Obtained from operations in Afghanistan.Obtained from operations in Afghanistan.A30/4 Barrier Rated Aluminium Foil wrapped and sealed NBC canister for a respirator. White printed ID label on rear of item.A30/4 Barrier Foil From TECPAC. 0923 244343. INT DEF. STAN81-75 Type 1. 200 Degrees C, 2 Secs, 2Kg/cm squared NSN 4240-99-132-0941 Canister, NBC, Respirator. Manuf + Sealed 17/12/90. Impregnated Oct 1990. Protector Safety LTD. Batch C90129017canister, nbc, respirator, afghanistan, australian military

Etching on aluminium foilSigned and dated lower right corner beneath printed image "George Baldessin 71" Edition and title in lower left corner below printed image "Edition 25 'window & factory smoke'"

SoftcoverA packet of Gold foiled Christmas Gift stickers in the centre of the bookwalsh st library

Foil Packs, 1 dozen.surgical, catgut

Silkscreen photograph on silver foil on canvas

Cash Book Record of Legacy Comradeship Committee 1986/1999. Record of income and expenditure of Melbourne Legacy Comradeship: Detailing price, quantity, and items consumed. Significant for its record of the items purchased and costs involved in running the Comradeship committee and meetings.Green book with gold foil lettering on the front.Universal Analysis Book, Series 200, 4 Money Column 1986/1999financial records, comradeship, committee

Page 4 features list of 13 graduates of the University of Ballarat Advanced Diploma of Graphic Design (2 years). Introduction by Paul Mah (co-ordinator / teacher). Teaching staff listed: Sam Harmer, James Baker, Selena Shillito, Travis Price, Jill Hyatt, Ben Sanders, Anthony Woodward, Alister Heighway, Peter Lambert, Paul Mah. Cover design by Kylie Findlay (student). Student work featured throughout along with student names, photos and contact details. 32pp + 4pp cover saddle-stitched booklet. Full colour cover, gloss varnish pattern, gold foil. Full colour offset pages. Promotional catalogue for graduating students of the University of Ballarat (TAFE), Advanced Diploma of Graphic Design, 2011. 32-page + 4-page cover saddle-stitched booklet. Full colour cover, gloss varnish pattern, gold foil. Full colour offset pages.university of ballarat, federation university, graphic design, tafe, advanced diploma, arts academy, camp street campus

Commonly used container until waxed cartons or plastic bottles came into useClear glass imperial half pint cream bottle (foil cap type)Imperial half pint, maker's manufacture numbers mouldedglass bottle, cream bottle

.1) - .9). Khaki paper and Aluminum foil packet. Writing is in black ink..1) .2). Stamped "PKD 829D"food, rations, biscuits, army

Glass milk bottles were used to store milk that was supplied by local vendors to houses in a region. The glass bottles would be reused continually until stolen or broken. Milk would be brought to individual houses where payment may be received on the day or as a larger payment at another time. After finishing the milk, the family would return the glass to a prearranged place outside their home where it would be collected and a new milk bottle returned in its place. A clear glass milk bottle used for 600ml. This would have had a foil lid.Pasteurised MILK 600ML Wash and return Milk Bottle Distributers PASTEURISED 600ml MILK Wash and Return Property of dairy milk bottle glass milk-bottle food container

Folded paper packet containing curved suture needles wrapped in foil. The packet is white with green and red printed text.Stamped in black ink on reverse: 1/2 CIRCLE / CUTTINGneedle, suture, templar quality, charles spencer, redditch, england, circle cutting

In 2014 the University of Ballarat took control of the former Monash University campus in Churchill Gippsland, and UB became Federation University Australia. This is the work of students at the Camp Street Campus, Ballarat. Lecturers listed as Ben Mangan and Chrissie Smith. Student list: Fiona Appledore, Kellie Beatty, Ella Byworth, Leah Cushion, James Daniel, Chris Drummond, Peter Gaulke, Ashlen Gloury, Harley Hollow, Celina Mulgrew, Katrina Organ, Lucinda Pendock, Jeremy Pietsch, Heidi Rixon, James Robertson, Jayde Romey, Stevi Thomas, Melissa Thompson. Final page includes list of sponsors.40pp full colour book plus cover 4pp perfect bound cover, bright watermelon-orange card with holographic foil.university of ballarat, federation university, graphic design, multimedia, bachelor, degree, camp street campus, arts academy, fiona appledore, kellie beatty, ella byworth, leah cushion, james daniel, chris drummond, peter gaulke, ashlen gloury, harley hollow, celina mulgrew, katrina organ, lucinda pendock, jeremy pietsch, heidi rixon, james robertson, jayde romey, stevi thomas, melissa thompson

