Certificate reads "Certificate of Registration. Royal Victorian Institute for the Blind, 557 St Kilda Road, Melbourne VIC 3004 Australia complies with the requirements of The Disability Standards (Disability Employment and Rehabilitation Program) Standards 2002, dated July 1 2002 for the following capability: This registration covers the Disability Services Management System for the provision of employment services, including personalised support services to people with a disability in an open and supported employment environment." Signed: Alex Ezrakhovich, General Manager Certification. Certificate #: DSC20047. Issue Date: 1st April 2003. Certified Date: 19th March 2003. Expiry Date 19th March 2006. The second certificate reads the same except for 201 High Street, Prahran.2 certificates with black writingAt the top of the page is a black and white image of a shell next to 'Disability Support Certification' which also has a red tick across the first 2 words.royal victorian institute for the blind, registration

W.D. Vaughan in 'Kew's Civic Century' (1960) has a chapter (XXII, pp.103-105) on the Kew Swimming Pool (aka Kew Baths). In the chapter he recounts debate in Council from 1912 about the need for a swimming pool. The first concrete step toward achieving this occurred in 1914 when Council purchased the Tramways Sheds on the corner of High and Disraeli Streets in 1914. Further adjoining land in High Street was compulsorily acquired in 1923. The final plans were accepted in 1925 and following public tender, Messrs. Weavill and Keast were appointed to construct the pool at a cost of 5,418/9/-. The baths were formally opened on 18 November 1925 by George Ramsay, Mayor of Kew. (The Kew Swimming Club was founded in the same year.) Vaughan notes that "mixed bathing was not permitted at the Kew Baths until January, 1928, when it was allowed every evening (except Sundays) and Friday afternoons. A few years later these restrictions were removed altogether".Small B&W photograph of the old Kew Swimming Pool showing seating at right. The photograph can be dated to the years 1929-33, as the wooden grandstand was not erected until 1929 and it was before a new high swimming platform was erected in 1933."D3. 92"kew swimming pool - kew (vic), sport and recreation - kew (vic), kew baths - kew (vic), mayors of kew - cr. george ramsay - kew (vic), kew swimming club

W.D. Vaughan in 'Kew's Civic Century' (1960) has a chapter (XXII, pp.103-105) on the Kew Swimming Pool (aka Kew Baths). In the chapter he recounts debate in Council from 1912 about the need for a swimming pool. The first concrete step toward achieving this occurred in 1914 when Council purchased the Tramways Sheds on the corner of High and Disraeli Streets in 1914. Further adjoining land in High Street was compulsorily acquired in 1923. The final plans were accepted in 1925 and following public tender, Messrs. Weavill and Keast were appointed to construct the pool at a cost of 5,418/9/-. The baths were formally opened on 18 November 1925 by George Ramsay, Mayor of Kew. (The Kew Swimming Club was founded in the same year.) Vaughan notes that "mixed bathing was not permitted at the Kew Baths until January, 1928, when it was allowed every evening (except Sundays) and Friday afternoons. A few years later these restrictions were removed altogether".Small B&W photograph of two boys standing beside a diving board at the old Kew Swimming Pool while in the distance a woman dives into the pool. The photograph can be dated to the years 1929-33, as the wooden grandstand was not erected until 1929 and it was before a new high swimming platform was erected in 1933."Old Swimming Pool Kew. D4. 92"kew swimming pool - kew (vic), sport and recreation - kew (vic), kew baths - kew (vic), mayors of kew - cr. george ramsay - kew (vic), kew swimming club

