myer -
National Wool Museum
Textile - Blanket, Myer stores, 1950s
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."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. King sized checked blanket, pinks and grey Myrest/Super Lambswool/Made in Australia/Expressly for the Myer Emporium Ltd.wool, blanket, blanket fever, myer -
National Wool Museum
Textile - Blanket, Myer stores
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."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."Double sized checked blanket , khaki, cream and green Royal Slumber/Woolmark Emblem/Pure New Woolwool, blanket, blanket fever, royal slumber -
National Wool Museum
Textile - Blanket, 1950s
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."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."Queen sized checked blanket in apple, pink and lemonIn emblem: V/Viscount/Super Quality All Wool/Made in Australiawool, blanket, blanket fever, viscount -
National Wool Museum
Textile - Blanket, Waverley Woollen Mills, 1950s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Queen sized checked blanket, pink, grey and lemonThe Celebrated Waverley Blanket/100% Pure Wool/"The Best for Rest"/Made in Australiawool, blanket, blanket fever, waverley -
RMIT Design Archives
Photograph - Photographs
This photograph commemorates a visit by American Fashion Models to Prestige Textile Studio in July 1950. Melbourne’s Myer Emporium in conjunction with Neiman Marcus, Dallas, Texas presented the first American Fashion Parades in Australia in July 1950. Ruth Hancock, the leading model and buyer for Neiman Marcus, directed the Parades, and the eighteen year old modelling prodigy, Carmen dell’ Orefice, described by Cecil Beaton as ‘the world’s most beautiful woman’ was one of the stars of the runway. In a bid to encourage a market for Australian textiles in the United States, the models visited textile manufacturers and design studios in Melbourne, such as Yarra Falls Mills and Prestige Studios, one of Melbourne’s premier textile design studio. Ann Carew, 2020This photograph is historically significant for its association with Prestige Textile Studio, and it's association with the Australian Textile Industry. It highlights the role that Myer Melbourne played in promoting the Textile Design Industry and Australian Fashion to the United States of America.Black and white photograph of 8 models from the US, laying on the floor of the Prestige Studios. Names of the various models have been drawn on the floor from the foreground to the background of the photo, with eagles and stars in between each name.Models pictured include Ruth Hancock, Carmen Dell'Orefice, and Margaret Edwards.USA MODELS / VISITING AUSTRALIA carmen dell' orefice, prestige textile studio, ruth hancock, margaret edwards, fashion, rmit design archives, models, usa -
Stawell Historical Society Inc
Photograph, Bennet family home 51 Smith Street Stawell with cars parked in front c.1943
Bennet family home 51 Smith Street with two cars parked in front. First church of England is just visible in background. Lady on left is Jessica Bennett. Young lad leaning on mudguard Graeme Bennett born 1933 later mayor of Stawell. The lady at center is Margaret Bennett. and gentleman with hat is John Bennett Senior, original owner of North Western Woolem Mills. Photo taken outside john Bennetts home in smith street with no kerb or nature strip, looking towards Seaby Street. Note the canvas Water bags on front of one car to keep water cool. John Bennet Sen born in 1895 in Yorkshire. his wife Jessie Brown married in Warrnambool.Two 1940's cars parked with a group of people posing for photo.stawell industry -
National Wool Museum
Functional object - Yarn Spinner and Accessories, John Nesbitt, 19th Century
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing -
Bendigo Historical Society Inc.
