Set of four buttons, each with tennis match motif. Materials: Metaltennis

Set of 2 matching buttons, each with filigree edging, a racquet and shuttlecock motif, and studded with reflective stone. Materials: Metaltennis

Set of two buttons, each with tennis match motif. Materials: Composite Materialstennis

Set of three buttons, each with tennis match motif. Materials: Metaltennis

Set of 4 wood buttons each with a crossed racquet and ball motif. Materials: Wood, Inktennis

Set of six buttons, each with tennis lady motif. Materials: Metaltennis

Set of 24 German buttons on retail card, each with crossed racquets motif. Materials: Metal, Cardboard, Inktennis

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A round pressed metal button in red, white and blue. The pale border is designed to look like a belt. The button was initially sold on the 24 March 1916, the day set aside as ‘Button Day For Our Fighting Men’ to raise funds for the servicemen fighting overseas."For Our Fighting Men"patriotic buttons, first world war (1914-18), badges

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The button forms part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration. The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Round metal button in red, white, blue and gold showing a sun setting over the sea with words printed in red around border and on lower outer rim.hospital day, patriotic buttons, first world war (1914-18)

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Men's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8117 .1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian emblem in detail as well as the suit jacket and shirt. 8117.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of black trousers, a yellow button up shirt with a white collar and cuffs and a floral printed tie. Around the main image are three smaller drawings depicting the detail of the trousers, belt clasp and black shoes. 8117.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a green knit, button up vest, a yellow shirt with a white collar and cuffs and a floral printed tie. On this design there is also a small swatch of yellow fabric attached as well as a small detail drawing of the knit vest behind the right shoulder of the man depicted. 8117.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a yellow button up shirt and a printed striped tie. 8117.5 - unnumbered - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian Emblem set on top of stripes in detail as well as the suit jacket and shirt. 8117.6 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black shorts and floral button up shirt, belt, lace up shoes with socks and pocket detail.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. These designs were rejected during the fabrication process and used at a later time by Doug Pleasance in demonstrations to university/TAFE students.8121.1 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of dark green shorts, a yellow and green striped windcheater with a map of Australia in the centre and a brown belt. 8121.2 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers, a red and orange shirt with blue cuffs and a map of Australia on the right breast pocket. To the right of the main drawing is a detailed drawing of brown leather shoes. 8121.3 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green button up shirt. In the top right hand corner there is a smaller depiction of the shirt showing the details. 8121.4 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green vest with five buttons in the shape of Australia. To the left of the main design are two smaller images, one showing the details of the pants and the other the detail of the buttons.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

The garment was a sealed sample 26 feb 1962. It is unknown when the dress was replaced. It is a representative example of this type of uniform in the period.The dress is in excellent condition.Light green,short sleeves.410mm shoulder to shoulder.1018mm top of collar to bottom of dress.320 mm wide waist.25mm sleeve from shoulder top to sleeve end. Sleeve cuff 4 cm wide.Two pockets on front, each set 12 cmm below waist and 9 mm from edge of centre opening.bottom of pocket is 10 cm from edge of centre opening.The dress opens at front with 8 button holes (24mm) openings,with a neck button loop(2cm). Two epaulettes 5cmm x 11 cm(long). The pockets have a sewn flap 2cm long from pocket top and 5 cm (at apex) from top of pocket.Two loops (5cm high) at each side of dress.A loop for hanging dress is inside collar at rear.Three press studs at front to fasten dress.Attached certificate in plastic seal. “Department of Army - inspection service/ SFC 8.3.13. (June 1958). Sealed sample/ sealed pattern no class 8415 article/CLO 1489 DRESS WOMEN’S indoor uniform,short/sleeves.RAANC,S55./ the supply is not to differ from this sale sample except in such/ respects as may shown on back thereof./Approved 26.2.1962/ for Director of inspection” On reverse of sealed tag is: “ measurements shall be as specified.Buttons/RAANC Line 30 (fronts) . Buttons RAANC LINE 26/(SHOULDER STRAPS).”dress, women’s, raanc, short sleeve, uniform

The item is a representative example of previously standard issue uniform and is in excellent condition. As a set alongside 0040.1, the uniform has aesthetic significance in its design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Field trousers in disruptive pattern colours of green, khaki and browns. Two pockets on either hip, two pockets on both thighs fastened by two plastic buttons and one pocket on the back right side, fastened by a single button. Five large belt loops encircle waist, held in place with a dark green khaki button. Trousers fastened with a zipper and button, and adjustable tabs around hip bones. camouflage, uniform, australian defence force, disruptive pattern

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. In October 1986, Victorian nurses began their longest strike after the failure of repeated talks with the health minister David White who was committed to reducing the classification and pay of almost half of Victoria’s nurses. Skeleton staff were left in the wards while picket lines, tents and caravans were set up outside hospitals in both metropolitan and regional Victoria. After 50 days of industrial action, Victorian nurses voted to return to work on 20 December 1986. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).This badge is of historic significance as it represents nurses' struggle for industrial and professional status. This struggle was made particularly visible through the 1986 Victorian nurses' strike, which had great impact on the way Australian society viewed nurses and working women (Bessant, 1992).Circular white and red plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Nurses DO dare to Struggle' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, trade unions, badges, buttons, pins, campaigning, 1986 victorian nurses strike, labour history, royal australian nursing federation, victoria, australia

Button distributed to and worn by Australian Nursing Federation members campaigning against changes to nurses awards. The minimum wages and conditions an employee is entitled to are set out in awards (also known as modern awards). Awards don’t apply when an employer has an enterprise agreement or other registered agreement and the employee is covered by it. The Royal Australian Nursing Federation became the Australian Nursing Federation (ANF) in 1989, and then became the Australian Nursing and Midwifery Federation in 2013, suggesting this badge is from the 1990s or early 2000s.Circular white and blue plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'hands off nurses' awards!' and 'AUSTRALIAN NURSING FEDERATION'.nurses, nursing, unionism, badges, buttons, pins, trade unions, labour history, australian nursing federation, wages, working conditions, employment

Worked by Edna Parker (nee Rouget)Set of 3 antique white, crocheted sewing equipment items: Scissors bag, tape measure holder and a thimble bag, each with a different crocheting pattern. The scissors bag has a crocheted button closer, the tape measure holder has 3 crocheted flowers and 3 small crystal beads on the lid and a toggle-shaped crystal closer and the thimble bag has a cotton drawstring closer with 2 pearl beads on either side and 2 crocheted flowers on front side of bag.sewing equipment, personal effects.

Military cap dating from 1966, possibly worn by military personnel in West Germany.This cap is significant as an example of military headwear dating to 1960’s West Germany. Olive drab coloured forage or side cap lined with matching colored fabric. Cap has a flap on each side which may be unfolded. Side flaps are joined by by strip of fabric (all one piece), across the front of the cap which when extended, may form a covering for the mouth area. Flap may be secured with a silver stud button attached to each side of cap. Front of cap displays West German roundel in black, red, and yellow set in olive coloured diamond shaped piece of fabric. Off-white manufacturer’s label on inside, sewn to lining with white thread. Cap is size 54. On inside of hat: (in red) BAMBERGER MUTZEN INDUSTRIE (in black) US12d/22/15565/0028 IX/1966 /5 54 8405-12-138-8897

Variety of coins, tokens and objects collected by the original owner. Sources not known at this point.Rectangular white card with eleven coins and ten small objects attached, all labelled. Items attached are as follows: 096.1 Token from R. Parker ABT. 1854 096.2 Token, Thomas East, Melbourne 096.3 Token, T Butterworth and Company, Castlemaine 096.4 Coin, 1843 Shilling 096.5 Coin, 1845 Sixpence 096.6 Coin, 1843 Fourpence (Groat) 096.7 Coin, 1856 Threepence 096.8 Coin, 1877 Penny 096.9 Coin, Halfpenny 096.10 Coin, 1878 Halfpenny 096.11 Coin, 1826 Shilling 096.12 Coin, Item found at Union Jack Reserve, possibly a coin with an integrated hole. On either side of hole is marked 1/2. Requires identification. 096.13 Button, T&S Extra Quality button, metal 096.14 Button, Ceramic disc with 'K K..... Wien' marked upon it 096.15 Tiny Pot for melting Gold 096.16 to 096.18 Small unidentified ceramic crucibles? 096.19.2 Musket balls 096.20 Leaf patterned broochcoins, numismatics

This men's grooming set of personal care equipment and toiletries is an example of items packaged in attractive cases and sold as gifts in Australian chemist outlets and department stores in the 1920s to 1940s. This set was originally packaged in a leather-covered, lined and fitted case, with a comb, hair brush, and razor included as well. as the items shown here. The razor, once included with the set, had the inscription "T.R. Cadman and Sons, Sheffield England". The family business began with Luke Cadman in 1748. Thomas Radley Cadmen (1833 - 1917) took over the business in 1871, by which time it was operating in Sheffield. The business became incorporated as T.R. Cadman & Sons in 1924 but shortly afterwards the straight razors manufactured by them were stamped T.R. Cadman & Sons Ltd. The company specialised in pocket knives and razors from 1933 and supplied the British Royal Navy with razors in WWII. Over 80 per cent of sales were for the overseas market including Australia. Some of their razors were sold in stores in Victoria. The business traded in 1965. This grooming set was donated for exhibit in Flagstaff Hill Maritime Museum and Village's exhibit of the vessel 'Reginald M', a two-masted coastal trading ketch built in Port Adelaide in 1922. These items are examples of personal objects sold in Victoria in the 1920s as gifts for men, cased or packaged for special occasions and sold in retail stores. The items are associated with the historic coastal trading ketch 'Reginald M', listed on the Australian Register of Historic Vessels; and active from 1922 until 1975. The items were displayed in the Master's Quarters of the Reginald M exhibit at Flagstaff Hill Maritime Museum and Village until 2016 when the ship was decommissioned from Flagstaff Hill's fleet.Men's grooming set; metal soap container with star decoration, oval soap cake, oval hand mirror in a black frame ten-sided clear glass cologne bottle with silver metal lid, yellow bristle clothes brush with brown wooden hand grip, yellow bristle shaving brush with black base and white body, and two button hooks with white handles; the larger one has floral motifs. Inscriptions were on the razor originally included in the grooming set.Soap container once had star motifs.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, grooming set, men's grooming set, personal grooming, toiletry set, personal care, soap box, soap container, cologne bottle, clothes brush, shaving brush, button hook, hand mirror, personal efects, toiletries, t.r. cadman & sons, reginald m, soap dish

Set of 17 large and 7 small TB uniform clothing buttons. Large Button about 23 diameter, with TB crest, with backing piece and lug for sewing on rear. Nickel plated silver? Most have two holes in the rear as well. All but one made by Stokes and Sons, Victoria. One large button made by K. G. Luke A/Asia. Small button, approx. 16 diameter, as above, with or without holes in the rear. One button by K. G. Luke A/Asia, four by Stokes and Sons, Victoria and the other two difficult to determine due to dirt etc. Donated by Peter Winspur, from his surplus collection - Nov. 2006 tram, trams, mmtb, melbourne tramways, uniforms, buttons

BHS CollectionPhotograph of four Hanro models: Black and white photo of four ladies modelling Hanro dresses.. Three ladies are wearing Hanro dresses and the fourth is in a tailored suit .On the left the dress is of light material and has short sleeves, padded shoulders, high neck with three darts either side at the next and four buttons down the centre. The dress has darts at the waist and is drawn in with a belt. Second lady from the left is wearing a long sleeve dress with padded shoulders set in sleeves, and gathered at the cuff and secured with a button. The bodice is V necked with a collar, has gathering at the shoulders and is buttoned up with two buttons down the centre, darts under the bust line and a belt is at the waist. The third lady is in a dark suit with a long sleeved tailored jacket with padded shoulders, V necked with a collar and five buttons down the centre. Pockets either side are trimmed with buttons. The suit has a straight skirt. The lady to the right is in a light coloured dress with short set in sleeves and a peter pan collar. At the top half of the bodice the dress has vertical pin tucking with five buttons down the centre. The waist has darts at the bust line and the skirt is of a gored style, there is a belt at the waist. The hem line are all below the knee and are all wearing high heals. The ladies are standing in front of a wall of wood panelling. On the back written in pencil is *Joyce, Yvonne and Clarice. Copyright Bendigo Advertiser. Bendigo Advertiser Photographic Service. For re-order Quote CK242. Box 116ABendigo advertiser Photographic Servicephotograph, person, hanro, hanro. bendigo advertiser photographic service

The Sanyo ‘Sensor Touch’ television was assembled in Wodonga. Sanyo was one of the international companies that set up business in Wodonga in the 1970s as part of the decentralisation of industry. It continued operation into the 1980s. The Sanyo Australia Pty. Ltd. factory in Wodonga opened in 1974 with 35 staff and production peaked in 1976-1977 when it employed 360 people. In the first ten years 350,000 televisions were assembled from Japanese parts, however by 1984 the number of staff had reduced to 112 and the factory closed in 1987. All Sanyo televisions were then imported from Japan.The Sanyo ‘Sensor Touch’ television has local, state and national significance as it is thought to have been assembled in Sanyo Australia's factory in Wodonga. Sanyo was one of the international companies that set up business in Wodonga as part of the decentralisation of industry in Australia in the 1970s-1980s.Large Sanyo 'Sensor Touch' colour television with a faux wooden veneer frame and exterior. 53 cm or 20 inch screen (diagonal measurement)."SANYO / Sensor Touch / Telecolor" on the proper left side panel. "9 / 2 / 7 /28 /10 / 3 / 1 / 0 / AV" for the channels on the proper left panel. "COLOUR / BRIGHT / ONE / BUTTON / COLOUR / PULL-ON / VOLUME" under various buttons on the proper left panel. sanyo, colour televisions, televisions, sensor touch television, wodonga, sanyo australia pty. ltd.

Set of four types of coat buttons: 1 - MMTB button or Badge - brass - made by Buttons of Birmingham UK - approx. 25mm dia. 2 - MT - (Cable tram) button - brass - made by Stokes and Sons Melbourne - approx. 25mm dia. (this is to be clarified as at 24/6/2018, though see detailed image of a conductor in uniform - Reg Item 1961.) 3 - Dept of Govt Transport - Tasmania? - has a crown in the centre, - nickel silver with brass back and formed loop to sew onto a jacket or be pinned. 4 - Two badges both with the Islamic symbol and star (5 points) - brass, one marked "Tramways" and the other "Tramways Caire" - Cairo. The first badge made by "A. Meyer & Co. Wien".trams, tramways, melbourne tramways, uniforms, buttons, cairo, tasmania, cable trams

Set of seven nickel silver MMTB Coat buttons and two brass. Buttons (approx. 22mm dia) are made by Stokes and Sons Melbourne. The badge backing piece is nickel silver or brass. They are fitted with a lug for sewing onto a jacket and have name of manufacturer stamped on rear part. Three of the Stokes and Sons badges have one two small hole,trams, tramways, melbourne tramways, uniforms, buttons, mmtb

Set of eight small silver MMTB Coat buttons with brass backs and hooks. Five of the buttons (approx. 16mm dia) are made by Stokes and Sons Melbourne and three by Buttons of Birmingham UK One of the button has a metal clip in the rear. Four large, one brass finished and three nickel silver buttons, 23mm dia. with brass backs and hooks. Two by Stokes and Sons and two by Buttons of Birmingham.trams, tramways, melbourne tramways, uniforms, buttons, mmtb

Inspector's Cap - MMTB - green cloth exterior, brown cotton interior lining with black leather pad on the inside, black leather internal hat band, black cotton hat band on exterior with a black cord at the front half of the cap terminating in two small MMTB gold metal buttons on either side, black plastic external peak and green on the inside of the cap. Hat band has two gold bands or braids around the outside of the cap. Has a manufacturers lable inside the cap - made by Mountcastle Pty Ltd of Melbourne St South Brisbane. Has two holes where the badge would have been fitted. Set of two uniform coat buttons (approx. 16mm dia) are made by Buttons of Birmingham UK. Both button have metal eye hooks on the rear. Advised of the make by Peter Hyde of the Brisbane Tramway Museum 7-1-2018.trams, tramways, uniforms, cap, buttons, inspectors, mmtb

Poster of a person standing on the top of a set of air line steps with a aeroplane taking off in the background - with a message about running late. One of a series of "Did you know" series - see item 5437. Has Yarra trams logo and Love your Trams button badgeYields information about a series of Yarra Trams "Did you know" posters.Full colour poster printed on an A4 sheet.trams, tramways, posters, yarra trams, passengers, behaviour