W.D. Vaughan in 'Kew's Civic Century' (1960) has a chapter (XXII, pp.103-105) on the Kew Swimming Pool (aka Kew Baths). In the chapter he recounts debate in Council from 1912 about the need for a swimming pool. The first concrete step toward achieving this occurred in 1914 when Council purchased the Tramways Sheds on the corner of High and Disraeli Streets in 1914. Further adjoining land in High Street was compulsorily acquired in 1923. The final plans were accepted in 1925 and following public tender, Messrs. Weavill and Keast were appointed to construct the pool at a cost of 5,418/9/-. The baths were formally opened on 18 November 1925 by George Ramsay, Mayor of Kew. (The Kew Swimming Club was founded in the same year.) Vaughan notes that "mixed bathing was not permitted at the Kew Baths until January, 1928, when it was allowed every evening (except Sundays) and Friday afternoons. A few years later these restrictions were removed altogether".Small B&W photograph of the old Kew Swimming Pool. Girl on diving board at left. The photograph can be dated to the years 1929-33, as the wooden grandstand was not erected until 1929 and it was before a new high swimming platform was erected in 1933."Old Swimming Pool Kew. D2. 92"kew swimming pool - kew (vic), sport and recreation - kew (vic), kew baths - kew (vic), mayors of kew - cr. george ramsay - kew (vic), kew swimming club

W.D. Vaughan in 'Kew's Civic Century' (1960) has a chapter (XXII, pp.103-105) on the Kew Swimming Pool (aka Kew Baths). In the chapter he recounts debate in Council from 1912 about the need for a swimming pool. The first concrete step toward achieving this occurred in 1914 when Council purchased the Tramways Sheds on the corner of High and Disraeli Streets in 1914. Further adjoining land in High Street was compulsorily acquired in 1923. The final plans were accepted in 1925 and following public tender, Messrs. Weavill and Keast were appointed to construct the pool at a cost of 5,418/9/-. The baths were formally opened on 18 November 1925 by George Ramsay, Mayor of Kew. (The Kew Swimming Club was founded in the same year.) Vaughan notes that "mixed bathing was not permitted at the Kew Baths until January, 1928, when it was allowed every evening (except Sundays) and Friday afternoons. A few years later these restrictions were removed altogether".Five black and white photographs of Kew in the 1960s donated by Kerstin Fraser. The photographs include 3 pictures of the Mayor of Kew, Gordon Greer at the Kew Baths and two photographs of the Carmelite Monastery in Stevenson Street, Kew.kew baths - kew (vic), carmelite monastery - stevenson street - kew (vic), cr leo hawkins, swimming

In 1959 Princess Alexandra of Kent visited Australia as the representative of Queen Elizabeth II for the Queensland Centenary Celebrations. Her six week visit began with her arrival in Canberra on 14th August 14 and she departed from Canberra on 26th September. Time spent in Australia included 3 weeks in Queensland. Her Royal Highness' visits to New South Wales and Victoria were comparatively brief and informal. In New South Wales she made two country visits including to Albury and a night spent at Bungowannah Park near Jindera. Her visit to Victoria began in Wodonga where she officially opened the Pollard Archway over the Causeway. She received an enthusiastic welcome as she approached the Archway accompanied by a motorcycle escort. As Princess Alexander stepped forward to take the scissors from a red plush case, her Lady-in- Waiting, Lady Moyra Hamilton, tugged at the Princess' sleeve, whispered and gave her a coin. The Princess handed the coin a halfpenny to the Wodonga Shire President, Cr J. S. Hore, saying: "I must give you this, otherwise it might be unlucky." (The halfpenny "gift" stems from an old English superstition that a "sharp" gift such as a knife or scissors must be dulled with copper or else a friendship will be lost. After cutting the ribbon and declaring the Pollard Arch, named in honour of Councillor Charles Pollard M.B.E. she was presented with a bouquet by 10-year old Leslie McLeod. Princess Alexandra led by a pipe band was driven along the Hume Highway and High Street which were lined by thousands of people including school children. After a short trip along High Street and Elgin Street to the Railway Station she departed from protocol to speak to the many children who had crossed the barricade. Princess Alexandra then boarded the Royal Train for her journey to Melbourne.This item is significant because it represents the visit to Wodonga of Princess Alexandra in 1959.A pair of scissors in a red box. The bottom of the box is lined with red cloth and the lid is lined with white silk bearing the trademark "Jewelcrest". The scissors are engraved with the maker's mark for GIESEN & FORSTHOFF/ SOLINGEN GERMANYOn top of Box. The Official Opening by Her Royal Highness Princess Alexandra of Kent 0f the Cr C F Pollard MBE Archway Wodonga 16th Sept 1959 On Scissors: GIESEN & FORSTHOFF/ SOLINGEN GERMANY TIMOR SOLINGENprincess alexandra, pollard arch

Joan Jessup was born on the 17th November, 1926 at at Nurse Longmore's in High Street, Beechworth. In this recording, Joan recounts her childhood in Beechworth, her personal and working life as a young unmarried woman, and then later her marriage to Albert Jessup and her family life at Murmungee and Beechworth. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the BurkeThis recording of Joan Jessup's life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural, historical, social, and religious heritage of the region. She details important historical events, local life, religious matters, and schooling in the region's history that had a lasting local, regional and national impact, including Australia during war time, economic struggles, and women's societal and working roles in a rural area. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preservedThis is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Joan Jessuplisten to what they say, joan jessup, beechworth, burke museum, jessup

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Cream and green silk floral hat on net designed by the Kew milliner Anne Harrison.Label: Anne Harrison of Kew, WA 9906anne harrison of kew, milliners - kew (vic), women's clothing, costume accesories - hats, fashion and textiles collection - kew historical society

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.Local significanceBlue banded conical hat with cream flowers and green leaves at front and on top by Anne Harrison of KewLabel: "Anne Harrison of Kew"anne harrison of kew, hats, headwear, milliners -- kew (vic.)

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.Local significanceRound pink (faded) floral hat on net. Flowers monochrome daisiesLabel: "Anne Harrison of Kew"anne harrison of kew, hats, headwear, milliners -- kew (vic.)

Marion 'Annie' (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green silk woman’s hat in a soft unstructured style retailed by Anne Harrison of Kew. The hat is banded with braid in contrasting colours. It has a soft bow at the rear.Label: Anne Harrison of Kew. WM 9906anne harrison, milliners - kew (vic), women's clothing -- hats

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Apricot coloured felt woman’s hat retailed by Anne Harrison of Kew. The design includes a contrasting band of black ribbon at the base of the crown. The ribbon is shaped into a flat bow at the rear of the hat.Label: Anne Harrison of Kew. WM 9906anne harrison, milliners - kew (vic), women's clothing, costume accessories

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green and black felt woman’s hat retailed by Anne Harrison of Kew. The pale green crown is bordered by a black turned up rim. An additional adornmant to the hat is an abstract bow at the front made of black felt.Label: Anne Harrison of Kew. WM 9906.anne harrison, women's clothing, costume accesories - hats, fashion and textiles collection - kew historical society, cloche hats, milliners - kew (vic)

Basket weaving and brush making was a source of income for those who worked in the workshops at RVIB and other institutions in New South Wales and Queensland. A diverse range products could be produced with cane, such as cane chairs, cots, washing baskets and trolleys, and the Institution sought to highlight these in the annual report. Over time the demand for, and supply of, cane changed - particularly during World War 2 when Asian sources were under attack or destroyed. At home, other materials such as plastics as well as the ability to import cheaper pre-produced products further reduced the demand for workshop pieces. RVIB eventually closed down it's workshop production of materials in 2009 with the sale of the warehouse in High Street, Prahran and the movement of staff to Macaulay Road, Kensington.6 scanned images of basket making from RVIB annual reportsroyal victorian institute for the blind, employment

Ararat is a city in south-west Victoria, Australia, about 198 kilometres west of Melbourne, on the Western Highway on the eastern slopes of the Ararat Hills and Cemetery Creek valley between Victoria's Western District and the Wimmera. It is named after Mount Ararat 10 kilometres south-west of the town. A police station opened in Ararat in 1859, though there was a police presence in the area formerly known as Cathcart, Canton Lead and later Mount Ararat. In 1861 staff consisted of 1 Superintendent, 2 Mounted Constables, 1 Sergeant 2nd class, 1 Senior Constable, 8 Constables. The police reserve was on land bounded by Ligar Street, Barkley Street, Ingor Street and High Street. In 1930 the police station was described as a six-room brick dwelling with a slate roof, situated on one quarter acre of land. There was also a bathroom, wash-house, pantry, office, muster room and quarters for a single constable, stables with three stalls, and a lock-up consisting of two six-person cells. Later residences were located at 3 Ligar Street (brick veneer with a tile roof); 32A High Street (brick veneer with tile roof); and 3 Tobin Street (wood with an iron roof). A new, purpose built police station was opened in October 2010 at 77 Barkly Street. The Ararat Police District was reformed into the Wimmera Police District in 1870. Ararat Police Station became part of "R" (Glenelg) District in January 1948 and "M" (Highlands/Wimmera) District from March 1990. A list of police stationed at Ararat from 1903 - 1930 is available from the Victoria Police Museum8 photos comprising: 7 black & white photos 1 colour photopolice stations; ararat police station