Document - BROADCASTING STATION 3CV, MARYBOROUGH, 2 March, 1956
Broadcasting Station 3CV, Maryborough. A souvenir of the opening of the New Studios and Offices of Central Victoria Broadcasters Pty Ltd. March 2nd, 1956. Established 1956, offices in Burke Street, opening coincides with the stations 21st birthday, March 2 for the former celebration, October 26 for the latter. Coverage included Bendigo, Ballarat, Daylesford, Castlemaine and Maryborough. 3CV plays active part in assisting charities and hospitals at Maryborough, Daylesford, Maldon and Dunolly. Active Women's Radio Club with branches in country centres adds strength to station's charitable efforts. Opening 3CV's new premises will widen the scope of the station's charitable efforts, and stronger link with Australian Commercial Broadcasting stations. Writer Harold V Nunn writes history of district of Mayborough. Manager Ken J Parker, Central Victoria Broadcasters Pty. Ltd. The Souvenir brochure also covers topics such as: deep lead mining. WWI. Houses being pulled down. New settlements of Mildura. Secondary Industries. Bowenvale, Alma, Majorca, Craigie, Amherst, Adelaide Lead, Havelock, Bet Bet, Bently. Primary production and a railway staff of approximately 150. Maryborough a little town without a future. Coal fields at Wonthaggi. 1917 a public meeting was convened in an effort to stem the tide of adversity. Mayor George Frost, M.L.A., decision to form a Progress Association, a policy of secondary industry was decided upon and committees were appointed, James L Drew much credit is due. Maryborough's move for rejuvenation was revolutionary, because apart from Ballarat, Bendigo and Geelong, it was regarded as so much presumption that industry could be expected to function with success in a country town. Governments were unsympathetic. Maryborough & district people showed determination to succeed and their faith in their town. Employment and economic security provided by the industries outweighed the debt. Maryborough's general position is that it is no longer dependent upon one particular phase of activity. The first of the industries to be formed in 1918 was the Butter Factory. The nearer dairy companies did not take kindly to the prospect of another opposition company taking supplies from their districts, and in the first few years of establishment completion made the going hard for the management. But adopting a conservative policy and placing all profits to reserve I the first six years of operation headway was gradually made. Thus it was a red letter day for the company in 1925 when the first dividend of 5 percent was paid.1955 dividend of 10 per cent. Operating it's own trucks the dairy serviced local dairymen up to 40 miles. Maryborough Knitting mills est. 1923, having transferred from Clunes. Out bid Ballarat and Bendigo to the industry. The mill has what is probably the largest circular underwear plant in the Commonwealth, which is conservatively valued at 198,913 pounds. It produces between four and five million garments each year, worth over one million pounds. The company has established subsidiary mills at Dunolly, Talbot and Avoca. The company also assisted in the establishment of the Interknit Hosiery Co. Ltd., Clunes. The Maryborough Flour Mills is the second oldest of Mayborough's industries. It was built by Mr Cadwallader over 70 years ago. It was later sold to Mr. A Land and then to Jas. Minifie & Co. It had a somewhat 'in-and -out' existence until purchased in 1923 by Messrs. Willersdorf and Forbes, of Eddington. In 1939 the firm began to build silos for the storage of bulk wheat and the present storage capacity is 100,000 bushels. 1944 power was changed from steam to electricity. The mill has an out put of 20 sacks an hour. 1938 a chaff mill was built, and now is regarded as one of the best in Victoria. Its output in one year of approximately 6,800 tons is a State record for a single cutter. During this 30 year period Patience and Nicholson Limited has grown with Maryborough and is now one of the major key industries of Australia. The P&N brand covers precision tools - taps, dies and twist drills - indispensable to the country's economy, and quality is acknowledged equally by an air craft factory in Canada, a dockyard in Thailand, a railway workshop in New Zealand, no less than by our own Australian industries. Maryborough can be proud of the part played by P&N in war when, geared to the needs of the times, it poured countless millions of tools into defence factories and to the armed forces of the Allies, and now in peace when it is providing, hydro-electric undertakings and the manufacture of cars and tractors. From 1858, W Phelan & Sons Pty Ltd has made phenomenal and spectacular growth, becoming incorporated as a private company in 1929. It is without doubt the greatest private development in the history of Maryborough. 1940 joinery manufacture was commenced. The company entered the Ready Built Housing field in `950 - and in 1951 established a factory at Cairns, Northern Queensland to overcome the manufacturing difficulties being experienced due to the shortage of plywood in Victoria. Present activities include: Ready Built Housing Factory, on-site building, a modern joinery, timber yard, drying kilns, etc., and plumbing & electrical & engineering services, a door and panel factory at Cairns, retail hardware store, Melbourne Sales Depot. Hedges & Bell Pty Ltd were est 1945, with a staff of 40 employees are the largest printing firm outside the metropolitan area. The branch of Premier Wireworks is a contribution made by the decentralisation policy of the State.event, official, celebration, broadcasting station 3cv, maryborough. a souvenir of the opening of the new studios and offices of central victoria broadcasters pty ltd. march 2nd, 1956. established 1956, offices in burke street, 21st birthday. coverage bendigo, ballarat, daylesford, castlemaine maryborough. assisting charities and hospitals maldon and dunolly. women's radio club opening 3cv's new premises australian commercial broadcasting stations. writer harold v nunn writes history of district of mayborough. manager ken j parker, central victoria broadcasters pty. ltd. souvenir brochure: deep lead mining. wwi. houses pulled down. new settlements. primary production railway staff. coal fields wonthaggi. 1917 a public meeting was convened in an effort to stem the tide of adversity. mayor george frost, m.l.a., form a progress association, policy of secondary industry, james l drew rejuvenation was revolutionary, employment and economic security. the first of the industries to be formed in 1918 was the butter factory. thus it was a red letter day for the company in 1925 when the first dividend of 5 percent was paid.1955 dividend of 10 per cent. operating it's own trucks serviced local dairymen. maryborough knitting mills est. 1923 largest circular underwear plant in the commonwealth. established subsidiary mills at dunolly, talbot, avoca. interknit hosiery co. ltd., clunes. the maryborough flour mills it was built by mr cadwallader. mr. a land jas. minifie & co. messrs. willersdorf and forbes, build silos for wheat storage capacity is 100, 000 bushels. 1944 power was changed from steam to electricity. 20 sacks an hour. 1938 a chaff mill was built, best in victoria. patience and nicholson limited the p&n precision tools - taps, dies and twist drills. war, geared to the needs of the times, countless millions of tools into defence factories the armed forces of the allies, hydro-electric undertakings and the manufacture of cars and tractors. from 1858, w phelan & sons pty ltd, incorporated 1929. 1940 joinery manufacture. ready built housing field in 1950 - 1951 established a factory at cairns, northern queensland to overcome the manufacturing difficulties being experienced due to the shortage of plywood in victoria. present activities: ready built housing factory, on-site building, a modern joinery, timber yard, drying kilns, etc., and plumbing & electrical & engineering services, a door and panel factory at cairns, retail hardware store, melbourne sales depot. hedges & bell pty ltd were est. 1945, with a staff of 40 employees are the largest printing firm outside the metropolitan area. the branch of premier wireworks is a contribution made by the decentralisation policy of the state. -
Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: DEBONAIR
Bendigo Advertiser ''The way we were'' from 2003. Debonair: the Axedale hall hosted its first debutante ball on December 28, 1945. Taking part were: (back row) Bill Moore, Gus Cullinan, Neil Bennett, Bill Murphy, Dick Burke, Frank O'Connor, Graham Marshall, Les Giri, Don McKenzie. Middle row: Bernie Ryan, john O'Dwyer, Marie Murphy, Alice Moore, Greta O'Connor, Monica Byrne, Una Bennett, Doug Bennett, Ken Wells. Front row: Margaret McKenzie, Dorothy Burke, Dorothy Bennett, Evelyn Turner, Mrs M. Drake (chaperone), Joyce Wells, Jean O'Connor, Doreen Hickson, Valma Langham, flower girl Eileen Byrne, page boy Bruce Mill, Absent from the photo were Mary Gleeson and Frank Windsor. The clip is in a folder.newspaper, bendigo advertiser, the way we were -
Bendigo Historical Society Inc.
Postcard - BASIL WATSON COLLECTION: AVRO PLANE
Postcard: black and white card - two sections. On top aeroplane, 'Patented 1906, the first free aeroplane to leave the ground in Britain' On bottom of card, photo of three tiered wing aeroplane. Written on bottom' Avro' plane flying with only 14 h.p. On back of card: The 'Avro'plane. The first aeroplane illustrated was the first free heavier-than-air machine to leave the the ground. Before this however, very interesting flights were made when towed by a motor car at Brooklands Track. The other photo shows a flight with 14 horse power, but previous to this some hundreds of flights were made with only a nine horse power engine. A record which has not yet been beaten or equalled. Mr. A.V. Roe is now making monoplanes, biplanes and triplanes &c. For full particulars please write to A.V. Roe & Co., Brownsfield Mills, Manchester.aviation, civilian, avro biplane, basil watson, biplane, aeroplane -
Ballarat Tramway Museum
Photograph - Illustration/s, Haddon Smith Pty Ltd, "Sturt Street Ballarat", Sept. 1973
Reproduction of an illustration of Sturt St. Ballarat from Grenville St, c1880, prior to horse trams. Shows people milling in the street around Grenville St in their "Sunday best". Has a number of horse drawn vehicles in the street. Reproduction of a print from a 19th century Australian Publication, prepared and published by Dovers Pty Ltd. 9/1973 and printed by Allprint. Printed on good quality light weight ivory board or card and mounted on the top edge onto a preprinted backing sheet with the details of the publication and paper used printed onto it. Embossed with "Dovers" logo along bottom edge. Appears to have been cut out of another publication. Noted as being designed by Haddon Smith Pty Ltd Acquired from J. Ellis of Tuncurry NSW by W.Doubleday on eBay for $6.50 25/4/2004 See paperwork with worksheet.trams, tramways, sturt st, ballarat, horse drawn vehicle -
Bendigo Historical Society Inc.
