Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Frank Wright in Columbo, Ceyon, 1933 1). Black and white photograph of a man dresses in a suit sitting on a rickshaw being pulled by a man dressed in shorts, short sleeved shirt and sandals. In the background is a two storied building with arched verandahs on both levels. The man is Frank Wright and the place is Columbo, Ceylon (Sri Lanka). 2). Black and white photograph of a man dressed in a suit and carrying a light hat, standing beside two Sinhalese men, one of whom is sitting on the steps of a building whilst the other is looking down. Further along the steps a couple of other men are watching. The man is Frank Wright and the place is the 'native quarter', Columbo, Ceylon (Sri Lanka). 3). Black and white photograph of a man dressed in a suit and carrying a light hat, standing in front of the white dome and spire of a Buddist temple. The man is Frank Wright and the place is Columbo, Ceylon (Sri Lanka).1). Written in pencil on back - Frank Wright in Rickshaw drawn by Dan Barry, Columbo, Ceylon, Sept 1933 2). Written in pencil on back - Frank Wright in native quarter, Columbo, Ceylon, Sept 1933 3). Written in pencil on back - Frank Wright at Buddist temple, Columbo. Ceylon, Sept 1933frank wright, dan barry, rickshaw, columbo, ceylon, buddist temple

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

This is a photograph of crew members that formed the football team of the S.S. Hororata. The vessel was ordered by the New Zealand Shipping Co Ltd of London, completed in 1914. In august of that year she was requisitioned ( as A20) for transport of the Australian expeditionary force in WW1. In WW2 she was known as the SS Waroonga and torpedoed in 1943. (Internet ref 2018) This vessel was a regular visitor to Melbourne and crews visited and contributed donations to the MTS.This photograph provides an early record of the many crew based football (soccer) teams that would enjoy matches when ashore with other crews. The Mission to seamen organised and promoted many such matches and encouraged the friendly competition during outings. In addition this particular group photograph is of interest as it indicates the many talents and interests of the crew through the items and animals the individuals are posed with. Sepia toned photograph of the S.S. "Hororata" Football Team dated April 1923. The photograph has been mounted onto a brown cardboard frame with the text 'S.S. "Hororata's" Football Team/April 1923' on the top and the bottom. The photograph itself is of 24 men in three rows, 9 on the top row, 8 in the middle row and 7 on the bottom row. The man in the bottom row furthest left is kneeling behind a bird cage with a cockatoo in it. The man second from the left is holding a guitar. The man third from the left is holding a cat. The man fourth from the left is lying down peeking through the buoy with the text "S.S. Hororata's/Plymouth". The man second from the right is holding a lute and the man furthest right on the bottom row is also kneeling behind a bird cage with a cockatoo. In the middle row, the man second from the left is holding a banjo. The man third from the right is holding a flute. The man second from the right is holding an accordion. All other men in the middle and top rows have their arms crossed. The men are situated on the ships deck. Behind them is a ladder and what appears to be a door opening and on the left side of the photograph are some ropes and a pulley system.On lower edge of mount handwritten in black ink: S.S. "Hororata" Football Team April 1923hat, 1923, uniform, pulley, cap, banjo, guitar, rope, cockatoo, accordion, flute, cat, ladder, ss hororata football team, ss hororata, lute, ww1, ww2, troopship, ship crew, deck, soccer, football, sports, crew photo, crews and ships

1 Man - Main Street side of P.O. 1 Man and Girl Wimmera Street Side.Colour - with Post Office 2 sides - Gaslight, Telegraph poleGold Pen - Greetings from Stawell. Gold Pen outling windows, door, balcony, chimneys, roof. Reverse Stamp Franked - Stawell Victoria J A 8 01

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. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. 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.Brown and Grey children’s jacket with brown accents at pockets and shoulder, centre front zip, curved pocket detail.Style B/117, Colourway Woodgrain/Pebble, Size 8 .2) Sample tags stapled together with manufacturing information, including sizes and colours available, as well as knit swatch samples for colourways Green/Silver, Burgundy/Denim, Navy/Denim, and Rust/Pebble.1) [white label at back neck with green and black printed writing] ROBERT BLAKE Size 8 / knitwear HEIGHT 130cm MADE IN AUSTRALIA .2 [blue sample label] STYLE B/117 Jacket. Zip. Birdseye. Wool. SIZES: 2 4 6 8 10 PRICE: $11.75 [amended to $12.80 in blue pen] $13.85 [amended to $15.05 in blue pen] SIZES: 12 14 PRICE: [printed] $14.95 [amended to $16.15 in blue pen] COLORS: Woodgrain/Pebble Green/Silver [drawn through in black pen] Burgundy/Denim, Navy/Denim, Rust/Pebble Dec on Del. [cream brand label] [OBVERSE] ROBERT BLAKE [REVERSE] ROBERT BLAKE KNITWEAR MELBOURNE, AUSTRALIAknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, children's knitwear

Gathering of seafarers and LHLG members carrying the Mission flag, at Graylings, property of Frederic Race Godfrey, in St Kilda, on 13 November 1905. Sixty-three men and boys were invited to the picnic. Miss Ethel Godfrey is kneeling on the right hand side, wearing a dark dress and hat. The man holding the ball in the center is thought to be Hugh H. Reid. In an article published in the Church and the Sailor in July 1930 after she resigned from her position of Honorary Secretary, she described this occasion as the first picnic organised by her after Reverend Gurney Goldsmith pleaded for women's help during a sermon at All Saints church in St Kilda the same month. See also item 1643This was the official first picnic of the Amalgamated Victorian Seamen's Mission and the first picnic organised by Miss Ethel Godfrey. A year later she was nominated Honorary Secretary of the newly Ladies Harbour Light Guild. The Melbourne Guild was the first one of its kind and was so successful that the scheme was spread around the world.Small sepia tone photograph with thin white border, slightly blurred, depicting a group of men and women; some standing, sitting, kneeling and lying on the grass. At the back the Flying Angel flag. In front the English flag. One man (Hugh Reid) is holding a footy ball. The photograph was previously in a photographic album.Handwritten in pencil on verso: 82 Handwritten in white ink on the album page: First picnic of the Mission, Graylings, St Kilda, King's Birthday 1905 1905, graylings, st kilda, ethel augusta godfrey, lhlg, reverend a. gurney-goldsmith, king's birthday, picnic, hugh h.reid

This blazer was probably worn by Doris Trewin (nee Mehlert) in her role as a chaperone of the Orbost Marching Girls, the Waratahs.Together with a trophy, a uniform and photos this blazer forms part of the history of the Orbost Marching Girls group.An Orbost Marching Girls' Chaperone's blazer. It is navy wool, lined, has two pockets (one on each side) and fastens with two silver buttons. On each sleeve cuff is a smaller silver button.blazer uniform orbost-marching-girls

This medical instrument was used in the Tawonga District General Hospital which was built in the 1950s specifically for the increase in population due to the Kiewa Hydro Scheme.Historial: Shows the development of scientific hospital equipment. Provenance: Used in the Tawonga District General Hospital which was remote and therefore required good equipment.In wooden box with a sliding lid. Silver knife held by 2 wooden pieces with slots for knife to fit. Knife is surrounded by cotton wool. Knife is flat with wavy sides. Blade is flat with point.medical instrument. hospital equipment. tawonga. mt beauty. skin graft., knife. doctor

T. Woolman, Volunteers Defence Group1. Shirt - cotton, Khaki. long sleeved, no collar. 2. Jacket - wool, Khaki, black metal buttons, Rising Sun Badge on each collar, embroidered VDC emblem on upper sleeves.2. Embroidered VDC emblem, round red background, black embroidery.uniform, khaki

Forage cap, khaki wool, green piping around the middle of sides. Green section inside the top fold, 2 Australian brass buttons at front. Internal lining is green cotton drill.headwear, forage

Part of hostess/stewardess uniform of 1950's era.Complements the collection of air flight crew attire.Navy blue hostess beret. Crown is folded, creating a pleat. Has a scalloped turned brim. Wool gabardine material outside. Black cotton interior lining. Damage to material at front of hat.hostess, stewardess, ansett, navy, side cap, flight attendant

Machine knitted and stitched baby mittens. Salmon pink wool. Knitted woollen ties at wrist.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby mittens

3 x black and white Photographs,- photocopy of page 34 of Bendigo Its Environs - The Way It Was - Ravenswood Crown Lands, three views at the Ravenswood Homestead c2003. Wool shed, Chapel ,Homestead.photograph, building, house

Wooden coat hanger covered with yellow knitted cover. Three white flowers embroidered in wool on one side of the cover. Metal hanger covered with yellow plastic tubing. Old box 524.costume accessories, clothes accessories, covered coat hanger

Nurse's red , pure wool flannel cape. Peaked collar. Stitched down, peaked tab at each shoulder line. Circular in shape, with one centre back seam. Worn by Merryn Ellison.Tape inside cape with name' Merryn Ellison.costume, female, nurse's red cape

Designed and constructed in Camp1 by W (Jack) Weber and used to make scarves by and for the interneesHandmade wooden loom with levers ,pulleys ,eyelets ,upright shapes and part woven wool made from scrap metal and improvised tools. Jack was an engineer who migrated to Queensland and was interned in 1939.tatura, handcrafts, weaving

These two chairs are Grant Featherston prototypes of the 1947 Relaxation Chairs. These chairs came from the Boyd family's Camberwell home (666 Riversdale Road, Camberwell, formerly 158 Riversdale Road) and were originally upholstered with webbing. The fixings were modified in the final product Relaxation chairs. Robin Boyd designed the Ivanhoe home of Grant and Mary Featherston (1967).Dark orange with black fine check woven wool. Nine self-covered buttons. Laminated timber legs and arms (no frame). Three visible timber pegs/bolts connect arms to the body.walsh st furnishings, robin boyd, grant featherston, ohm2022, ohm2022_33

Skirt in light grey wool, roughly gathered into calico waistband (unbleached with red stripes). Cotton tape has been used for ties. Seams and hem have single turn-ups and are oversewn."FX" in black ink on waistband at left back.costume, sunbury asylum, george evans collection

Ribbon awarded to Mr Charles Wilson Peel of 'Callenondah' at Gnawarre. Mr Peel ran a superfine merino stud. This ribbon is from the Geelong Agricultural & Pastoral Show in 1977 and was awarded Most Attractive Merino Fleece.Red, white and blue wool ribbon with yellow tassels on short ends. Yellow stitched/stamped text. Text divided across the three coloured panels which are stitched together with white thread.

Ribbon awarded to Mr Charles Wilson Peel of 'Callenondah' at Gnawarre. Mr Peel ran a superfine merino stud. This ribbon is from the Geelong Agricultural & Pastoral Society 1961 Show and was awarded Champion Fleece of Show. Red, white and blue wool ribbon with yellow tassels on short ends. Yellow stitched/stamped text. Text is divided across the three coloured panels which are stitched together with white thread.

This dress was hand crocheted by Miss Muriel 'Dolly' Williamson, who was noted for her skill at handicrafts and her sense of fashion. Throughout her life she hand made many of her own clothes and enjoyed wearing them to local social events. She had a large collection of hand knitted and crocheted clothes, most of which were dispersed amongst her friends when she finally went into a nursing home. The donation of this dress was facilitated by Ms Julia Fry from Community Options Barwon who is Miss Williamson's case worker. This dress is typical of the style of the 1960s, with its bright colours and long line. Miss Williamson called it her 'Carmen Miranda' dress.Dress, hand crocheted by Miss Muriel Williamson in bands of mid green, light green and white wool, c.1960s. Detail of dress hand crocheted by Miss Muriel Williamson, c.1960s.fashion handicrafts crochet, williamson, miss muriel blanche, fashion, handicrafts, crochet

A Slazenger (UK) 'Nylon-Armoured Tennis Balls' box. Printed on front: '1950 LTA OFFICIAL BALL'. Contains all six original balls. Materials: Ink, Cardboard, Paper, Rubber, Wooltennis

A box of Dunlop (U.K.) 'Fort' tennis balls, containing all six original balls. Printed on box ' LTA OFFICIAL TENNIS BALL'. Materials: Ink, Cardboard, Rubber, Synthetic material, Wooltennis

An unsealed Wilson dome-top tennis ball can. Key and metal seal strip missing. Contains all three original balls. Materials: Metal, Ink, Rubber, Synthetic material, Wooltennis

An unsealed Pennsylvania 'Centre Court Heavy Duty Championship' tennis ball can. Has domed metal lid, contains all three original balls. Materials: Metal, Ink, Wool, Rubbertennis

An unsealed Fred Perry-endorsed 'Championship' tennis ball can. Metal seal strip and key winder missing. Contains all three original balls. Materials: Metal, Ink, Rubber, Wooltennis

Kew Tapestry The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.5. Kew Railway Station (1887-1958). A Handcoloured cartoon created by the artist Joy Stewart as a template for the fifth of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "KEW RAILWAY STATION (1887-1958). Established to transport passengers and produce too and from the city ... Kew developed as a residential suburb which included cottages an dlarge homes such as Villa Alba". Signed by the artist "(c) JStewart, 1988"bicentennial project (kew), joy stewart