In February 1909 the Trinity Grammar School leased ‘Molina’, a property in Charles Street. ‘Molina’ had been built in 1872-73 to a design by architect Alfred Purchas, for the secular and private Kew High School. The building served as the headmaster’s residence and boarding accommodation. Kew High School had closed in 1908. Black and White photographic positive by John Collins (1907-2001) of 'Meritt House' (formerly 'Molina', and Kew High School) in Charles Street."Kew 'Merritt House' Trinity Grammar School, Off Stanley St. /John Collins, 11 Anderson Road, Hawthorn East, 3123 - Film 396 Exposure 3A" 29-4-79merritt house, molina, trinity grammar school

Part of a Shire streetscape series of photos c. 1987Colour photograph of Turner's Butcher Shop on the corner of Learmonth and High Streets. Sign above the verandah reads Turners Butchery and has a picture of a ram's head between the two words. The signage on side of building reads Specialising in FEEDLOT STEAKS, QUALITY Pork & Lamb, Friendly Service. Deliveries. The sign on the side of the bullnose verandah reads TURNERS Butchery Phone 911506. A sandwich board in front of the shop on the edge of the footpath reads Butcher NOW OPEN. A white station wagon is parked in the yard beside the shop. There are two red and white school crossing posts on the rod in front of the shop. A building is under construction in the block across the road and there is orange safety fencing around the front of the block. The mill silos are visible behind the butcher shop.turner's butcher shop, high st charlton, learmonth st charlton

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The Erin Heights Estate in Kew included just seven lots in in Valerie Street. These were all that remained of this wartime subdivision, the other 11 allotments on Balfour and Belford Roads having already been sold. Balfour Road was to be only a temporary name as the street is currently called Windella Avenue. Now, the parkland opposite the subdivision is the reserve created from the route of the Outer Circle Railway. This Railway reached Kew East in 1925, but had been planned as far back as 1873. The development focuses on the benefits of living in Kew: being at the highest of Kew’s ‘suburbs’; being a good residential area; its rapid growth; and the proximity of the Kew East tram in High Street. In 1917, the electric tramline only extended to a terminus at the Harp of Erin hotel. The terminus is clearly represented on the plan.subdivision plans - east kew, erin heights estate

Set of two copy photographs. Photograph, Black and White of MMTB trams. Both photographs have arrows drawn on them pointing to the top of the cross bench seating windows where the unique drop bar latches appear. These were apparently unique to this class of tram. .1 - K class No. 100 - probably about 1920. Note the twin trolley poles on this single truck car when new. This car also apparently entered service with air brakes. .2 - K class No. 97 - probably about 1920. Photo taken in Glenferrie Road Malvern at High Street. Keith has noted on both prints the in-service dates, though the MMTB had taken over around that time, both painted with "Municipal Tramways" lettering.In ink on the rear: .1 -" Melbourne K97 - probably about 1920 - In service 3.3.1920, with "Municipal Tramways" lettering though M&MTB formed 1.11.1919. No magnetic track brakes." .2 - "as above except for K100 and in service date of 25.12.1919. Has KSK number LWR8 and LWR9 respectively into right hand corner.trams, tramways, k class, pmtt, livery, tram 97, tram 100, trolley poles, mmtb, malvern, glenferrie road