In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on white and pale blue paper. Front cover is royal blue with gold foil text. 67 pages.Front Cover: RUYTONIAN / Special Edition / RECTE ET FIDELETER / 1984 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

.1) - .3) Khaki paper/Aluminum foil packet. It contains two breakfast cereal blocks. The label is in black ink. Packed 829D.rations, food, army

Two variable vacuum discharge tubes (cathode ray tubes?). Two glass tubes, each with foil leaf electrodes inserted at opposite ends. scientific instruments, physics, electron discharge tube

Item related to history of Australian Primary School & the School Milk Program operating in the 1950s until 1973 to provide milk to school children.Clear glass 1/2 imperial pint bottle. - 1950 - 1973 Australian school milk container. - originally had silver foil top.Imperial half pintschool, milk

A concave wooden racquet with orange whipping silver foil butt cover. Inscription along throat on obverse: CHALLENGE. Inscription across throat on reverse: "BENTLEY"/NIAGARA/FALLS. Inscription across paper and foil butt cover: KEEP IN A PRESS/BENTLEY/RACQUETS/NIAGARA FALLS/N.Y., U.S.A. Materials: Wood, Gut, String, Metal, Ink, Glue, Lacquer, Leather, Papertennis

This plan of the proposed Bendigo Cenotaph was drawn on either Mylar, Acetate or Astra Foil material. Refer Cat No 8295.14 for the details of this collection and history.Plan of the proposed scale model of the Whitehall Cenotaph on special format material, all print is in black. Scale is "1/2 inch to 1 foot"brsl, smirsl, plans, cenotaph, lansell

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Business card for Robert B. Blake on cream cardstock. Name and contact information is printed in blue ink, and the Kathryn knitwear logo is stamped in golden metallic foil[obverse] KATHRYN Robert B. Blake ROBERT BLAKE PTY. LTD. 26-32 KING WILLIAM STREET BROADMEADOWS, VIC., 3047 TELEPHONE: 309 1333business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, children's knitwear, children's clothing

This is an exemplary model of what is possible in design for print. Only 20mm across, this magnification reveals nine separate print passes that each differently affect the paper's surface. Printed on a cheque commissioned by Avon Graphics Security, designed by David Lancashire and detailed by Geoff Fawcett in the 1990s, the design represents an important aspect of graphic design history: the creation of labour intensive marks that are impossible to forge. Jenny Grigg, 2017foil, graphic design, embossing, printing industry, design

Guest book signed by some of those who attended the Bachelor of Visual Art (Graphic Design / Multimedia) exhibitions and dinners hosted by the University of Ballarat. Names include the students themselves, parents, friends and alumni. Attendees' addresses include Victoria and interstate, USA (eg Florida, California), UK, the Phillipines in addresses. Other entries demonstrate the attendance of some of Victoria's well known designers and agencies at the time, including representatives from local Ballarat studios. Helmut Stenzel was third year lecturer throughout this time. Students putting together these end of year exhibitions were usually overseen by Helmut Stenzel, Steven Roberts and other lecturing staff.This guest book is significant in that it represents a period during which the Graphic Design/Multimedia program was thriving. Students and staff were engaged with Australian and international designers and guests. Several students at this time were award-winning.Hardcover bound guest book signed by Graphic Design/Multimedia exhibition attendees c1994–2000. Black leather-look cover with debossed gold foil reading "Guests".Handwritten names and comments by exhibition attendeesuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree, mt helen campus

Moonee Valley Cordial company was established in 1890 by John Dunne. In 1898 they produced Horonda, an alcohol free beer, based on the herb horehound. The business was sold in 1910.Green glass bottle. The bottle is empty but has a cork/lid in and silver foil covering. Moulded in the glass the words: Moonee Valley coy, Horonda tel. 1899 noprth Fitzroy.business, retail, moonee valley company

See inscriptionsUnopened bottle of champagne (green glass) bottled specially for the World Premiere of "Phar Lap" Gold foil top covering. Paper label with collage of photos of "Phar Lap" and his trainer11% alcohol. Wine of Australia McWilliams Champagne 750ml. Bottled specially for ther World Premier of "Phar Lap" August 7th 1983, Sydney, Australia

Green glass wine bottle with partial contents, silver foil around top and wire holding cork in. White paper label reads Champagne, Devonshire Cider, Grown & Bottled by Ferris Ellis.Ferris Ellisorganisation, industry, vineyard

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted "some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago." How wrong he was. In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace