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Benevolent asylums were established in all the Australian colonies in the nineteenth century. In NSW and Victoria, they were established as religious charities. In Queensland, however, the state took responsibility, and the Queensland Benevolent Asylum Act of 1861 funded hospitals to have ‘asylum wards’. In 1865 the Colonial Government proposed that an asylum ward for the sick and poor be established at the new general hospital site at Herston. Under ‘public pressure’ the colony government decided in 1866 to relocate the asylum on a ‘temporary basis to the Dunwich Quarantine Station. It started with 80–90 inmates, confusing funding, and a drunk as Director. Source: stradbrokemuseum.com.au/dunwich-benevolent-asylum/

Dunwich ‘Bohemia’ An exhibition exploring the artistic and literary works of three generations of the Agnew family is currently on display at the Museum . The exhibition —a collaboration with the Redland Museum — features artworks and writings, as well as a series of photographs taken in Dunwich by Philip Agnew. The Agnew family lived and worked in Dunwich for many years and were active in the cultural life of the Dunwich Benevolent Asylum. The exhibition continues over the summer. Source: stradbrokemuseum.com.au/wp-content/uploads/2019/05/Museum...

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Dancing biscuits attract the attention of customers. An interesting commercial approach. Fairy wings, fairy music, and fairy taste.

Apart from bringing a former luxury food within the budget of working class households, Arnott's success was built on clever branding and advertising. The Milk Arrowroot 'Living pictures' campaign, which used customers' snapshots of their children, is perhaps the best-known example. As a result, Arnott's is one of a small number of brand names to gain a spurious association with Australian history and culture (others include Foster's, Holden and Vegemite), an association which has in turn been exploited in Arnott's advertising. The 1997 takeover of the company by US conglomerate Campbell's consequently inspired a degree of controversy. Because of its 'Australian' associations, Arnott's packaging and other artefacts are sought after by collectors and others. The Powerhouse Museum holds a large collection of Arnott's artefacts and in 1991 presented an exhibition on the company's history. Unlike some other manufacturers, Arnott's signage was not notable for innovation or striking graphic design, relying instead for its appeal on bold sign-writer's lettering and one of the most recognisable Australian trademarks. This sign is an excellent example of the genre. As the work of a sign-writer, rather than a lithographer or printer, the sign is also valuable as an example of this medium. Although sign-writing was the main form of advertising graphics for many decades, it is less well represented in graphic design collections than printed graphics. Charles Pickett, Curator, 2007 Source; collection.maas.museum/object/363575