Image from CD (Compact Diskette for use in computers) - see Reg Item 135. Image titled "Kew Burke Rd' on CD, of looking at the East Kew Tram terminus with the city skyline in the background, c1925. Photo published in the Bellcord No. 16, Oct. 2012. From the article with the photograph; The terminus was located at the intersection of High St, Burke, Kilby and Doncaster Roads. We are at the outer edges of Melbourne’s suburbia at the time, unlike the current tram terminus of today. Burke Road, north of Doncaster Road is clearly under construction in preparation for the new river crossing. The vacant block of land in the foreground will remain so for another ten years or so. In 1960 the new Dickens Supermarket was built on this site and the intersection became known locally as Dickens Corner. The narrow track on the left hand side of the photo is Doncaster Road. The tram at the terminus is a straight-sill single trucker of one of the G, K, Q or R classes. It is finished in the late MMTB chocolate and cream livery. A cable grip car body has been placed as a tram shelter at the terminus. The church was subsequently relocated to Francis Street Yarraville where it still stands today as a private residence. Behind the large hedge on the south side of High Street is Smith’s Dairy. Part of this land would be sold to the MMTB for a planned new tram depot Behind the large hedge on the south side of High Street is Smith’s Dairy. Part of this land would be sold to the MMTB for a planned new tram depot but by the early 1960s it was transferred to the Education Department for construction of the Kew High School. The last portion of the dairy closed in the 1970s.trams, tramways, kew, burke rd, east kew, doncaster rd

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 small circular pressed metal badge with a white outline of Australia against a dark blue background. Flags of Australia’s World War I allies are depicted within the Australian outline, including that of Imperial Russia."Allies For Freedom and Life"patriotic buttons, first world war (1914-18)

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.World War I-era pressed metal fundraising badge, featuring an olive wreath encircling in red text: ‘ANZAC Apr. 25. 1915’, on a white background. "ANZAC Apr. 25. 1915 / Copyright"anzac day, first world war (1914-18), patriotic buttons, world war one, numismatics, badges

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.World War I-era pressed metal fundraising badge, advertising ANZAC Remembrance Day"ANZAC Remembrance Day"patriotic buttons, remembrance day, badges

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.Circular pressed tin button featuring the Red Cross flag. Beneath the flag is a two-tiered scroll with red text ‘Australian Red Cross Appeal 1918’, against a gold background with a white and red border."Australian Red Cross Appeal 1918"patriotic buttons, first world war (1914-18)

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 button designed to raise funds in Deepdene and Balwyn for the Alfred Hospital Appeal of 1921. The central image on the button is of cricket bats, ball and a wicket, all designed in red. The Argus was to report that ‘Yesterday on behalf of the Deepdene and Balwyn committee who organised the event, Constable F. Kloster and Mrs. F Quin handed in a cheque for £150/3/9, representing the proceeds of a fete at Deepdene on behalf of the appeal fund’.deepdene, alfred hospital, fundraising buttons, badges

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.Small circular pressed tinplate badge featuring a gold-bordered art nouveau style heart within a green wreath, surmounted by a yellow seven-pointed star, all on a brown background. The words ‘Discharged Soldiers’ Fund For Our Returned Soldiers’ feature within the heart, on a buff background. A gold and white border encloses the whole design.first world war (1914-18), patriotic buttons, badges

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 small white yellow and blue fundraising (sic) button with the initials or logo of ‘CE’ in the centre. It has been suggested that CE stands for Christian Endeavour. Christian Endeavour was run at most Churches of Christ in the early 20th century and perhaps comes from a member of the Kew East Church of Christ (1923-1993). CEchristian endeavour, religious badge, buttons

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.Round metal button with green background. The Belgian flag is shown in the centre with words printed in white above and below it. It is likely that this button was sold to raise funds to support the Australian army who went to Belgium’s aid in the First World War.For Belgium For Honorfirst world war (1914-18), patriotic buttons, badges

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.Metal badge with a printed illustration of a Red Cross flag and printed text on a red ink background surrounded by a white border. The Commonwealth Button Fund issued buttons of this design for a Victorian Red Cross appeal in July 1915. All funds raised during the appeal were to be used for the support of the Australian Red Cross and the servicemen in their care. Between 300,000-400,000 of these buttons were distributed."For Kith and Kin"patriotic buttons, badges, first world war 1914-1918