Document - IAN DYETT COLLECTION: AUCTION CATALOGUE - BIG EILDON PROJECT
Two red covered auction catalogues for an auction on account of the State Rivers & Water Supply Commission on the 22nd to 25th November, 1954 (inclusive) held at the Big Eildon Project, Eildon, Victoria. Lots sold include Machinery, plant, stores and equipment, Saw Milling Plant, corr. Iron and timber buildings, 5 timber residences, 73 partly completed weatherboard 4 roomed flats, extensive collection of plumbers equipment, building materials, mess equipment, sawn timber, scrap, tools, kitchen and bathroom fittings, electrical equipment and costly spares and accessories. Catalogue has a Locality Plan of Eildon, photo, locality and description of the Eildon Sawmill. Photos of completed houses, incomplete flats and plan showing layout of flat unit, photo of flat block (Completed). Also Building Kits - Designs and Component Lists.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - big eildon project, state rivers & water supply commission, j h curnow & son pty ltd, eildon sawmill, prahran telegraph printing co -
Wodonga & District Historical Society Inc
Photograph - Mann Collection Album - High Street West - S.E.C.; Wodonga Sports Store, Wodonga Delicatessen, Marks Bros. Butchery; Halls Bakery, C. 1970s
Elaine Mann was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.S.E.C.; Wodonga Sports Store, Wodonga Delicatessen, Marks Bros. Butchery; Halls Bakery. Before Marks Brothers, the butcher Bert Wilcox Butchery. Ron and Anne Chaffey ran the Wodonga Delicatessen from 1983 to 1986 and Marks brothers owned the building. Hall’s Modern Bakery was established in 1930 and was selling Sunicrust Bread. The bakery operated for 48 years. In 1960, Bob Hall and four Albury bakers, Eric Wynne and Allan, Neville and Keith Thiel, joined Bunge’s Albury Flour Mills in forming a new company, Southern Border Bakeries. He became a director and general manager of the company. He also served 9 years in local government. Bob was also a member of the Bread Manufacturers Council of N.S.W., the Australian and New Zealand Bread Manufacturers Association, and an employers representative on the N.S.W. Conciliation Commission and Victorian Arbitration Commission.wodonga businesses, high st wodonga, marks brothers, halls modern bakery -
Melbourne Tram Museum
Drawing, Melbourne & Metropolitan Tramways Board (MMTB), "Plan of Tramway System - showing route mileage of electric tramways", Late 1960's
Set of 9 A3 photocopy of a drawing - of a dyeline print that had been mounted onto a cloth backing and had been kept up to date with regard to extensions and closures or opening and closing - titled - "Plan of Tramway System - showing route mileage of electric tramways" - Principal Junctions and intersections shown diagrammatically. Map of system shown at 40 chains to the inch. Copy of Drawing No. P6050. Shows crossovers, signal cabins, automatic points, closed cable tram lines in the city area, Port Melbourne, roads, railways and stations. Has extensions to Mill Park up to April 1987. Shows the Port Melbourne, North Melbourne (Spencer and Abbotsford Sts) and Collingwood cable lines, the Footscray system lines and the Point Ormond lines. See also Reg Item 1561 for a late 1960's print and 3642 for a 1941 version.trams, tramways, mmtb, trackwork, tramways, junction, map -
Warrnambool and District Historical Society Inc.
Footwear - Beaded evening shoes, 1888
These shoes were worn by Mary Glass Cramond when she married James Dickson Jnr. in 1888 in the Presbyterian church in South Yarra Melbourne. Mary Cramond was the daughter of John Glass Cramond and his wife Frances. Her Scottish born father formed a partnership with James Dickson, also a Scotsman and founded the Cramond and Dickson store on the corner of Timor and Liebig streets Warrnambool which opened on 21st August 1865. The store closed in 1974. . James Dickson's parents were James and Susan. James Dickson was an original director of the Warrnambool Woollen Mill, an original guarantor and director of the Warrnambool Cheese and Butter Factory. He also served on the committee of the Warrnambool Base Hospital for nearly fifty years and was a town councillor. The Store of Cramond and Dickson was one of the most important businesses ever to have been in Warrnambool. The marriage of the daughter and son of each of the founders was an important social and romantic event.A pair of cream satin covered lady's shoes with medium height heels. The toes are gently pointed and decorated with a bow and intricate glass,clear beading.The soles are leather. Both shoes are damaged as the satin is torn and shredded.6D small twelve pointed starshoes, cramond and dickson, warrnambool, cramond -
Eltham District Historical Society Inc
Photograph, Oak Trees and Eltham Rugby Football Club oval, Diamond Creek Trail, 21 June 2017
A walk around Little Eltham, 21 June 2017. Eltham’s first industrial area at the end of present day Pitt Street near the Diamond Creek. Just upstream a bit, near these oak trees was the flour mill. The most significant owner of that was Henry Dendy. Better known for founding Brighton but he lived in Eltham longer than he lived in Brighton, during the 1860s. There was also the brewery and slightly downsteam from here was the tannery. The brewery needed fresh clean water so it was upstream from the tannery. The Oak trees were most likely planted during Henry Dendy's time. (Source: Local historian commentary, Eltham Hidden Creek heritage excursion 7 March 2020) Born Digitaleltham community centre, diamond creek trail, eltham rugby football club, oak trees, henry dendy -
Eltham District Historical Society Inc
Book, Henry Dendy's account book / [introduction and editorial commentary by Leslie A. Schumer], 1983
Limited edition of 1000 numbered copies. Account book relating to Henry Dendy (1800-1881) of Brighton. Dendy was a special survey proprietor with an early association in Eltham where he operated a flour mill in the 1860s. Includes references to Were Brothers and Co. Henry Dendy’s Account book shows the recording of transactions on the frigate vessel York, on which Dendy sailed from England. The work also includes brief records of a brewery business Dendy conducted and the accounts of John Booker, one of Dendy’s emigrants. The records are in sterling currency and contain debit and credit columns while other accounting records included in the work cover transactions for a pastoral lease operated by Dendy. from 1848 until his return to England in 1855.Paperback; 63 p. : facsims., geneal. table, maps ; 25 cm.ISBN 0959710418henry dendy, accounting, were brothers -
Warrnambool and District Historical Society Inc.
Document, Traffic Returns - Tramway, 1880
This is a traffic report of the Warrnambool Tramway in 1880. The Warrnambool Tramway ran from the south end of Fairy Street near the present day railway sheds past the site of the old Woollen Mill, then extended towards the Warrnambool Bay on the easterly side of the site today of the Lady Bay Apartments and on to the Tramway Jetty. The Tramway was completed in 1858 and was horse-drawn. It was leased to private individuals until 1864 when the Warrnambool Council took over the management. The Tramway closed in 1890 when the Breakwater was opened and it had its own spurline from the railway station to the end of the Breakwater. The 1880 report shows that contractors were paid over £300 and that 26, 409 tons of potatoes and 9167 bales of wool were carried by the Tramway in that year. This report is of interest as it shows the operations of the Warrnambool Tramway in 1880. The Tramway was significant in the maritime history of Warrnambool.This is a single foolscap-size sheet with handwritten material concerning a report of the Warrnambool Tramway operations in 1880. The writing is in black ink. The page has a large red-lined margin on the left side. The sheet is a little stained where it has been folded.history of warrnambool, warrnambool tramway -
Orbost & District Historical Society
photograph, C1930s
In 1912 the school at Pumpkin Point opened to serve the children of farmers living in the Bete Bolong district. This meant a big change in their way of life because in the past the children had been rowed across the Snowy River each day to attend school at Jarrahmond. Myrtle Bunting was the first HT of the school which had been erected on a block of land purchased from H. Richardson. The school functioned until 1952 when a shortage of pupils caused its closure. As a bus service to Orbost now operated, the school at Pumpkin Point faced permanent closure. J. McKeown bought the building. Students attending the school at this time included Russells, Johnstones, Reeves, Healeys, Kavanaghs, Phillips, Rodwells, Mills, Baileys, Gilberts and Masons.These photographs are associated with the history of education in the Orbost district. There is no longer a school at Bete Bolong.Two small photographs of students standing at the doorway of a school building.photograph-bete-bolong-school eductation-orbost -
Orbost & District Historical Society
black and white photograph, 1936
In 1912 the school at Pumpkin Point opened to serve the children of farmers living in the Bete Bolong district. This meant a big change in their way of life because in the past the children had been rowed across the Snowy River each day to attend school at Jarrahmond. Myrtle Bunting was the first HT of the school which had been erected on a block of land purchased from H. Richardson. The school functioned until 1952 when a shortage of pupils caused its closure. As a bus service to Orbost now operated, the school at Pumpkin Point faced permanent closure. J. McKeown bought the building. Students attending the school at this time included Russells, Johnstones, Reeves, Healeys, Kavanaghs, Phillips, Rodwells, Mills, Baileys, Gilberts and Masons.This item is associated with the history of education in the Orbost district.A black / white photograph of two Bete Bolong State School pupils - girls - standing against a large tree trunk with a scarecrow between them.on back - handwritten " Hilda Russell & Elsie Morrison on Guy Gawkes at Bete Bolong"education-orbost bete-bolong -
Melbourne Legacy
Photograph - Legacy Appeal 2005, Parliament House Event, 2005
A Legacy function at Queens Hall, Parliament House, Melbourne. Geoff Webb is president and Ron Barassi is a guest. More photos at 00735. 00734.1 Ron Barassi with two others. 00734.2 Unknown lady with John So (Lord Mayor of Melbourne 2001-2008). 00734.3 President Geoff Ward with x and David Cull. 00734.4 Four elderly legatees with a young man (from left, Harold Ramsay, Trevor Parker, unknown and Dave Worrall). 00734.5 Ron Barassi with the young man and x. 00734.6 A large group with Ron Barassi, including Dulcie Cedaro on left, Legatee Denise Millic, Ron Barassi, a junior legatee, Bert Dennis (a former JL), Legatee Larraine Shea, plus two othersA record of a function for Legatees. Colour photo x 6 of guests at a Legacy function.Printing on the back " -
Melton City Libraries
Photograph, Jessie Barrie with her grandchildren, 1946
Jessie, known as Ma Barrie to her grandchildren, was the daughter of a school teacher. The family lived in various locations around Central Victoria, particularly Pastoria and Melton. When her father was Head Teacher at Melton State School no 430, she met her future husband, CE Barrie. Jessie May married Charles Ernest Barrie in the Methodist Church Melton on the 23rd August 1906. They lived in the newly built house beside the Chaff Mill on the corner of Station and Brooklyn road Melton South. In April 1910 the family moved to a farm in Trundle NSW. The Chaff Mill was sold to Glover Onians - HSK Ward. The family returned to Melton in 1911, buying the “Darlingsford” farm in May. In 1916 they lived in Elizabeth Street, Moonee Ponds where the children attend Bank Street School, Ascot Vale. The children developed diphtheria Mary and Bon were transferred to Fairfield Hospital. In March 1919 the family returned to live at Melton at the time of the outbreak of the Spanish influenza. Mary, Bon and Edgar returned to Melton School. Following the death of CEB in a car accident in 1931 she was left to bring up her children on her own; the youngest Jim, aged 9 and eldest Mary, aged 24. Jessie left ‘Darlingsford’ in 1946 when her sons had safely returned from WW II. She stayed at Yarram for a time where her married twin daughters lived when more grandchildren were born and spent the remainder of her life living with various family members. Jessie died in 1960 while living with Mary and Keith.Jessie Barrie with her grandchildren at Darlingsford, Meltonlocal identities